Suchergebnisse

This study provides a comprehensive intellectual biography of Princess Elisabeth of Bohemia. The author highlights Elisabeth's place in the Western intellectual tradition and contextualizes her contributions within the social and cultural landscape of seventeenth-century Europe.

Abstract

Pretty Princess Points drawings are a genre of artwork made by members of imageboards, a type of anonymous internet forum best exemplified by 4chan.org. These artworks depict female users of these websites in fictionalized, fantastical living spaces, crowded with objects heavy in reference to various memes and fictional characters from the imageboard culture imaginary. By treating the discursive history of these references as part of the technical formation of subjectivity that produces Pretty Princess Points, the author apprehends this genre of artwork as Kittlerian "discourse-network", an enframing that opens the artworks and their memetic forebears to being psychoanalytically traced back through the recent history of memes and imageboard-cultural narrative forms that make up the elements of the drawings. Through analysis of the drawings themselves, interviews with imageboard users, and observed conversation on various imageboards, the author exposes the functions Pretty Princess Points drawings realize to those who post and re-post them on anonymous imageboards.

This article introduces three princesses: Princess Elizabeth of Bohemia (1618–1680); her sister, Princess Sophie who became the Electress of Hanover (1630–1714); and Sophie's daughter, Sophie Charlotte, who became the first Queen of Prussia (1668–1705). After summarizing their common family background, the article presents, for each in turn, her biography and a discussion of her relation to philosophy. In each case their philosophical involvement stems from their friendships with the leading philosophers of their day; Princess Elizabeth was a friend of Descartes while the Electress Sophie and Sophie Charlotte were friends of Leibniz. The article concludes that anyone who has made the acquaintance of the three princesses and has studied their interaction with their philosopher-friends will always see them as part of the history of modem philosophy.

A portrait of Stephanie von Hohenlohe (1891-1972), notorious as a secret go-between and even a professional blackmailer. Despiter her Jewish roots, Stephanie always claimed to be of pure Aryan descent. Soon enough, Hitler would begin to employ her on secret diplomatic missions

Cartoon royalty, beware! A practical, solutions-based approach to navigating the perilous world of princesses Little girls love everything about princesses: the dolls, the love stories, the play clothes. But pop culture princesses are part of a powerful marketing machine, encouraging obsessive consumerism and delivering negative stereotypes about gender, race, and beauty to young girls. Princess Problem features stories and advice from parents, educators, psychologists, and children's industry insiders-including former Disney employees-to equip every parent with skills that will help them

DC Super Hero Girls (DCSHG) is a trans-media franchise that includes not just screen media texts but a wide array of themed merchandise aimed at a multi-generational market. I argue here that key components of the franchise present a queered version of girlhood that critiques femininity as a gender role while presenting femaleness as encompassing a variety of signifiers, acts, and presentations that can be read as queer (particularly by the so-called big girls in the audience). This is evident in the representation of queer relationships that exist in the sexualized zone of the canonical material, allowing the DCSHG characters to inhabit a liminal proto-queer space between homosocial/gender non-conforming and lesbian that is considered more appropriate for young girls. I examine the way in which the DC Super Hero Girls franchise rejects and reforms familiar elements of comics, super heroism, and princess culture to create that space for girls.