‘Elizabeth’s Ghost: The afterlife of the Queen in Stuart England’

Toward the end of James I’s reign John Reynolds’ 1624 pamphlet, Vox Coeli, or News from Heaven, presents Queen Elizabeth I discussing England’s contemporary events with her father, her siblings, Anne of Denmark and Prince Henry. The heavenly Elizabeth supports a strong and militaristic England and is critical of the current king. In the latter part of the seventeenth century Elizabeth was presented as a Protestant heroine in contrast to the Catholic James, Duke of York, later James II. But there is one Stuart successor who is connected positively to Elizabeth. In 1706 in the reign of the last Stuartmonarch Elizabeth made another appearance in “Queen Elizabeths Ghost: or A Dream.” Unlike the earlier Elizabeth, this one praises Queen Anne, rather King James as her wor- thy successor. This paper examines a range of sources to further understand the impact Elizabeth I’s afterlife had in the century after her death both in terms of politics and religion, and the perceptions of powerful women

Fearless Friday: Elizabeth Belair

In this week’s episode of Fearless Friday, SURGE is excited to honor Elizabeth Belair! Elizabeth Belair is a senior at Gettysburg College. Originally from Camden, Maine, Elizabeth has established herself well here on campus. When she initially came to college, she was unsure what she would end up majoring in. Now, she’s a passionate Globalization Studies major with a minor in Spanish. [excerpt

A PRAGMATIC ANALYSIS OF SPEECH ACT OF COMMANDS BY THE MAIN CHARACTER IN FILM ELIZABETH: THE GOLDEN AGE

The objectives of this research are (1) to identify the types of commands employed by the main character in the film entitled Elizabeth: the Golden Age, (2) to find out the forms of commands used by the main character in the film entitled Elizabeth: the Golden Age, and (3) to know the strategies of how commands are expressed by the main character in the film entitled Elizabeth: the Golden Age. This research applied a descriptive qualitative approach. The data of this research were in the forms of dialogues in the transcript or text of the film Elizabeth: the Golden Age which indicate speech act of commands. The sources of the data were the film Elizabeth: the Golden Age and its script. In collecting the data, the film was watched; the transcript was reread and re-transcribed comprehensively and interpretatively. The data were, then, identified using the limitation provided, coded into the data sheets, interpreted as what are found based on the context of each datum, discussed into a deeper story lined explanation, and then concluded for the research questions. The results of the research are as follows. Firstly, there are two types of commands uttered by the main character in Elizabeth: the Golden Age. The most dominant of the types is direct commands. It shows that most of commands in this film are to show the authority of the main character. Secondly, there are seven forms of commands which occur in Elizabeth: the Golden Age. The forms which are included in direct commands are base form of verb, imperative + modifier and let + first person pronoun, while the forms which are indirect commands are you + imperatives, embedded agent, verb ellipsis, and hints. In the application of the forms, the main character mostly applies base form of verb in commanding people since it is the simplest and clearest form. Lastly, in the way of expressing commands, the main character proposes four strategies. They include bald on record, positive politeness, negative politeness, and off record. Bald on record is mostly applied by the main character since she is a queen and has the greater authority among the others. Keywords: the film Elizabeth: the Golden Age, speech acts of commands, politeness strateg

Uncontrolled Burn

Poetry by Elizabeth Miller

\u3cem\u3eBataclanismo\u3c/em\u3e! Or, How Deco Bodies Transformed Postrevolutionary Mexico City

In the spring of 1925, Santa Anita\u27s Festival of Flowers seemed to follow its tranquil trend of previous years. The large displays of flowers, the selection of indias bonitas (as the contestants of beauty pageants organized in an attempt to stimulate indigenism were known) and the boat-rides on the Viga Canal, all communicated what residents of neighboring Mexico City had come to expect of the small pueblo in the Federal District since the Porfiriato: the respite of a peaceful pastoral, the link to a colorful past, and the promise that mexicanidad was alive and well in the campo. Unfortunately, wrote Manuel Rámirez Cárdenas of El Globo, the modern newspaper, the next day, this idyllic tradition was rudely interrupted by a group of audacious, scantily clad women. The culprits were actresses of Mexico City\u27s Lírico theater, who walked around Santa Anita\u27s streets in picaresque clothing —stage outfits that left little to the imagination, particularly in broad daylight—and upset visitors and campesinos alike. According to Cárdenas, abuelitas and mamás were shocked by the display, averting their eyes from the female spectacle in fear of el pecado mortal. Thankfully, for the mothers and grandmothers in the audience, the festival continued in predictable fashion after the initial uproar. Organizers continued with the traditional dances, and judges selected an india bonita from a pool of young, decente mestizo girls to represent the pueblo and the festival. Unbeknownst to the residents of rural Santa Anita, the daring actresses of El Lírico were part of a new phenomenon that had swept through Mexico City like wildfire, turned the entertainment world upside down, and pushed many to reconsider what constituted female beauty, decency, and lo mexicano. A few months earlier, on February 12th, a grand variety spectacle named Voilá Paris: La Ba-ta-clán premiered in Teatro Iris and instantly sent shock waves throughout the Mexican entertainment world and the larger metropolis. The show featured seminude and nude French actresses, who performed dances and acts that appeared to be a mix of classical ballet, Ziegfeld Follies chorus lines, and tableaux vivants. Within weeks, Mexican copycat productions capitalized on the enormous success of the show, triggering a new entertainment phenomenon named after the original production: Bataclanismo. It also launched a new kind of female star, the bataclana, who came to represent the erotic, and more dangerous, attributes of the flapper for Mexican audiences, and whose body became the site of contested and divergent notions of modernity. In this article, I explore bataclanismo as a normative discourse that reached far beyond the theater into the practice of everyday life. I do so to gauge the transition of changing ideals of femininity in Mexico from 1925 to 1935, and the influence these changes had on the development of urban space. Drawing on Elizabeth Grosz\u27 and Doreen Massey\u27s insights that place and gender are mutually constitutive, this article examines the articulation between the embodied city and changing gender norms in the wake of both the Mexican revolution and the advent of twentieth-century global capital. Analyzing these relationships from Judith Butler\u27s perspective of gender performance, especially as read through bodies, I argue that a new transnational aesthetic of feminine embodiment celebrated in bataclanismo influenced a distinct urban modernity and sociability in Mexico City. This new ideal female physique that stressed length, height, and androgyny—what I term a Deco body—helped to reconfigure Mexico City in terms of gender, space and race. It ushered in new gender ideals, helped visualize urban modernity, and bridged the gap between two divergent discourses that accompanied revolutionary reform, indigenismo and mestizaje, paving the way for a mestizo modernity

Blank Five

Poetry by Elizabeth Godwi

[Review of] Elizabeth of the German Garden: A Literary Journey, by Jennifer Walker, Book Guild, Brighton (ISBN 978 1 84624 851 1), 2013, £20; Elizabeth von Arnim: Beyond the German Gate, by Isobel Maddison, Ashgate, Farnham (ISBN 978 1 4094 1167 3), 2013, £58.50

Book review of two recent biographies of Elizabeth von Arni

Understanding Catholic morality

Willems, Elizabeth. Understanding Catholic morality. New York: Crossroad, 1997

Book review: The Blue Coat

The article reviews the book "The Blue Coat" by Elizabeth Smither

A Wavering Prayer

Elizabeth Bishop\u27s Sestina Imitation; Sarah Gorski\u27s A Wavering Prayer