Academic literature on the topic 'Queen mother of Ejisu'
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Journal articles on the topic "Queen mother of Ejisu"
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McCaskie, T. C. "The Life and Afterlife of Yaa Asantewaa." Africa 77, no. 2 (2007): 151–79. http://dx.doi.org/10.3366/afr.2007.77.2.151.
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AbstractThis article is about Queen Mother Yaa Asantewaa (c. 1830s–1921) ofEdweso (Ejisu) in Asante, locally famous in tradition for her supposed leadership role in the last Anglo–Asante conflict (1900–1), and now internationally celebrated as an epitome of African womanhood and resistance to European colonialism. The article is in three parts. The first part examines the historical record concerning Yaa Asantewaa and sets this within the conflicted context of Edweso–Kumase relations before, during and after her lifetime. It also considers her role in the 1900–1 war and the nationalist constructions placed on that role by later Asante and other Ghanaian commentators. The second part examines the politics of the celebrations held in Asante in 2000 to mark the centenary of the last Anglo–Asante war and to honour Yaa Asantewaa for her part in it. Discussion here is concerned with the struggle between the ruling Asante elite and the Rawlings government in Accra to take possession of Yaa Asantewaa's reputation and to define and reinterpret it for contemporary political purposes. This was also a significant and revealing episode in the run–up to the Ghanaian national elections of 2000, in which J. A. Kufuor's Asante–based NPP finally ousted Rawlings's NDC which, in various incarnations, had ruled Ghana for twenty years. The third part examines the recent and ever–growing afterlife of Yaa Asantewaa in the age of globalization and the Internet. Attention is paid in particular to the constructions placed on her by Americans of African descent and to cultural expressions of her present status as, perhaps, the most famous of all pre–colonial African women. Finally, Asante reactions to the internationalization of Yaa Asantewaa are considered. In general, and using the case of Yaa Asantewaa, this article sets out to show that in Asante – as elsewhere in Africa – history is a continuous and vivid presence, constantly fought over, reworked and reconfigured to make the past serve new needs and aspirations.
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Valera, Juan, and Robert M. Fedorchek. "The Queen Mother." Marvels & Tales 17, no. 2 (2003): 262–68. http://dx.doi.org/10.1353/mat.2003.0037.
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M'Balia, Shafeah. "Remembering Queen Mother Moore." Palimpsest: A Journal on Women, Gender, and the Black International 7, no. 2 (2018): 173–76. http://dx.doi.org/10.1353/pal.2018.0024.
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Hepworth, Mike. "Royal Ageing: The Queen Mother and Queen Victoria." Sociological Research Online 7, no. 1 (2002): 189–94. http://dx.doi.org/10.5153/sro.685.
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This paper is a reflection on the contribution of the image of the Queen Mother to the cultural construction of role models of positive ageing. The interest lies in the Queen Mother's performance in public of her roles as woman and royal personage particularly as she grew older. It is suggested that cultural analysis of the icon of the Queen Mother as a blend of gender and power suggests certain significant parallels with the imagery cultivated around the career of Queen Victoria in the later years of her life.
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Sanchez, Sonia. "Poem for Queen Mother Moore." Palimpsest: A Journal on Women, Gender, and the Black International 7, no. 2 (2018): 163–68. http://dx.doi.org/10.1353/pal.2018.0022.
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KAPLAN, FLORA EDOUWAYE S. "IYOBA, THE QUEEN MOTHER OF BENIN." Annals of the New York Academy of Sciences 810, no. 1 Queens, Queen (1997): 73–102. http://dx.doi.org/10.1111/j.1749-6632.1997.tb48125.x.
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Fernandes, Rubem César. "Aparecida, Our Queen, Lady and Mother, Saravá!" Social Science Information 24, no. 4 (1985): 799–819. http://dx.doi.org/10.1177/053901885024004007.
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Ahmad, Muhammad. "Queen Mother Audley Moore: Mentor and Teacher." Palimpsest: A Journal on Women, Gender, and the Black International 7, no. 2 (2018): 169–72. http://dx.doi.org/10.1353/pal.2018.0023.
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Boyd, Herb. "Longtime Activist Queen Mother Moore, 98, Dies." Black Scholar 27, no. 2 (1997): 1. http://dx.doi.org/10.1080/00064246.1997.11430850.
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Kim, Jina B. "Cripping the Welfare Queen." Social Text 39, no. 3 (2021): 79–101. http://dx.doi.org/10.1215/01642472-9034390.
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Abstract Drawing together feminist- and queer-of-color critique with disability theory, this essay offers a literary-cultural reframing of the welfare queen in light of critical discourses of disability. It does so by taking up the discourse of dependency that casts racialized, low-income, and disabled populations as drains on the state, reframing this discourse as a potential site of coalition among antiracist, anticapitalist, and feminist disability politics. Whereas antiwelfare policy cast independence as a national ideal, this analysis of the welfare mother elaborates a version of disability and women-of-color feminism that not only takes dependency as a given but also mines the figure of the welfare mother for its transformative potential. To imagine the welfare mother as a site for reenvisioning dependency, this essay draws on the “ruptural possibilities” of minority literary texts, to use Roderick A. Ferguson’s coinage, and places Sapphire's 1996 novel Push in conversation with Jesmyn Ward's 2011 novel Salvage the Bones. Both novels depict young Black mothers grappling with the disabling context of public infrastructural abandonment, in which the basic support systems for maintaining life—schools, hospitals, social services—have become increasingly compromised. As such, these novels enable an elaboration of a critical disability politic centered on welfare queen mythology and its attendant structures of state neglect, one that overwrites the punitive logics of public resource distribution. This disability politic, which the author terms crip-of-color critique, foregrounds the utility of disability studies for feminist-of-color theories of gendered and sexual state regulation and ushers racialized reproduction and state violence to the forefront of disability analysis.
Dissertations / Theses on the topic "Queen mother of Ejisu"
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Benz, Lisa. "Queen consort, queen mother : the power and authority of fourteenth century Plantagenet queens." Thesis, University of York, 2009. http://etheses.whiterose.ac.uk/14154/.
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Between 1299 and 1369 there was a continuous succession of queen consorts and queen dowagers. Margaret of France was queen consort between 1299 and 1307 and died in 1318, Isabella of France was queen consort between 1308 and 1327 and she died in 1358 and Philippa of Hainault was queen consort between 1328 and 1369 when she died. A continuous transition between queens is particularly exciting for a study of queenship because an analysis of these queens' activities provides a unique opportunity to form conclusions about nonnative queenly behaviour, and to determine the extent to which their activities depended on circumstance and inclination. The overlapping of consorts and dowagers also allows us to study the relationships between these women. Yet there has been no full-length study which takes advantage of this exceptional period in late medieval history. This present study proposes to do so, and frames this examination around four major themes: gender; status; the concept of the crown; and power and authority. By using administrative, visual and literary sources this study seeks to address the themes of gender, status, medieval concepts of the crown and power and authority. Through these themes it expounds upon the relationship of the ideology of queenship and the historical actions of three fourteenth-century queens. This thesis will demarcate when the queen's power is symbolic or achieved through her own initiative. It examines the extent to which gender and status dictated the nature of her power and authority, and it will use the concept of the crown to assess her royal status. It acknowledges that gender inequality existed in the medieval period; the queen could not rule in her own right, nor act as chancellor, treasurer or member of parliament. However, instead of emphasizing the queen's independence or her constraints and limitations, this study seeks to provide an even-handed analysis of how the queen acted. Overall, this thesis concludes that not only did the queen remain a visible part of the centralized monarchy, she also held official roles within government She was embedded in the administrative apparatus of government as a wife, a mother and a widely recognized representative of the crown.
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Llorente, M. "The image of the Catholic Queen, Mariana of Austria : consort, regent and Queen Mother." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1348748/.
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María Anna of Austria was the daughter of Emperor Fernando III and the Infanta María. She married her uncle, Felipe IV. After the death of Felipe IV, Queen Mariana became regent, guardian-tutor and guardian-curadora of her son, the child-King, and in his name ruled the monarchy. Although Mariana is relatively obscure as a historical figure, we know her portrait thanks to Velázquez, who produced a number of portraits and included her, as wife of the King and mother of the Infanta, in Las Meninas, in the famous background mirror. The goal of this thesis is to examine the various portraits of the Spanish Queen Mariana in order to distinguish and explore the roles she played. There has been little recent historical research treating the years 1665-1696, the period which covers Queen Mariana´s designation as governor and tutor, and ends with her death. My research directly addresses this gap. A thorough list of illustrations of these portraits will facilitate an analysis of the iconography of her portraits and of the different elements which worked to constitute and represent her roles. The overall intention is to retrieve, reconstruct and bring back Queen Mariana’s image as a whole, the image that she, in the course of her life, originally commissioned. A systematic examination of Queen Mariana’s portraiture has allowed me to engage with the visual forms consciously used to represent the elements characteristic of the three states of womanhood -maid, wife and widow- as well as of the functions pertaining to queen consort, governor, tutor, curadora and queen mother. In addition, in my analysis of royal portraiture in seventeenth century Spanish painting, I have incorporated viewpoints developed by what is known as Court Studies. In this regard, my study of the royal portraits includes a detailed reading of the Spanish etiquettes, cortesias, and royal regulations (premáticas y pragmáticas), as well as an analysis of ceremonial and gender oriented subjects (period documents concerning the use of jewels, dress, female ceremonial, etc.).
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Järverot, Eira. ""Writing for your mother is more important than writing for the queen of England" : En undersökning av samtida ugandisk litteratur och desssamhälleliga roll." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-31796.
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This thesis aims to investigate the role of literature in the Ugandan society. It uses Bourdieus field theory and the book The Rules of Art to analyze a handful of interviewes with people on different positions on the literary field in Kampala, the capital of Uganda. The interviews were collected by the author of this thesis in the beginning of 2015. The thesis examines the overall conditions on the literature market, the hierarchies and the character of the literature. In addition to field theory, it uses post-colonial theory, and Ngûgî Wa Thiong'os' Decolonising the mind to investigate the languages and styles of the literature. To investigate the literature outside of the educated circles and intellectual spheres, the concept of the literature as merely printed and publicated needs to be questioned, since there is also an existing body of oral literature in the country. Amongst the actors on the literature field there is an ambition for the literature to be a progressive force in the society. However the study shows that hierarchies on the literature field pushes the written and publicated literature further away from the general person. This also due to the limitations of the written literature, since the possibilities to access the literature is highly dependant on the income, literacy and educational level of the receiver.
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Baker, Anastasia Christine. "Anna of Denmark: Expressions of Autonomy and Agency as a Royal Wife and Mother." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/713.
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Anna of Denmark (12 December 1574 - 2 March 1619), the wife of King James VI/I of Scotland, England, and Ireland, was an intelligent and interesting woman who has, up until recently, been largely ignored by history. It has only been within the past two decades that any in-depth analysis of Anna has been done, and most of that analysis has focused on Anna's work with the Stuart court masque. The intent of this thesis has been to expand upon current scholarship regarding Anna, as well as to synthesize the various facets of Anna's life in order to put together a more comprehensive understanding of who Anna was and the various ways in which she expressed personal agency and autonomy as a queen consort as opposed to a queen regnant, and how she used the roles of royal wife and mother to further her own goals and interests. The work is divided into an introduction, three chapters, and a conclusion. The introduction offers a brief analysis of the primary and secondary sources, and details how these sources were used within the broader scope of the paper. This introductory section also examines Anna's early life in Denmark, her wedding, and her initial journey to Scotland. The second chapter focuses on Anna's relationships with her husband and children, and particularly how Anna established a niche for herself within first the Scottish, and later the English courts. By studying these relationships it is possible to study the ways in which Anna, as a queen consort, was able to create a court presence for herself. Chapter three analyzes Anna's relationships with other courtiers and, more specifically, what these relationships tell modern scholars about how Anna was able to exercise political influence and power both directly and indirectly. Anna's interactions with her courtiers illustrate how well she understood not only human nature, but the nature of court culture and politics. The fourth chapter presents an in-depth study of Anna's masquing career, and looks at how Anna used the court masque to not only establish a female presence on the stage, but also to fashion a public image for herself. Anna used the Stuart court masque in a way that no one had previously: she used it to express her social and political opinions, and through the court masque Anna was able to portray both who she was and how she wanted to be perceived. The final chapter covers Anna's final days and her lasting impact on English history. Anna of Denmark deserves to be brought out of the shadows of history, and this thesis has attempted to do just that. She was a bright, engaging young woman who, unfortunately, has largely been overshadowed by her husband and children. By studying Anna's various roles as wife, mother, friend, benefactor, and patron, it has been possible to bring forth a much more complete understanding of who this queen consort was and why she is important to a broader understanding of early modern English history.
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Ashton, Anne M. "Interpreting breast iconography in Italian art, 1250-1600." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2675.
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The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.
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Wiafe, Mensah Nana Pokua. "Nana Yaa Asantewaa, The Queen Mother of Ejisu: The Unsung Heroine of Feminism in Ghana." Thesis, 2010. http://hdl.handle.net/1807/25684.
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This thesis examines the life story of Nana Yaa Asantewaa and its pedagogical implications for schooling and education in Ghana and Canada. Leadership role among women has been a topic in many debates for a long period. For many uninformed writers about the feminist struggles in Africa, Indigenous African women are docile bodies with little or no agencies and resistance power. However, the life history of Nana Yaa Asantewaa questions the legitimacy and accuracy of this misrepresentation of Indigenous African women. In 1900, Yaa Asantewaa led the Ashanti community in a war against the British imperial powers in Ghana. The role Yaa Asantewaa played in the war has made her the legend in history of Ghana and the feminist movement in Ghana. This dissertation examines the traits of Yaa Asantewaa and the pedagogic challenges of teaching Yaa Asantewaa in the public schools in Ghana and Canada.
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Stripling, Mary Kathryn. ""This cursed womb": The queen as mother on the early modern stage." Thesis, 2004. http://hdl.handle.net/1911/18708.
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While an early modern queen was expected to act as a stabilizing presence by giving birth to heirs and thus securing the line of succession, an examination of the early modern drama reveals that queens who were mothers were, on the contrary, perceived as threats to both domestic and political stability. Dramatic representations of queen mothers illuminate the historical and political contexts in which Queen Elizabeth, in particular, had to negotiate her roles as both a queen and mother.
Gorboduc and Jocasta were produced in the midst of the succession debate as part of the widespread attempt to persuade Elizabeth to become a wife and mother. Yet paradoxically, these plays, with their monstrously (self-)destructive mothers, could only have reinforced Elizabeth's notion that biological maternity and queenship were incompatible. Despite Elizabeth's ultimate cultivation of a metaphoric maternity, prevailing fears of a queen mother's power remained, as evinced by two plays produced during the third decade of Elizabeth's reign. Shakespeare's King John demonstrates the ability of savvy political women such as Constance and Eleanor, who mirror the battling cousins Mary Queen of Scots and Elizabeth, to exploit prevailing fears about maternity in their quests for political power. But they are killed off, just as Zenocrate, in Marlowe's Tamburlaine , falls prey to Tamburlaine's anxieties about her vast influence as both a queen and mother.
Queen Anna, the wife of James I, provides an historical example of a young queen mother who capitalized on the power that maternity afforded her before she was marginalized in the Jacobean court. In the last years of her life, she attempted through masque productions, specifically Tethys' Festival, to recover her position as the Jacobean matriarch. Anna, like the other figures of this study, met a premature death.
These portraits of maternity suggest that Elizabeth's decision to forego biological motherhood, rather than ending her legacy, instead may well have preserved it. In a culture in which a queen's maternal power was both feared and resisted, Elizabeth, understandably, elected to cultivate a maternity that threatened neither the patriarchy nor her own physical well-being.
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Yen, Chiu-Yueh, and 顏秋月. "Research on the Ritual Space of "Belief of Queen Mother"of Ci Hui Temple in Jhongli." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/96109213409371117526.
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碩士<br>華梵大學<br>建築學系碩士班<br>99<br>In the paper, it is mainly aimed to work on space research of the religious culture for Ci Hui Temple in the Jhongli areas. This research is made from Hsin-nan village of the Jhongli areas after the war up to the time when the Jhongli Ci Hui Temple has became the Foundation of Jhongli Ci Hui Temple. The paper is made investigation of each stage for the period which “Jhongli Ci Hui Temple” is set up from scratch, plus the management process under the leadership of people who have made the whole thing come true, and on the relationship of “divine family” between Golden Mother of Ci Hui Temple and its worshippers. In the paper, with attempt to look for the traces of expansion and prosperity for the Jhongli Ci Hui Temple in the Jhongli areas, to construct the prototype of local religious space in Taiwan, in order for us to better understand the diverse contents of religion cultures in Taiwan.
For the developments of each district in Taiwan, in some ways, they are more or less to have indispensable relationships with “temples”. Whereas for the Jhongli areas, the place is no exception of such practice, and there are various of private religion temples with names such as Miao, Gung, Tang, Szu, private altars, big Miao and small Miao everywhere, moreover, there are some other part of Christ and Christianity churches or the religion temples for new immigrants brought in from abroad. The phenomenon represents that Jhongli is a place with tolerance on religions. Amongst the numerous religions, the belief of Jhongli Ci Hui Temple is already implanted locally, and the religion of Queen Mother of the West is closely linked with the lives of people in Jhongli. Ci Hui Temple is originated on the wild hill in the suburb farmlands of HuaLien, and Jhongli Ci Hui Temple is the first branch divided from the HuaLien Head Quarter. Originally, the Jhongli Ci Hui Tang is a private temple, already developed in the Jhongli areas for a period nearly 60 years, while the “divine family” of Ci Hui Temple has kept some kind of emotional factors inseparable with the Queen Mother of the West. Through the Blue Clothing as symbolic for the religion of Queen Mother of the West, Ci Hui Temple is able to put together their bonds among one another. Moreover, by taking place of the concentrated ordinance and ritual activities, to create some kind of religious dependence on the Queen Mother of the West from the worshippers of Ci Hui Temple, and there is a close relationship on the type of religious model between the ethnic harmony in the Jhongli areas and the prosperity of Ci Hui Temple.
The religious activities of Jhongli Ci Hui Temple are very active, and for the activities held in earlier periods such as stir fired Ixora chinensis by teenage girls and sword sacrificing in the dragon boat festival, even though those actitivities are suspended for many years, by way of field survey, the paper is intended to bring back the history of such activities. As for another ritual of Ci Hui Temple such as celestial descending and spirit possession already suspended quite a while, through the same method, the paper is also going to demonstrate once again by way of written words to describe such ritual. The Jhonglin Ci Hui Temple hold intensely of various ordinances and rituals, which are allowed believers to worship freely in the orindary times, as well as ceremony of “Rewarding the troops”. During the time of festivals and ceremonial celebrations, it is shown especially with extreme noiseness and crowdedness in such occassions and those rituals are all very grandiose, for example, during the first day and fifteenth day of each month, there are holy birth ordinances, during both sping and autumn seasons, there are spring and autum Honouring Dipper Rituals, and particularly, the rituals of calming Lord of Tai Sui and lighting up a prayer candle held in significant scale each year, as well as Chungyuan Pu Tu ordinance held in July or the Ghost Month. For the ritual space concentrated on Queen Mother of the West, they are to incude Flat Peach Grand Gathering invited by the Queen Mother of the West to the various Gods and Godess, Shian-Tian, Chung-Tian and Hou-Tian Lung Hua Grand Gathering, celebration of holy birth ordinance for Golden Mother, and annual celebration of Ci Hui Temple. In the mentioned festivals and celebrations, there are numerous of disciples with blue clothing of Ci Hui Temple going all over the places, and the presentations are very magnificent, to be named as the major events of Ci Hui Temple.
The Jhongli Ci Hui Temple not only offers a worshipping space for its believers, but to make the worshippers with a kind of feeling to be at home, seemingly as the sentiment of being close to the side of one’s own mother. For the believers, whether it is to make worship in the temple or to participate with the obligation jobs such as divine works, kitchen works or cleaning & tidying up, all of which are like jobs done for one’s own mother. Moreover, for a lot of believers, when they come to the Ci Hui Temple, they feel like they are at home, and they are back to the embrace of their mothers, by which is the display of another kind of flexible power from the Queen Mother of the west of Ci Hui Temple.
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Yang, Ya-Pei, and 楊雅琲. "Presenting the peaches to…? A Study on Images of “the Queen Mother of the West” by Kanō Artists and Maruyama Ōkyo, in Momoyama-Edo Period." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23990389989855116212.
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碩士<br>國立中央大學<br>藝術學研究所<br>99<br>Knowing as the goddess of life and immortality, the Queen Mother of the West (Xiwangmu) is an ancient Chinese goddess and formally adopted into the Taoist pantheon in Liang Dynasty. The origin of the Queen Mother can be traced back to pre-Qin mythology. She was widely worshipped from Han Dynasty onward and is still worshipped as a today in the Greater China Area. In Momoyama-Edo Japan, numerous images of Queen Mother were produced by Japanese artists. Why they were made? For whom they are made? And what did they mean? Those questions have not been answered. In academic researches, previous researchers have studied almost all the legends of Queen Mother and her images in Han Dynasty in detail. However, scholars barely noticed the images of Queen Mother after Han Dynasty. Moreover, the numerous images of Queen Mother produced by Japanese artists are also ignored in art history. The aim of this thesis is to explain the importance, to analyze the evolution, and to figure out the source of images of Queen Mother of the west in Momoyama-Edo Japan.
This study would investigate Chinese and Japanese legends of Queen Mother, and her images in post-Han in China and in Momoyama-Edo Japan, especially on the works by Kanō artists and Maruyama Ōkyo (1733-1795).
The results of my research indicate that images of Queen Mother of the west were known as a symbol of life and immortality in both China and Japan. In Yuan and Ming China, images of Queen Mother were closely related with birthday parties, and paintings of Queen Mother were usually presented as birthday gifts, especially gifting for elder women. In Japan, Queen Mother appeared in a Heian-period story and also appeared as a leading role in Noh plays since Muromachi period. In Momoyama-Edo period, owners of Queen Mother images, who are emperors, samurais, and monks familiarizing themselves with content of Noh plays, regarded her as a symbol of both “peaceful and prosperous times” and “life and immortality,” and applied the theme of Queen Mother to public and private spaces. In Edo period, the images of Queen Mother were usually used as decoration in Hinamatsuri, as dowry at the time of marriage, and as gifts on birthdays, with the hope of longevity.
Kanō artists in Muromachi-Momoyama Japan set up the standard images of Queen Mother of the West. Absorbing the decorative elements from woodblock printings in Ming dynasty, which were exported from China, Kanō artists in early Edo period formed the image model of Queen Mother. In middle Edo Period, Maruyama Ōkyo created his unique Queen Mother images, and the attractive, volumetric, and lifelike images were visually distinct from all the previous Chinese and Japanese Queen Mother images. It seems like his works exhibit a Western understanding of perspective. Actually, Ōkyo’s Queen Mother images inherited some elements from traditional Kanō-centered Queen Mother images. The presence of abundant images of “Queen Mother of the West in Ōkyo-style” indicates that the “Ōkyo-style” were very popular with people of different social status throughout the country. ”The Queen Mother of the West” was one of the most popular and frequently-chosen theme in Edo painting. Almost every school in Edo period dealt with this theme.
In summary, this study discovered that the Queen Mother of the West became a very popular theme because she, as an auspicious and beautiful symbol, had a strong correlation with life in Momoyama-Edo Japan.
Books on the topic "Queen mother of Ejisu"
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Montague-Smith, Patrick W. Queen Elizabeth: The Queen mother. British Heritage Press, 1985.
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Mortimer, Penelope. Queen Elizabeth: Life of the Queen Mother. Penguin Books, 1987.
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Queen Elizabeth: The Queen Mother : the official biography. HarperCollins Canada, 2009.
Find full textBook chapters on the topic "Queen mother of Ejisu"
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Rigoglioso, Marguerite. "Hera: Virgin Queen of Heaven, Earth, and the Underworld." In Virgin Mother Goddesses of Antiquity. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113121_5.
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Recca, Cinzia. "Maria Carolina: Sovereign and Mother." In The Diary of Queen Maria Carolina of Naples, 1781-1785. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31987-2_1.
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Wang, Minqin, and Lee Bailey. "Chinese Queen Mother of the West: Xi Wang Mu (西王母)." In Encyclopedia of Psychology and Religion. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-642-27771-9_200178-1.
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Allinson, Rayne. "Marriage and Motherhood: Catherine de’ Médici, Queen Mother of France, 1559–1588." In A Monarchy of Letters. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137008367_6.
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Wang, Minqin (敏), and Lee W. Bailey. "Chinese Queen Mother of the West: Xi Wang Mu (西王母)." In Encyclopedia of Psychology and Religion. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_200178.
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Kordecki, Lesley, and Karla Koskinen. "Goneril Makes Her Stand: Queen and Mother (Act 1, scenes 3 and 4)." In Re-Visioning Lear's Daughters. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230111516_5.
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Maier, Lukas. "König, Königin, Königinmutter." In Übersetzungskulturen der Frühen Neuzeit. Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_19.
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ZusammenfassungUnder King Charles I, Queen Henrietta Maria, and the exiled French Queen Mother Maria de’ Medici, St James’s Palace in London became the scene of various cultural translation processes that were subject to different strategies and objectives. Henrietta Maria not only presented herself as the mother of the future Stuart kings, but also emphasized her Bourbon heritage with her French bedroom suite. Charles I staged himself as British emperor in the gallery and garden by translating the display context of artworks in continental European collections. Translation efforts could also have a mediating function, as can be seen in Inigo Jones’ Queen's Chapel and the apartment of Marie de’ Medici, which combined both English and French court ceremonial.
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Robison, William B. "Bad Girl, Bad Mother, Bad Queen: Catherine de’ Medici in Contemporary Fiction, Film, and History." In Bad Girls and Transgressive Women in Popular Television, Fiction, and Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47259-1_9.
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North, Janice. "Queen Mother Knows Best: María de Molina and the Vestiges of Medieval Politics in Modern Historiography." In Royal Mothers and their Ruling Children. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-51312-0_10.
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Osborne, Toby. "A Queen Mother in Exile: Marie De Médicis in the Spanish Netherlands and England, 1631–41." In Monarchy and Exile. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321793_2.
Full textConference papers on the topic "Queen mother of Ejisu"
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Newell, Alan F., Peter Gregor, and Norman Alm. "HCI for older and disabled people in the Queen Mother Research Centre at Dundee University, Scotland." In CHI '06 extended abstracts. ACM Press, 2006. http://dx.doi.org/10.1145/1125451.1125518.
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"Queen bees, mother hens, and king apes: A multi-source and cross-cultural examination of gender differences in supervisor-subordinate relations." In Closing the Gender Gap. Purdue University, 2016. http://dx.doi.org/10.5703/1288284316070.
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