Rival Queens Research Articles

Review of Elizabeth and Mary: Royal Cousins, Rival Queens (Exhibition), British Library, London, UK, 10 October 2021–20 February 2022

Review of Elizabeth and Mary: Royal Cousins, Rival Queens (Exhibition), British Library, London, UK, 10 October 2021–20 February 2022

Elizabeth and Mary: Royal Cousins, Rival Queens. Curated by Andrea Clarke, Alan Bryson, and Karen Limper-Herz. The British Library, London. 8 October 2021–20 February 2022. https://www.bl.uk/events/elizabeth-and-mary. Catalog: Elizabeth and Mary: Royal Cousins, Rival Queens. Edited by Susan Doran. London: British Library, 2021. 304 pp. £40.00. ISBN 9780712353489.

<i>Elizabeth and Mary: Royal Cousins, Rival Queens</i>. Curated by Andrea Clarke, Alan Bryson, and Karen Limper-Herz. The British Library, London. 8 October 2021–20 February 2022. https://www.bl.uk/events/elizabeth-and-mary. Catalog: <i>Elizabeth and Mary: Royal Cousins, Rival Queens</i>. Edited by Susan Doran. London: British Library, 2021. 304 pp. £40.00. ISBN 9780712353489.

Elizabeth and Mary: Royal Cousins, Rival Queens (London, The British Library, 8 October 2021–20 February 2022). Catalogue: Elizabeth and Mary: Royal Cousins, Rival Queens, ed. Susan Doran. London: The British Library, 2021. 304 pp, illus. col., ISBN: 978‐0‐7123‐5348‐9 (hb).

Elizabeth and Mary: Royal Cousins, Rival Queens (London, The British Library, 8 October 2021–20 February 2022). Catalogue: Elizabeth and Mary: Royal Cousins, Rival Queens, ed. Susan Doran. London: The British Library, 2021. 304 pp, illus. col., ISBN: 978‐0‐7123‐5348‐9 (hb).

ASECS at 50: Interview with Felicity Nussbaum

ASECS at 50:Interview with Felicity Nussbaum Shirley F. Tung (bio) and Felicity Nussbaum Felicity Nussbaum is Distinguished Research Professor at the University of California, Los Angeles, renowned for her work on gender, life writing, theater and performance, disability, race, empire, and globalism in the long eighteenth century. She is the author of Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater (2010); The Limits of the Human: Fictions of Anomaly, Race and Gender in the Long Eighteenth Century (2003); Torrid Zones: Maternity, Sexuality, and Empire in Eighteenth-Century English Narratives (1995); The Autobiographical Subject: Gender and Ideology in Eighteenth-Century England (1989), which was co-recipient of the Gottschalk Prize; and "The Brink of All We Hate": English Satires on Women, 1660–1750 (1984). Most recently, her contributions to widening the field of eighteenth-century studies as editor of The Global Eighteenth Century (2003) was commemorated by a WSECS 2019 conference devoted to global scholarship. In addition, as co-editor of The Arabian Nights in Historical Context: Between East and West (2008) with Saree Makdisi, Defects: Engendering the Modern Body (2000) with Helen Deutsch, and The New Eighteenth Century: Theory/Politics/English Literature (1987) with Laura Brown, respectively, Professor Nussbaum was instrumental in integrating work on Orientalism, disability studies, and critical theory into the purview of the eighteenth century. Professor Nussbaum is the recipient of numerous awards and accolades, including Guggenheim, Mellon, and NEH fellowships. She has also held a Marta Sutton Weeks Fellowship at the Stanford Humanities Center, and a Rockefeller Humanist-in-Residence Fellowship at the Institute for Research on Women, Rutgers University. Committed to advancing the field of eighteenth-century studies, Professor Nussbaum served on the ASECS Executive Board from 1978–1981, as [End Page 369] Vice President from 2004–2006, and as President from 2006–2007. Her dedication to her students and to fostering the next generation of eighteenth-century scholars has been recognized by the UCLA Distinguished Teaching Award with Distinction in Graduate Teaching (2014) and the inaugural ASECS Award for Excellence in Graduate Mentorship (2007–2008). In her own classroom, Professor Nussbaum introduces The Life of Johnson (1791) to her uninitiated graduate students with James Boswell's appraisal that the literal weight of his book equals the figurative weight of his biographical subject. Here, the reader will find quite the opposite: the weight of Professor Nussbaum's scholarship and the measure of her influence on the field of eighteenth-century studies are not bound up in so-called "marginal stuffings." Rather, her legacy as a scholar, educator, and mentor is vested in her gift for abridging her compendious knowledge and experience for those who wish to travel the trail that she has blazed. Shirley F. Tung: What are your most noteworthy recollections of ASECS? How has the organization influenced the direction of eighteenth-century studies? Felicity Nussbaum: I remember ASECS near its beginning in 1969. I first learned about the Society around 1974 when, as a William Andrews Clark Memorial Library Fellow, I was preparing to move to Syracuse University for an assistant professor position. A number of people at the Clark Library mentioned to me that they were planning to attend ASECS. Soon after, I gave my first ASECS paper on women and satire. At the time there were not very many women in the field of eighteenth-century studies. Responding to the beginning of a new wave of feminism, many scholars at the Society encouraged me in the profession, and I was very lucky to become one of the at-large members of the Executive Board early on in my career. Being an Executive Board Member was quite important for me because I was able to meet and speak with influential scholars who encouraged my work, such as Patricia Meyer Spacks, who was at Yale at the time. I was very active in ASECS and was offered the position of delegate to the American Council of Learned Societies (ACLS), which meant I went to New York City twice a year for their meetings (I was already living in Upstate New York). As an ACLS delegate, I met people from all different learned societies and was able to see the ways...

Rival Queens: The Betrayal of Mary, Queen of Scots. By KateWilliams. Pp. viii, 407, London, Hutchinson, 2018, £25.00.

The Heythrop JournalVolume 60, Issue 2 p. 294-295 Book Review Rival Queens: The Betrayal of Mary, Queen of Scots. By Kate Williams. Pp. viii, 407, London, Hutchinson, 2018, £25.00. Patrick Madigan, Patrick Madigan Campion Hall, OxfordSearch for more papers by this author Patrick Madigan, Patrick Madigan Campion Hall, OxfordSearch for more papers by this author First published: 28 February 2019 https://doi.org/10.1111/heyj.13143Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume60, Issue2March 2019Pages 294-295 RelatedInformation

Restoration Plays and Players: An Introduction by David Roberts

Reviewed by: Restoration Plays and Players: An Introduction by David Roberts Tiffany Potter David Roberts. Restoration Plays and Players: An Introduction. Cambridge: Cambridge, 2014. Pp. ix + 252. $79.99; $27.99 (paper). Aimed at undergraduate and nonspecialist readers of Restoration drama, Mr. Roberts's book provides "thumbnail narratives of political and dramatic history . . . [and] reproduces and briefly examines key passages [End Page 64] from two dozen or so of the most distinctive Restoration plays, in hopes of conveying something of their individual color and impact, as well as their relationship to contextual themes and critical controversies: a primer in the primary material so to speak." The first of the book's two framing assertions argues that Restoration theater should be understood as "Regime change theatre"; it "sees events through the Rosencrantzes and Guildensterns of the world rather than its Hamlets and Claudiuses . . . its most nuanced responses are often found in 'daily travails' or, more often, daily leisure." The second chapter asserts that plays should be understood in the context of a "'life cycle,' from writing to performance to print to revival." The rest of the book offers observations on that life cycle, addressing Playwrights, Companies, Actors, Playhouses, Audiences and critics, Texts and publishers, and Revivals and adaptations. In "Actors," Mr. Roberts considers "rival masculinities" (in the acting of Otway's Venice Preserved) and different actresses' work (in Behn's Rover and Lee's Rival Queens). The book's rapid-fire series of anecdotes and examples often invites fuller discussion, but Mr. Roberts's use of an extended quotation from a single scene to illuminate the implications of casting choices is effective even in this brief form. Similarly, the "Texts and publishers" chapter provides an excellent example of the implications of publishing politics and textual form in the 1696 quarto and 1710 folio editions of Congreve's Double Dealer. The structure of the "case study" at times risks confusion. Those located in chapters on Companies, Playwrights, or Playhouses, for example, often do not illustrate particularly the specific focus of the chapter but rather appear to be interchangeable with other chapters. Discussion of Dryden's All for Love, for example, appears in "Companies," but is linked to that chapter only by a short opening paragraph noting that Dryden took this play to the Duke's Company after eleven plays with the King's. The rest of the five-page discussion is informative, but does not again reference companies until the last sentence. Mr. Roberts's tone is introductory, and much of the book reads as an accessible formalization of undergraduate lectures, with short discussions of specific scenes intended to clarify larger social, political, or artistic issues. The innovative inclusion of long quotations offers a useful strategy. However, that the quoted scene frequently occupies up to half the length of these discussions limits space for argument of the example's significance. Parallel examples from modern culture are used frequently to explain historical circumstances or implications; unfortunately, many of the references are obscure and others out-of-date. Some are to twentieth-century British television and popular media figures (opaque to many readers in Cambridge's worldwide market), and others to films that are (justly) unremembered, as in a one-sentence comparison among the Dryden and Howard Indian Queen, Southerne's Oroonoko, Mel Gibson's 2006 Apocalypto, and John Glen's 1992 Christopher Columbus. English stage actors of the last century raise a similar problem. Mr. Roberts is clear that he makes "no attempt at . . . a comprehensive review of recent criticism," but his brief engagements with the scholarship can be problematic. In a discussion of actresses and scholarship on the male gaze, for example, feminist approaches are dismissed as misreading the plays "as though Bracegirdle and her colleagues were nothing but objects [End Page 65] of desire in a room oozing testosterone"; Mr. Roberts opts instead to typify the actresses as "feisty." This Introduction does many things well, but suffers from trying to do too much in its 252 pages, as Mr. Roberts raises big questions but has room only for brief answers. Asking of English versions of Molière and Racine, for example, "What did it mean to adapt these icons...

Stage beauties: Actresses and celebrity culture in the long eighteenth century

AbstractOver the past 20 years, the study of eighteenth‐century British actresses has blossomed into an emerging interdisciplinary field. Early works on actresses in the 1990's coincided with a heightened interest in recovering non‐canonical eighteenth‐century texts by female authors as well as the publication of Judith Butler's ground breaking Gender Trouble in 1992. Actresses became, in many ways, the perfect vehicle for looking at how ideologies of femininity, performance, and embodiment materialized in eighteenth‐century culture. The publication of Felicity Nussbaum's Rival Queens in 2010 signaled a new phase in actress studies. This article looks closely at the ways in which scholarship on eighteenth‐century actresses and celebrity produced since 2010 responds to and/or complicates Nussbaum's invitation to move beyond the parameters of the lady/prostitute divide in actress studies towards more “productive frames of reference” and methodologies. In 2016, actress studies is a truly interdisciplinary field intersecting with art, music, literature, history, economics, psychology, anthropology, sociology, and fashion. Scholars in actress studies have pioneered new theoretical approaches to theater history, archives and evidence, re‐enactment and performance, as well as studies of sound and material culture. Studies of actresses have contributed significantly to the history of early modern women specifically focusing on maternity, professionalism, marriage, domestic life, and kinship networks. Considering “Actress Studies” as a distinct field highlights an important legacy of paradoxical ideologies about women, power, and fame that still operate today.

Queen execution increases relatedness among workers of the invasive Argentine ant, Linepithema humile.

Polygyny in social insects can greatly reduce within-nest genetic relatedness. In polygynous ant species, potential rival queens in colonies with multiple queens are often executed by other queens, workers, or both. The Argentine ant, Linepithema humile, native to South America, forms a "supercolony" that is composed of a large number of nests and is considered to contribute to the ant's invasion success. Currently, four mutually antagonistic supercolonies are contiguously distributed within a small area of Japan. Here, we analyzed the genetic structure and relatedness within and among the four supercolonies using microsatellite markers to clarify how L.humile maintains its supercoloniality. The results of AMOVA and BASP, the F ST values, and the existence of several private alleles indicated that the L.humile population in the Kobe area had a characteristic genetic structure. Within a given supercolony, there was significant genetic differentiation (F ST) among workers collected in May and those collected in September. The significant deviation from Hardy-Weinberg equilibrium increased, and the relatedness among workers significantly increased from May to September in all supercolonies. This result suggested that the supercolonies replaced old queens with new ones during the reproductive season, thus supporting the plausibility of queen execution. From the perspective of kin selection, workers collectively eliminate queens, thereby increasing their own inclusive fitness. Restricted gene flow among supercolonies, together with mating with sib and queen execution, could help to maintain the unique social structure of L.humile, the distribution of which is expanding worldwide.

Cuticular lipids correlate with age and insemination status in queen honeybees

Eusocial insects exhibit reproductive division of labour, in which one or a few queens perform almost all of the reproduction, while the workers are largely sterile and assist in rearing their siblings. Consequently, many of the colony’s tasks (e.g. nest construction and brood rearing) should be modulated depending on whether the queen is fertile. Here, we tested whether queens’ cuticular lipids could provide reliable signals of fertility in the honeybee Apis mellifera, as they do in other social Hymenoptera. Specifically, we tested whether cuticular lipids differ between virgin queens of different ages, and between queens exposed to different artificial insemination treatments being semen (sperm and seminal fluid), seminal fluid only or saline control. Using gas chromatography–mass spectrometry, we found 27 lipids: 21 different hydrocarbons, namely alkanes, alkenes and dienes, as well as six wax esters. The lipid profile changed dramatically in the first 10 days after eclosion, and there were differences in lipid composition between virgin and artificially inseminated queens. Insemination with semen, seminal fluid or saline did not result in distinct chemical profiles. Our findings indicate that the physical stimulus of insemination was responsible for the observed changes in the cuticular profile in honeybee queens. Our results demonstrate that cuticular lipid profiles encode information on queen age, fertility and mating status, which could in principle be utilised by workers and rival queens.

A Comedian on Tragedy: Colley Cibber’s Apology and The Rival Queans

While eighteenth-century actor and theatre manager Colley Cibber is most frequently discussed within the context of sentimental comedy, this article addresses the comedian’s writing for and about the tragic stage. The neoclassical establishment consistently argued for the propriety of tragedy; however, actor and manager Cibber in his 1740 autobiography makes a case for the ludic qualities of successful tragic performance which, he insists, produces pleasure not tied to moral improvement. Moreover, Cibber embraces, rather than bemoans, the destabilization of social hierarchies that attends confessed generic hybridity. In an analysis of the comic burlesque The Rival Queans, a parody of Nathaniel Lee’s earlier tragedy The Rival Queens, I show how Cibber’s tragic stage was less concerned with categories of masculinity and femininity than in the sheer fluidity of gender. Experimenting with gender and genre in light of the period’s changing notions of sexual difference, the comedian revalues mixed genres and gender confusion as a site of illicit pleasure, providing an affective yet ephemeral other against which tragedy’s formidable narratives about gender and nation took shape.

A Note from the Co-Executive Editor

Maria Stuarda’s calculated dramaturgy; from Celine Frigau Manning’s explanation of electrical metaphors in describing singers in the first half of the nineteenth century to Jonathan Neufeld’s meditation on beauty in Billy Budd; and from Clemens Risi’s essay on Wagner’s staging instructions for Der fliegende Hollander to Erling Sandmo’s account of Turks on the Swedish opera stage— these six articles, together with Gabriela Cruz’s review of recent work on grand opera, encompass a wonderfully eclectic range of methodologies, rhetorical strategies, and authorial voices in addition to the obvious geographical and chronological breadth of their subject matter. Within—or despite—this range, however, there are also shared interests that both reflect and, hopefully, promote some promising new directions in thinking about opera. Most striking for me was the sustained and rigorous attention to the production, performance, and reception of opera not only across, but radically within, borders: thus Neufeld’s account of beauty in Billy Budd is not only about the generic differences between Britten’s and Melville’s works but also the medial categories that underlie both; Frigau Manning’s description of electricity and automation is not only about opera’s importation of scientific metaphors but also the mutual social space between the two; Risi’s consideration of Wagner’s stage instructions is not only about the gulf between written prescription and performed realization but also the necessarily productive failure in bridging that gap. Along similar lines, some of what may seem to be more traditional analyses of musical structure or historical context are no less concerned with the interstices between work and performance. Fornoni shows how Donizetti’s careful dramaturgy between the rival queens could both enable and complicate the real-world rivalry between two singers; Sandmo uses the case of Sweden to show how “Turkish” operas managed to frighten and entertain so much of eighteenth-century Europe precisely because the opera house encompassed a literal space of encounter between staged Orientalist fantasy and real-life Turks; and Ahrendt demonstrates both the power of allegory in Lully’s prologues as well as its limited ability to signify beyond confessional and national borders. A related concern is explored in Cruz’s

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater by Felicity Nussbaum (review)

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater by Felicity Nussbaum (review)

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater. By Felicity Nussbaum. Philadelphia: University of Pennsylvania Press, 2010; pp. 376, 2 illustrations. $55.00 cloth.

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater. By Felicity Nussbaum. Philadelphia: University of Pennsylvania Press, 2010; pp. 376, 2 illustrations. $55.00 cloth. - Volume 52 Issue 2

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater (review)

Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater (review)

Rival queens: actresses, performance, and the eighteenth-century British theater

Introduction: At Stage's Edge Chapter 1. The Economics of Celebrity Chapter 2. Real, Beautiful Women: Rival Queens Chapter 3. Actresses' Memoirs: Exceptional Virtue Chapter 4. Actresses and Patrons: The Theatrical Contract Chapter 5. The Actress and Performative Property: Catherine Clive Chapter 6. The Actress, Travesty, and Nation: Margaret Woffington Chapter 7. The Actress and Material Femininity: Frances Abington Epilogue: Contracted Virtue Notes Bibliography Index Acknowledgments

“Real, Beautiful Women”: Actresses and The Rival Queens

“Real, Beautiful Women”: Actresses and <i>The Rival Queens</i>

Handel's Operas 1726–1741 (review)

Handel's Operas 1726-1741. By Winton Dean. Rochester: Boydell Press, 2006. [xx, 565 p. ISBN-10 1843832682; ISBN-13 9781843832683. $85.] Illustrations, music examples, bibliographic references, indexes. This volume concludes a project begun collaboratively by Winton Dean and John Merrill Knapp (Handel's Operas 1704-1726 [Oxford: Oxford University Press, 1987]). (Dean and Knapp had parted ways even before the publication of their work, and Knapp's attempt at a second volume was left incomplete at his death in 1993; his unfinished typescript, however, has been made available to selected research libraries by the American Handel Society.) With the publication of his own second volume, Dean has completed what must surely rank among the most ambitious undertakings in modern musicology: the systematic documentation and assessment of all of Handel's thirty-nine surviving operas. When the first volume appeared, the tradition of treating Handel's operas as flawed products of the defective seria tradition had only begun to be seriously challenged. Unsurprisingly, the authors' famous contention that Handel ranks with Monteverdi, Mozart, Verdi, and Wagner among the supreme masters of opera was received with skepticism in many quarters. But the situation has changed radically in the intervening twenty-one years. Handel's operas are now produced with great (and ever-increasing) frequency throughout the Western world at houses large and small, their productions in many cases rivaling in number the works of the traditional operatic canon. Hallische Handel- Ausgabe's complete edition is well underway, having yielded sixteen critical editions of Handel's operas. New recordings of complete operas appear at an unprecedented rate, and with each new production or recording, a growing chorus of critics and scholars heap praise approaching reverence upon Handel's operatic prowess. transformation that Dean seemed to foresee in his Ernest Bloch Lectures of 1965-6 from total eclipse (the complete absence of Handel's operas from the stage from the time of the composer's death until Oskar Hagen's German revivals of the 1920s) to the blaze of noon seems now to have run its course with remarkable speed (Winton Dean, Handel and the seria. Ernest Bloch lectures, no. 1 [Berkeley: University of California Press, 1969]). Notwithstanding this fundamental change in the fortunes of Handel's operas, Dean resumes exactly where he had left off, adhering faithfully to the methodology set forth in the first volume. Once again, he divides the span under consideration into four eras, beginning with the reign of The Rival Queens (competing prime donne Barbara Cuzzoni and Faustina Bordoni) of 1726-28, and ending with the last operas of 1738-41. author devotes an introductory chapter to each of these eras, providing biographical, historical, and social information on Handel, his colleagues, and his audience. Here and throughout the book, Dean adds much color by including excerpts from the correspondence among contemporary operagoers, much of which was not yet available in published form when the first volume was written. (Especially fruitful are the Harris family papers, edited by Donald Burrows and Rose mary Dunhill in Music and Theatre in Handel's World: Family Papers of James Harris 1732-1780 [Oxford: Oxford University Press, 2002.]) bulk of the book is devoted to Dean's thorough, methodical accounts of the operas themselves, each of which receives a full chapter. He begins with a summary of the opera's plot, in some cases preceded by the libretto's introductory argomento. summaries are certainly not light reading-not even as skilled a writer as Dean can condense the often tortuous seria plots into easily understood narrative summaries. Still, the interpolation of stage directions from both the printed libretto and Handel's autograph manuscript, along with notes explaining any divergences between the two sources, is eminently useful. …

“Spraying” Behavior During Queen Competition in Honey Bees

In honey bees (Apis mellifera), virgin queens may eject a liquid substance from their abdomens while they are engaged in fatal combat. We investigated the functional significance of “spraying” behavior by staging queen “duels” within colonies housed in observation hives. Spraying occurred in 39.7% of all interactions between rival queens and was recorded in 12 of 15 duels. Workers were highly attracted to the surfaces and individuals contaminated by spraying, forming tight clusters with hundreds of bees in which movement was severely restricted. One or both queens in a pair became immobilized by the workers in 37.5 and 29.2% of all spraying events, respectively, but the queens were never killed by the workers. Conversely, a mobile queen penetrated the worker aggregation and stung an immobilized queen in one-third of the observed bouts. Thus spraying may serve as a fighting tactic by virgin queens to increase their chances of winning by temporarily immobilizing their rivals.

The Behavior of Honey Bees (Apis mellifera ligustica) during Queen Duels

Conflict is rare among the members of a highly cooperative society such as a honey bee colony. However, conflict within a colony increases drastically during colony reproduction (‘swarming’) when newly produced queens fight each other until only one queen remains in the nest. This study describes the behavior of queens and workers during naturally occurring queen combat. The duels of five pairs of queens were observed in three observation colonies. A typical duel is described qualitatively and the events of all five duels are described quantitatively. Several aspects of duels that are of particular interest are examined in detail, including the behavior of queens near capped queen cells, worker aggression toward queens, queen tooting, and the relation of queen and worker behavior to the outcome of the duel. The results of this investigation serve as a foundation for rigorous tests of hypotheses regarding the adaptive significance of queen and worker behavior during queen combat. The results presented suggest that: young queens patrol queen cells to kill rival queens while they are vulnerable; workers aggress queens to prevent them from destroying queen cells; queens toot to inhibit worker aggression; workers immobilize queens to make them easy targets for rival queens; and queens eject hind‐gut contents to cause their rival to be immobilized by the workers.

Effects of relatedness on queen competition within honey bee colonies

The influence of relatedness on the pre- and post-emergent survival of honey bee queens was investigated. Workers did not preferentially rear sisters over non-siblings under conditions of natural queen replacement. After queen emergence, however, there was a significant effect of a queen's relatedness to the workers on her survivorship during fights with rival queens. The mechanism of this bias towards related queens is unknown, and several hypotheses are discussed. The difference in post-emergent survivability suggests that kin selection may operate during competition among adult queens at this crucial stage of honey bee reproduction.