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Queen Victoria was one of the most complex cultural productions of her age. In Royal Representations, Margaret Homans investigates the meanings Victoria held for her times, Victoria's own contributions to Victorian writing and art, and the cultural mechanisms through which her influence was felt.
Arguing that being, seeming, and appearing were crucial to Victoria's "rule," Homans explores the variability of Victoria's agency and of its representations using a wide array of literary, historical, and visual sources. Along the way she shows how Victoria provided a deeply equivocal model for women's powers in and out of marriage, how Victoria's dramatic public withdrawal after Albert's death helped to ease the monarchy's transition to an entirely symbolic role, and how Victoria's literary self-representations influenced debates over political self-representation.
Homans considers versions of Victoria in the work of Elizabeth Barrett Browning, George Eliot, John Ruskin, Margaret Oliphant, Lewis Carroll, Alfred Lord Tennyson, and Julia Margaret Cameron.
MARGARET HOMANS is chair of the Women's Studies Program and professor of English at Yale University, where she has taught since 1978. Among her books are: Bearing the Word: Language and Female Experience in Nineteenth-Century Women's Writing (also published by the University of Chicago Press, 1986), and Women Writers and Poetic Identity: Dorothy Wordsworth, Emily Brontë, and Emily Dickinson (1980). Her honors and prizes include fellowships from the Whiting Foundation, the Morse Foundation, and the ACLS. She is the recipient of the Theron Rockwell Field Prize and the Keats-Shelley Association Prize.
The University of Chicago Press, Chicago 60637
The University of Chicago Press, Ltd., London
© 1998 by The University of Chicago
All rights reserved. Published 1998
Printed in the United States of America
07 06 05 04 03 02 01 00 99 98 1 2 3 4 5
ISBN-10: 0-226-35113-0 (cloth)
ISBN-13: 978-0-226-35113-1 (cloth)
ISBN-10: 0-226-35114-9 (paper)
ISBN-13: 978-0-226-35114-8 (paper)
ISBN: 978-0-226-35115-5 (e-book)
Library of Congress Cataloging-in-Publication Data
Homans, Margaret, 1952–
Royal representations : Queen Victoria and British culture, 1837–1876 / Margaret Homans
p. cm.
Includes bibliographical references and index.
ISBN 0-226-35113-0 (cloth). — ISBN 0-226-35114-9 (pbk.)
1. Great Britain—Civilization—19th century. 2. Monarchy—Great Britain—History—19th century. 3. Great Britain—History—Victoria, 1837–1901. 4. Queens—Great Britain—Biography. 5. Queens in literature. 6. Queens in art. [1. Victoria, Queen of Great Britain, 1819–1901.] I. Title.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992.
A series edited by Catharine R. Stimpson
To Marian
Foreword, by Catharine R. Stimpson
Introduction: The Queen's Agency
The Queen Has No Equal: The Problem of a Female Monarchy
Privacy on Display: The Queen as Wife and Mother
The Queenly Courtship of Elizabeth Barrett
Photographic Realism's Abject Queens
The Invisible Queen
Domestic Queens: Miss Marjoribanks
Making Queens:
Of Queens' Gardens and the Alice Books
Bagehot's The English Constitution
The Queen's Books: The Early Years of His Royal Highness the Prince Consort
The Queen's Books: Leaves from the Journal of Our Life in the Highlands
The Reform Bill and the Queen's Footnotes
Albert Memorials
Tennyson's Idylls of the King as an Albert Memorial
Cameron's Photographic Idylls: Allegorical Realism and Memorial Art
Epilogue: Empire of Grief
1. Queen Victoria and Her Servant Abdul Karim. Photograph by Hill and Saunders, 1893. Courtesy of the National Portrait Gallery, London.
2. Eugene Louis Lami, Opening of the Great Exhibition 1 May 1851. Oil painting. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
Petticoats for Ever. Broadsheet, c. 1837.
The Coronation. Broadsheet, c. 1837.
The Royal Rose of England. Optical transformation, 1838.
Trying It On. Woodcut, c. 1840.
Albert will you marry me? Lithograph, 1839.
8. Sir Edwin Landseer, Queen Victoria and Prince Albert at the Bal Costumé of 12 May 1842. Oil painting. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
9. W. J. Linton,
God Save the Queen. Illustration from A Book of English Song, 1842. Wood engraving from a picture by H. Warren.
To the Queen's Private Apartments: The Queen and Prince Albert at Home. Lithograph, 1843.
The Royal Family in the Nursery. Hand-colored lithograph, 1845. Courtesy of the Yale Center for British Art, Paul Mellon Collection.
12. Sir Edward Landseer, Windsor Castle in Modern Times: Queen Victoria, Prince Albert, and Victoria, Princess Royal. Oil painting, 1841–45. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
13. Franz Xaver Winterhalter, The Royal Family in 1846. Oil painting. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
14. Queen Victoria's sketch of Winterhalter's The Royal Family in 1846. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
15. Queen Victoria and Prince Albert, Osborne, 26 July 1859. Photograph by Miss Day. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
16. Queen Victoria and Prince Albert, 26 July 1859. Photograph by Miss Day. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
17. Prince Albert on the Terrace at Osborne. Etching after a photograph by Miss Day, 1859. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
18. Robert Thorburn, The Prince Consort during His Last Illness, Holding a Draft Memorandum on the
Trent Question, December 1861. Painting. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
19. Queen Victoria, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
20. Queen Victoria and Prince Albert, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
21. Queen Victoria and Prince Albert, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
22. Queen Victoria and Prince Albert, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
23. Queen Victoria and Prince Albert, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
24. Queen Victoria and Prince Albert, 15 May 1860. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
25. Queen Victoria and Prince Albert, 1 March 1861. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
26. Queen Victoria and Prince Albert, 1 March 1861. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
27. Queen Victoria and Prince Albert, 1 March 1861. Photograph by J. J. E. Mayall. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
28. William Powell Frith, Marriage of The Prince of Wales and Princess Alexandra of Denmark, 10 March 1863. Oil painting. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
Where Is Britannia? Engraving in Tomahawk, June 1867.
Queen Hermione. Engraving in Punch, September 1865.
31. John Tenniel, two illustrations from chapter 9,
Queen Alice, Lewis Carroll's Through the Looking Glass, 1872.
32. Edward Henry Corbould, Memorial Portrait of Prince Albert in Armor. Oil painting, 1864. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
33. Henri de Triqueti, cenotaph of Prince Albert, Albert Memorial Chapel, Windsor, completed 1873. Detail. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
34. George Gilbert Scott, National Albert Memorial, Kensington Gardens, London, 1862–72. Detail.
35. Queen Victoria and her second daughter, Princess Alice, with a bust of Prince Albert, 1862. Photograph by Prince Alfred. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
36. Queen Victoria, Prince Albert, and Victoria, Princess Royal, on her wedding day, 25 January 1858. Photograph by Williams. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
37. Queen Victoria, Victoria, Crown Princess of Prussia, Princess Alice, and Prince Alfred with a bust of Prince Albert, March 1862. Photograph by Barnbridge. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
38. Julia Margaret Cameron, Maud. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
39. Julia Margaret Cameron, King Arthur in Guinevere. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
40. Julia Margaret Cameron, King Arthur in The Passing of Arthur. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
41. Julia Margaret Cameron, Elaine in Lancelot and Elaine. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
42. Julia Margaret Cameron, Elaine in Lancelot and Elaine. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
43. Julia Margaret Cameron, Elaine in Lancelot and Elaine. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
44. Julia Margaret Cameron, Elaine in Lancelot and Elaine. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
45. Julia Margaret Cameron, King Arthur in The Passing of Arthur. Photograph in Illustrations to Tennyson's Idylls of the King and Other Poems, 1875.
46. Henri de Triqueti, sketch for the cenotaph of Prince Albert, Albert Memorial Chapel, Windsor. With the permission of the Royal Archives, © 1998 Her Majesty Queen Elizabeth II.
47. Henri de Triqueti, cenotaph of Prince Albert, Albert Memorial Chapel, Windsor, completed 1873. Detail. With the permission of the Royal Collection, © 1998 Her Majesty Queen Elizabeth II.
In 1837 a young woman, Victoria, became queen of Great Britain and Ireland. Because she was the daughter of the fourth son of an earlier king, her ascension had seemed unlikely at her birth in 1819. Once enthroned, she endured throughout the century, ruling until her death in 1901, a time that came to be called the Victorian period.
Margaret Homans, a brilliant and subtle critic, has published two previous books about women writers, Women Writers and Poetic Identity (1980) and Bearing the Word (1986). Royal Representations: Queen Victoria and British Culture is another major book. Homans audaciously, meticulously, and originally explores Victoria as a woman writer. Prolific and conscientious, Victoria wrote journals and diaries from the age of thirteen and continued to produce them as well as thousands of letters throughout her reign. Because she was a royal, she also authorized many texts—such as her parliamentary addresses—that others scripted, not always to her private acclaim. Homans treats these materials as part of her great subject, the ways in which Victoria, operating within the constraints of history and discourse, composed nothing less than the modern British monarchy.
Homans focuses on Victoria's reign between 1837 and 1876 when she became Empress of India as well as queen, a blazing global sign of Great Britain's imperial reach and strength. During these decades, the monarchy as an institution and Victoria as a monarch confronted forces and situations that had to be properly managed if they were not to prove damaging, even fatal. Some of them, social and political in nature, would have daunted a monarch of either gender. Because established hierarchies were dissolving and reform movements growing, royal power was being diluted. Victoria's gender provoked another difficult issue that dragged behind her. She was a queen, a unique role that unites the contradictory realities of public power and womanhood, which historically denotes a lack of public power.
With the clarity, care, and depth that characterize her work, Homans lays bare the strategies Victoria developed to survive and prevail as queen. So doing, Homans shows how profound the connections were among Victoria, her era, and other influential cultural figures such as the poet laureate Alfred Lord Tennyson, the poet Elizabeth Barrett Browning, and the photographer Julia Margaret Cameron. Victoria seemed to grasp that the monarch's role was increasingly symbolic. Her people wanted to exert more control over the affairs of state. Thus, she had to act symbolically, which often meant appearing to be passive and inactive. Constructing effective patterns of royal representation and self-representation, she helped to design and then embodied a paradox—she would hold sway by playing out her willingness to give power away. She assured and reassured her subjects that she would defer to their protocols of what royal behavior ought to be. The royal court would respect the court of public opinion. In her later years, Homans concludes, Victoria was
both captive and despot of her own regime.
Victoria, the royal family, and her supporters deployed a variety of means to make a public spectacle of the mingling of rule and renunciation of rule: official and artlessly unofficial appearances, art itself (paintings and sculpture), the new medium of photography (she and her family pioneered the photo opportunity), and the publication of her judiciously edited writing. Her people were an audience, viewers, and readers.
Among Victoria's greatest triumphs was her treatment of domestic power. For she aligned, with limpid sincerity and passion, the institutions of the monarchy and the middle-class family. Her family role was that of perfect wife to her beloved husband, Prince Albert, a figure of substance in his own right. As queen she might be a sovereign, but as wife she was happily subjugated. As queen she might be a singular figure, but as wife she was an exemplary everywoman to and for her subjects. Homans cites a Christina Rossetti quatrain that illustrates Victoria's balance of throne room and marital bed:
If I were Queen
What would I do?
I'd make you King
And I'd wait on you.
In 1861 Albert died. Pitched into deep mourning and melancholia, Victoria retreated from public view. Homans is fascinating on the responses of the government, shapers of public opinion, writers, and public to the problem of the queen's disappearance. Appearances were one of her most important techniques of maintaining royal position and authority, and yet she had become visibly invisible. One reaction was to create multiple queens in literature and art. The writers John Ruskin and Lewis Carroll famously participated in this wave of invention. The presence of different queens offered up fantasy substitutes for Victoria. Moreover, by diffusing the power of the monarchy, it abetted in the slaking of democratic thirsts.
When Victoria reemerged onto the public stage, she most often did so in order to memorialize Albert. Her first such major public appearance was in Aberdeen, Scotland, in October 1863, to unveil a seated figure of Albert in military dress. Homans meticulously traces how the mourning Victoria altered her earlier self-representations. Ostensibly and ostentatiously, the bereft widow bowed to the memory of her husband. (Doing so, she seemed to set a counterexample to the contemporaneous efforts on behalf of female suffrage, although overall she shrewdly mixed her signals about this controversial issue.) Victoria, however, is actually far more vital and vivid than Albert. She calls attention to herself as the builder of the monuments that ultimately allegorize and obscure him. Ironically, many images of the dead Albert draw on Victorian representations that associate death with femininity. Long live the queen in her widow's weeds—as the once dominant husband fades into the figure of a powerless woman.
Homans argues accurately that human agency takes historically specific forms. Although Victoria's descendent Queen Elizabeth II has profited from her ancestor's achievements, the conditions of the twentieth century inexorably shape her management of her reign. Nevertheless, Homans's exemplary exploration of history will matter to anyone who wants to understand the relations between powerful figures who are also major celebrities, as Victoria most certainly was, and the rest of us. The representations and self-representations of such figures mediate between their flesh and bloodlines and voracious, demanding, yearning publics. Homans has much to tell us about what these representations are, what they mean, how they work, and how arresting they can be for queens, consorts, courts, and us commoners together.
Catharine R. Stimpson
New York University
I am grateful to Yale University's Griswold Fund for help with travel expenses and reproduction permissions. I would like to acknowledge the gracious permission of Her Majesty Elizabeth II to make use of materials in the Royal Archives and the Royal Collection; I am especially grateful to Lady Sheila de Bellaigue, Frances Dimond, and their staffs for assistance at the Archives. My thanks go also to the Yale Center for British Art for help with research and for permission to reproduce material in the Paul Mellon collection, and to the National Portrait Gallery for permission to reprint one of their images. Parts of the Introduction and Chapter 1 appeared in Victorian Studies 37 (1993), in Feminist Measures: Soundings in Poetry and Theory, ed. Lynn Keller and Christanne Miller (Ann Arbor: University of Michigan Press, 1994), and in Victorian Literature and the Victorian Visual Imagination, ed. Carol T. Christ and John O. Jordan (Berkeley: University of California Press, 1995), and are reprinted with permission.
Collaborating on numerous Queen Victoria projects with Adrienne Munich has been a pleasure and an education, and I thank her for her collegiality and for sharing her knowledge of Victoriana. The following people have given generously of their time and expertise in helping me with various aspects of this book, and I thank them here: Linda Anderson, Nancy Armstrong, Jessica Branch, Lauren Chattman, Jay Clayton, Sheila Emerson, Jennifer Green-Lewis, Leigh Coral Harris, Patricia Klindienst, Nancy Marshall, Helena Michie, Robert Patton; Linda Peterson, Margaret Powell, Cathy Shuman, Margery Sokoloff, and Alexander Welsh. I am grateful also to students who have worked with me on Victoria and Victorian culture over the past decade and more, from my first seminar on
Gender and Power in Victorian Literature at Yale in 1986 to the dissertation group that met in the early 1990s to the group at Breadloaf in the summer of 1997. Katy Homans and Patterson Sims have a better collection of Julia Margaret Cameron books than any library I visited, and I thank them for the long-term loans. Audiences at the City University of New York, Copenhagen University, the English Institute, the Dickens Project, Harvard's CLCS Victorian seminar, Louisiana State University, the Modern Language Association Convention, the Narrative Society, Rice University, the Semiotics Society, the University of New Hampshire, the University of Washington, and Yale University asked me to think harder about my work and made many useful suggestions, and I am grateful to them. I thank Catharine Stimpson for her continued support, and I thank Alan Thomas, Randolph Petilos, Lila Weinberg, and the anonymous readers for the University of Chicago Press for making the publication of this book possible.
My husband Bill has provided all the wise and loving encouragement an author could wish for. My daughter Marian has helped me understand why it is important to think about queens, and this book is dedicated to her, with love.
Guilford, Connecticut
If I were a Queen
What would I do?
Christina Rossetti, Sing Song, 1872
Rossetti's little half-quatrain implies large questions about Britain's Victorian monarch. Can anyone be a Queen, at least in imaginative supposition? And why does being a Queen immediately present
doing as a problem? For to be a Queen, even in the conditional, is apparently to wonder about action. The conditional and its question seem to open up a horizon of infinite possibilities of action:
What would I do if I could do whatever I liked? At the same time, they suggest immobilization, the freezing of action:
What on earth would I do if so extraordinary a fate were to befall me? Moreover, to be a Queen, even in supposition, seems to require that one identify oneself as an
I. But the real Queen—Queen Victoria—never says
I: she says
we or
she. Those who address her can never say
you—she is
Your Majesty. Conspicuously not self-identical, she is instead a property (
majesty) belonging to someone—
Her—who cannot therefore be identified with that majesty. Does that then mean that, after all, no
I can be Queen, least of all Queen Victoria herself? To what forms of doing, and of being, can the woman who bears the title of Queen lay claim?
This book starts from the double proposition that for Queen Victoria being is a form of doing, but that being Queen never involves a stable identification between the office and the person. Seeming, appearing, or being represented are instances of the Queen's agency, regardless of whether self-representation can be said to have been chosen or actively undertaken. Like her grandfather George III—who comported himself as a family man, disappeared and returned, and challenged definitions of proper regal behavior—Victoria was a monarch whose public and private lives were subject to peculiarly intense scrutiny. Alan Bennett's fictional George III, recovering his sanity and hearing himself told that he
seems more [him] self, recognizes that being King requires only that he
remember how to seem. Because the sign of his recovery is the return of an involuntary speech tic, however, to be himself means to be again in the grip of a compulsion—only now a more acceptable one.¹ At times, this book will argue, Victoria remembered exquisitely well
how to seem, even if it is not always clear whether that remembering and seeming are voluntary; at others, her apparent failure to do so constituted a different way of seeming from what was expected—a different royal representation that was, nonetheless, part of the script for Britain's nineteenth-century monarch.
Victoria's monarchy presents a particularly interesting case for the study of royal agency and royal identity—what the monarch does, what constitutes an action, and who does it when it is done—because to the paradoxes of a constitutional monarch's power at any time are added the complications introduced by Victoria's gender in an era characterized by its heightened and pervasive gender consciousness. Moreover, the terms through which Victorian culture defines and contests woman's
sphere uncannily echo the distinctive discourse of constitutional monarchy: passivity, moral power, duty, and being and appearing in lieu of originating or executing politically engaged action.² Monarchs, as eminently visible beings who are both strikingly powerful and strikingly constructed, are interesting because they may tell us something about the conditions of our own agency, as Aristotle suggests in claiming that the subject of tragedy
must be one who is highly renowned and prosperous—a personage like Oedipus.³ Because contemporary debates about gender are still framed in Victorian terms (conflicting imperatives about what women should and should not do), a woman monarch makes the power and the constructedness all the more vivid.
Queen Victoria's great achievement—what she
did—was to smooth the transition to a wholly symbolic monarchy that would have taken place with or without her in the nineteenth century. I would not attempt to challenge the consensus view that by the end of her reign Victoria held less state power than any British monarch before her and passed on to her heirs a monarchy wholly different from that which she inherited. Nonetheless, I would contest the sexist assumptions that have prevented historians from giving her sufficient credit for her understanding of her role and for her efforts to perform it well.⁴ Under certain circumstances, passivity is the most appropriate form of action, although it may be difficult to recognize as such. The nineteenth century was an era of rapidly diversifying technologies for the dissemination of the self, and she performed the action of creating the nineteenth-century monarchy largely through representations. She could manipulate her image, to the extent that her culture made it possible for her to do so; yet many of her representations were made by others. Her resemblance to a bourgeois wife, mother, and later widow was a fiction created both by impressive tricks of deliberate representation and by a certain inevitability in Victorian culture. The degree to which her deliberate choices were involved in constructing this imposture (or what
choice could mean in such a situation) and the degree to which it was constructed for her by social forces operating independently of her can never be fully established. Nonetheless, while Victoria may have been subject to an ideology over which no individual had control, her subjects also credited her with having an active hand in shaping the ideology that bears her name. She appears to have shared with her subjects a collective fantasy about her powers that is to be identified neither with any specific state or royal authority on the one hand, nor, on the other, with the kind of cultural power that inhabits all subjects. To be fantasized to have the power of influencing ideological shirts is already to be in a position to exert it, and for Victoria exerting this power took the form of yielding to the requirement that she manipulate (as well as be manipulated by) the spectacle of royalty.
Simon Schama remarks generally about the post-1688 British monarchy that
no firm distinction existed between the image and the political reality.⁵ Sarah Ellis's writing on the newly crowned Victoria suggests that for Victoria's contemporaries she was both a producer of the royal image and subject to the Victorian construction of all women. Ellis sees Victoria at once as the epitome of the
influence that serves as excuse for women's containment within the domestic sphere, not differentiating between Victoria's powers and those of her female subjects, and as unique authorizing agent of that containment. The women of England must
prove to their youthful sovereign, that whatever plan she may think it right to sanction for the moral advancement of her subjects . . . will be . . . faithfully supported in every British home by the female influence prevailing there.⁶ Victoria is the fantasized authorizer, if not quite author, of Victorian ideology, if it is up to her to
sanction . . . whatever plan; at the same time, she is the exemplary construct of Victorian ideology, obliged to be interested in the
moral advancement of her subjects (unlike recent occupants of the throne) because, Ellis claims, those subjects presume her to be so. Ellis's
may in effect leaves Victoria little room for choice.
Ostensibly directed to exhorting the women of England and so calling them into being as a moral
influence, Ellis's rhetoric simultaneously shows how that
influence calls Victoria into being. Victoria's subjects subjected her to the myth of her power over them, a paradox we reproduce whenever we use the term
Victorian to describe Victoria herself.⁷ Moreover, some of Victoria's most important functions can hardly be described as acts at all, much less voluntary ones. For example, serving as a resource for the metaphor of middle-class women as
queens (a metaphor especially pervasive in the 1860s), Victoria was no more a free agent in authorizing or defining queenly powers than her subjects were in assuming them. Nonetheless, the metaphor was and is widely thought to describe, even to create, Victorian women's expanding powers, even though Victoria's powers were themselves constructed in imitation of those same middle-class women.
Twentieth-century clichés about the Queen and about queenly Victorian women tend to emphasize precisely this difficulty of extricating autonomy from construction or power from constraint. Victoria is often recalled in popular twentieth-century representations as the Queen in whose name Britain expanded and maintained its empire, the passive authorizer of world historical aggression. A recent study of imperialism alludes to
Victoria's imperative, articulated through the ideology and practices of her subjects, to civilize barbaric societies.⁸ What kind of action is an action undertaken in someone's name, and who is responsible for it? In Caryl Churchill's 1979 play Cloud 9, a satire on the continuities between Victorian and modern-day morals and social practices, the Queen is invoked in deliberately clichéd language to authorize patriarchal excesses in the family and in the world.⁹ At the opening of the play, somewhere in Africa under a
flagpole with Union Jack, Clive the patriarch recites:
This is my family. Though far from home
We serve the Queen wherever we may roam
I am a father to the natives here, And father to my family so dear.
(Cloud 9, 3)
Serve the Queen here and in the imperial texts Churchill mocks means undertaking imperial wars of conquest (such as England's
Little Wars in Africa in the 1880s and 1890s) as well as lording it over the patriarchal family. When British soldiers kill the parents of the native servant Joshua, another character tells Clive,
I think you owe him an apology on behalf of the Queen (Cloud 9, 54). In what sense has the Queen commanded this murderous service? In this scenario she is again rendered passive in her construction by others as an active agent of imperialism. She is obliged to underwrite whatever atrocities her ministers and agents may commit in her name. The satire's joke is that the more she is made responsible for, the less can plausibly be attributed to the actions of Victoria the historical subject. The character in the play called
Victoria is Clive's young daughter, and she is played by a
dummy, a cloth doll that is unceremoniously tossed from hand to hand during some of the play's action. Clive's wife Betty,
deputizing, as it were, for Victoria in her colonial possessions (Rule Britannia, 120), is forced to represent the static
loving heart without a blot (Cloud 9, 19) for whose comically uncooperative sake Clive and Harry conquer and explore.
HARRY: Betty, you are a star in my sky. Without you I would have no sense of direction. I need you, and I need you where you are, I need you to be Clive's wife. I need to go up rivers and know you are sitting here thinking of me.
BETTY: I want more than that. Is that wicked of me? (Cloud 9, 31)
Betty's queenly
sitting in the play is not her desire, but the men attribute agency to it anyway. Victoria sat; nonetheless the empire was hers.
The Victorian scene in Woolf's Between the Acts similarly evokes, as latter-day cliché, the ironic mismatch between the historical subject Victoria and the powers of Her Majesty as she is called into existence to authorize her empire. The constable played by Budge the publican directs the traffic at Hyde Park corner and in so doing directs
the traffic of 'Er Majesty's Empire:
THE SHAH OF PERSIA: Sultan of Morocco; or it may be 'Er Majesty in person; or Cook's tourists; black men; white men; sailors, soldiers; crossing the ocean; to proclaim her Empire; all of 'em Obey the Rule of my truncheon.¹⁰
white man's burden, the constable continues, includes policing private life:
It's a Christian country, our Empire; under the White Queen Victoria. Over thought and religion; drink; dress; manners; marriage too, I wield my truncheon. . . . The ruler of an Empire must keep his eye on the cot. (Between the Acts, 162–63)
In the inclusion of
'Er Majesty in person among those whom he directs, and in the gradual modulation from
her Empire to
his, the constable—anonymous and depersonalized though he is—makes the Queen his excuse for wielding powers that are as much powers over her as powers she controls. The Queen is subject to the policing power of Victorian ideology as much as are the sailors and soldiers she nominally commands.
An often-reproduced image of Victoria from 1893 (figure 1) provides a gloss both for Churchill's
sitting queens and for Woolf's constable, directing the traffic of 'Er Majesty's Empire and directing 'Er Majesty too. In this image Victoria sits, at work on her
boxes, perhaps adding to parliamentary bills the signature required to make them the law of the land. They will not become law without her signature, yet she is compelled to sign. She is out-of-doors on the grounds of Windsor Castle: perhaps it is a lovely day, and surely she is of an age to have earned a holiday, but she must attend to her work. Powerful by law yet physically immobilized, she sits inside a tent that echoes the shape of the boxes on which she works. In command of the nation's laws, she is also physically contained by them. Her favorite attendant Abdul Karim, holding a cane, stands guard at the boundary of the space she occupies. Of course, he is there to help her, but he appears also to be policing her, standing sternly over her bowed head as if to keep her at her task. That he is from one of the remoter reaches of her empire, a place she never visited, suggests a further inversion of container and contained. Because he represents the imperial subjugation of India, the picture suggests that that subjugation itself now polices her.¹¹ Victoria's actions are performatives—the placing of her signature on a piece of paper to represent her royal assent to law—and they invariably take place within the vast and ornate containers she helped to make. Although any performative may be constrained by context and rules, Victoria exerts her power to call attention to this constraint by putting it on display. An apparent contrast to this picture may be found in Lami's painting of Victoria and her family opening the Great Exhibition in 1851 (figure 2). Full of color in contrast to the photograph's pallette of black and white, the space it represents vast and intricately decorated in contrast to the severe and narrow space of the photograph, this painting too nonetheless represents Victoria in a container, a giant transparent house containing the artifacts of empire and placing the Queen's domestic relations on display. Both the photograph of the Queen working and the painting of her inside the Crystal Palace locate her in spaces that are ambiguously both exterior and interior (a glasshouse, a tent), for the Queen is always performing her containment, her subjection to the law she commands, for the public gaze.
FIGURE 1 Queen Victoria and Her Servant Abdul Karim. Photograph by Hill and Saunders, 1893.
Sitting, allowing a photograph to be made of this action, simply existing—these loom large among the Queen's actions, acts that render power inextricable from constraint, not only in latter-day cliché but in her reign itself. The Queen, however, did more than this.
[T]his country [is] governed by our Sovereign Lady the Queen, remarks one of the defenders of female suffrage in Parliament (London Times, 21 May 1867), invoking the benignity and intelligence of the Queen's rule to justify a political change she herself opposed. I turn now to some exemplary moments during the part of her reign this book will explore, moments when the kind of thing she did as monarch and head of state makes visible the difficulty of defining the Queen's agency. This book's focus will be on selected moments from the start of Victoria's reign up to 1876, when her transformation into Empress changes the context of her reign so decisively as to require a different approach from the one I undertake here. Political interventions may be prototypical monarchic actions, but because she was a nineteenth-century monarch, and especially because she was Queen, what she did not do often constitutes a more significant form of agency than what she did, or than what looks at first glance more like an action.¹² It was Victoria's fortune, writes Elizabeth Longford,
to stamp a great age with the royal cypher.¹³ The first of these exemplary moments highlights the problem of her
doing, while the second highlights the problem of her identity. (Or, to paraphrase Rossetti,
What would she do, if the Queen were an I?)
During the spring of 1868, Parliament hotly debated the Irish question. The Catholic Irish bitterly opposed the legal establishment of the Anglican Church. The Daily Telegraphy, the largest circulation daily paper in London, usually supported reforms that would improve life for the Irish without giving them political autonomy. On 30 April 1868 it ran an editorial on parliamentary discussion of the Irish Church that is really an editorial about the powers of the Queen as constitutional monarch. The question is whether the Queen can cede to Parliament her right to appoint members of the Irish clergy, as Gladstone apparently intends to request. The editorial worries that the House of Commons would be asking the Queen to
break the law if it asked her to give up
those prerogatives and duties which are imposed upon the Crown . . . by Acts of Parliament, which Her Majesty, as constitutional Sovereign, is bound to obey. Lord Russell has explained, however, that the Queen is not going to be asked to break the law; it is simply that her permission must be sought before the introduction of any bill touching on her prerogatives, and Gladstone wants to introduce a bill to limit the expansion of the Irish (i.e., established, Anglican) Church. The Queen would only be permitting debate on the matter, not giving her assent before the fact to some as yet undetermined outcome. It would be in keeping with the Queen's role in politics—in the language of the editorial,
consistent with complete passiveness and neutrality—for her to assent to the debate without prejudging its outcome.¹⁴
FIGURE 2 Eugene Louis Lami, Opening of the Great Exhibition 1 May 1851. Oil painting.
By the curious twists of British constitutional logic, the Queen is obliged to retain her prerogatives just as she is obliged to perform her duties: she cannot yield a power she is bound to exert. Her acting to exert that power, moreover, includes the maintenance of her
passiveness or political neutrality. Is the Queen the most powerful, or the most subjugated, being in the land? Of no one else could it be said that it would take an act of both Houses of Parliament to allow her to give up any of her powers. Bound to her powers, the Queen is rendered inactive in relation to them, while she is obligated to exert her power over Irish Church appointments
with compete passiveness. She is like Jean Ingelow's Mopsa, the fairy who is fated to become Queen of a people who require
a queen of foreign birth [to] come to them against her will.¹⁵ Victoria's power resides in her resistance to using her power. Yet her power is not nothing: her powers are given to her by Parliament; yet they are her powers, not those of Parliament.
The paradoxical agency attributed to the Queen in the Daily Telegraph editorial is only one of many such formulations throughout Victoria's reign of what she could and could not, should and should not do. And it is by no means clear how, if at all,
Her Majesty in this text corresponds to Victoria, the person who lived. That Victoria, from what can be known of her, interested herself relatively little in such issues and certainly did not select these ecclesiastical appointments herself. Although her gender would not seem to matter in the editorial's formulation, it is a subtext of all such discussions. Reading the Daily Telegraph editorial, it is worth knowing that, although such a debate could have been held at any time during her reign, concerns about her powers and the nature of her agency had become particularly acute at this time, when her widowhood—her overdetermined performance of her gender in relation to the accident of her husband's death—had for over six years brought about her withdrawal from most of her public obligations if not from her behind-the-scenes duties as monarch. The Queen can choose to withdraw from public life. But can she also cease to reign? What more would be required for her to cease to reign, given that she had ceased appearing to reign for so many years? These questions emerge at a moment when calls for her abdication are balanced by fears that she will threaten to abdicate. As the London Times had put the matter in 1864, "It is impossible for


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subset: commoncrawl


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Women Worth Knowing
Anne Frank
Teach your children you can have hope even in the dark times from the inspiring example of Anne Frank.
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Julianna Griffin
Help your little one understand and appreciate their teachers with this simple activity inspired by Julianna Griffin a young, bright teacher in Phillidelphia.
What do tacos and the marginalizing of people with disabilities have in common? Maybe nothing, maybe something....
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One thing is for sure; The Black Knight remains as one of the most mysterious objects to orbit our planet. What are open problems in the field? I have something you need to watch.
I know many blogs on the Internet will allow anyone to post anything. More is expected of comments here on IPWatchdog. Do you understand the concept of critical thinking? That you feel strongly about the injustice of some having patents they should not have is evident.
Maybe the strike only covered square miles and help will be on the way in a week, or maybe there is nothing but static…not a good sign. We believe the Tesla Semi will deliver a substantial reduction in the cost of cargo transport, while increasing safety and making it really fun to operate.
Some have predicted that within a year of a strike, 9 out of 10 Americans would be dead. Every release goes through extensive internal validation before it reaches any customers.
Consider your security plan, this is no time to rely on the charity and goodness of mankind. RAPa monthly Emergency Medicine focused audio education series with over 30, Everyone is entitled to their own opinion based on the fact, but no one is entitled to misrepresent facts. How Tesla Motors Can Profit Elon Musk has doubtless had to have made many shrewd business decisions to amass a multi-billion dollar personal net worth.
Not surprisingly, a little more than a week after the Musk announcement Toyota unveiled its hydrogen car. Nexxus June 26, bonnie, I fail to see why your insurance company should handle this. The problem what you say is simply false.
FedEx was the first customer, and we did the medium-duty trucks first. That is just not so. Their influence is indirect; they get taken for granted. More is expected here.
As one writer hypothesizes in an article published by Seeking Alpha: There are people who have extremely low opinions of lawyers. Once home it is time to start implementing your plan.
If you are going to assume the role of a leader, be prepared to do just that.
The next big thing will be moving energy around.One-on-one online sessions with our experts can help you start a business, grow your business, build your brand, fundraise and more.
by P.J. So what actions should you take immediately following an EMP strike? Remember that time will be critical, the first few hours (days at most) will enable you to get a jump on everyone else and set the stage for your success. Nikola Tesla was born an ethnic Serb in the village Smiljan, Lika county, in the Austrian Empire (present day Croatia), on 10 July [O.S.
28 June] His father, Milutin Tesla (–), was an Eastern Orthodox priest. Tesla's mother, Đuka Tesla (née Mandić; –), whose father was also an Orthodox priest, had a talent for making home craft tools and mechanical appliances and. The company has begun investigating the actions of Tripp who worked as a process technician and according to the lawsuit, "has thus far admitted to writing software that hacked Tesla's manufacturing operating system ("MOS") and to transferring several gigabytes of Tesla data to outside entities.".
Autoblog brings you automotive news; expert reviews of cars, trucks, crossovers and SUVs; and pictures and video. Research and compare vehicles, find local dealers, calculate loan payments, find.
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Nerina dusky pink glass nugget necklace Winter cool
Nerina dusky pink glass nugget necklace Winter cool
This Nerina necklace has beautiful curving glass nuggets in a beautiful cool, dusky pink colour, perfect for the House of Colour Winter palette. The beads are hung in a staggered pattern across three strands of silver tiger-tail thread with a silver coloured clasp.
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My tweets
- Fri, 13:58: Social media storms. Less relevant than thought.https://t.co/NL5FKDxSYM
- Fri, 19:11: RT @TheRealBuzz: Good times with my old crew #OG #FlashbackFriday https://t.co/zklvljyNNg
- Fri, 19:20: RT @FletcherWasp: Appendix N Book Club features Howard Andrew Jones talking about Lin Carter.... https://t.co/qF7pVlCY6b
- Fri, 19:58: Writing productivity is weird. The good periods are so good, I'm starting to think there's no point in grinding during the crap periods.


text:
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Governor John Winthrop Jr.
Governor John Winthrop Jr.
Governor John Winthrop
Anglo-American, 1606 - 1676
Biography: John Winthrop, Jr. (1606-1676) was born 12 February 1606 at his family's manor house in Groton, Suffolk, England. He was the oldest son of John Winthrop (1588-1649), the first Governor of Massachusetts Bay, and his first wife, Mary Forth Winthrop. John Winthrop, Jr. married his cousin, Martha Fones (d. 1634), on 8 February 1631. His second wife was Elizabeth Reade, daughter of Edmund Reade of Wickford, Essex, England. He came to America in 1631. John Winthrop, Jr., was elected Governor of Connecticut in 1657; he was elected again in 1659, and held the post continually until his death in 1676. Winthrop was instrumental in securing the Royal Connecticut Charter from Charles II in 1662, and he was the first Governor of Connecticut to serve under that charter. Governor John Winthrop, Jr., died 5 April 1676.


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Protecting your Home and Loved Ones
According to a Canadian Insurance website (insurancehotline.com), Canada had 578 thefts for every 100,000 people in 2010. We surely don't want to be part of that 578. So it's time to upgrade your home protection.
As they always say, it's better to be safe than sorry. We could be sleeping better at night knowing that our house or condo is secure. This article will provide the latest information about home security and the reasons why it should be a priority.
Do I really need a home protection system?
Fifty-nine percent of home burglaries occur during the day while residents are at work or at school, and homes with a lot of cover, such as from trees, fences, and gardens, are most commonly broken into. Most break-ins occur in July and August, and February has the least amount of break-ins on average. Statistics show that more than 95 percent of burglaries involve break-in by force, such as by breaking a window or door lock. In many cases, a security system could prevent homes from becoming a part of these statistics.
Pros and Cons of a Security System
The main and most essential reason to invest in a home protection system is to deter crime in your home. According to the Electronic Security Association's "Home Safety Fast Facts" report, 9 out of 10 burglars said that if they encountered an alarm or home security system, they would not attack the home. According to the Greenwich Study of Residential Security report, homes without a security system are 2.7 to 3.5 times more likely to be subject to a burglary. Thus, in addition to precautions like window locks and deadbolts on doors, a security system is a prime candidate for your home safety options.
Often the main deterrent for people thinking about getting a home security system is the cost, which usually includes a monthly bill and any initial installation products and fees. You may not think the cost is worth covering the potential risks-a decision that only you can make for yourself.
For further reading you can go to this site: https://www.safewise.com/home-security-faq/do-i-need-a-security-system
Photo credit: https://visual.ly/most-common-entry-points-break
Those are indeed valid reasons why home security should always be a priority. But, what if you don't need window locks because you are in a high rise condo building?
The Case for Condo Security
Condominium, or high-rise residential security is considered an area of the security market with its own unique challenges. Unlike commercial facilities, the occupants of residential high-rise buildings call the buildings home, so for them it's personal.
"The difference is people live here," says David Hyde of David Hyde and Associates based in Toronto. "If you have a security issue, it impacts your home and your family and your private life. There have been incidents of high profile criminals working in luxury high-rise condos with reports of drug dealing or fringe activities involving firearms on the premises. It's one thing when it's a mall or retail situation but with condos there is more exposure to personal vulnerability."
But security can still be a tough sell if those inhabiting the building and those managing the property don't understand the value.
"The situation that often occurs is that half of the condo board members think they're security experts while the other half want to use something that looks like it came from Fisher Price off of eBay. You should see some of the technology I see on site sometimes — it goes into my security hall of shame," says consultant Terry Hoffman of Hoffman and Company who has seen the demand for security audits at condos increase in the last two years. "It's a difficult segment of business to be in because too often condominium boards don't see the value."
Unless it's a high-end building, the planning for security is left for the property management firm that takes it over after construction is complete. The property management firm must then answer to a group of residents who make up the condominium board — an often diverse group who knows very little about security. Too often the goal is to keep monthly condo fees low and pay as little as possible for security services.
"Often boards will complain about their security guards, but it all comes down to accountability," says Hoffman. "The property management companies must be accountable to the boards. If they don't like what the guards are doing, they should do something about it. Guard service is the most effective thing you can do if you implement standard tours and have them attend regular meetings with the residents."
Hyde has performed security audits on condos and is called in more often when the property managers are asked to address a specific problem.
"There are two instances a condo building will call for security consulting support: when there are high end condos with a budget for it, or due to recent crime trends," says Hyde. "The attitude about security in a condo also depends largely on the demographics of the residents and whether they own or rent. If a building is largely owner-inhabited versus rental inhabited it is likely to have a higher degree of security.
See more at: https://www.canadiansecuritymag.com/news/retail/the-case-for-condo-security-1368#sthash.8TNfv1SD.dpuf
https://twitter.com/EvercondoApp/status/645296321079808001 https://twitter.com/KittHalterman/status/635224170406658048
Mike Fenton, the Director of Consulting and Client Support of Paragon Security, discusses further the latest standards of condo security in this 4 minute YouTube video:
So condo security is a little more complicated than the security of a house. And apparently, there's a difference in security between a a high end building and a regular one. But the concept remains the same, there is a need for security, whether you are in a house or in a condo.
A research that was made by Rutgers University showed that as the home alarm systems increased in a group of residential houses, the number of thefts decreased in that area. Which makes sense.
Now that we have an idea why a home or condo security should be a priority, here's…
The Latest Information about Home Protection
Here's some of the services offered by this credible home security system provider in Canada:
Nationwide ADT owned and operated, monitoring centers with world-class back-up capabilities-ensuring 24/7 service through any condition. When an alarm is received, ADT can notify the police, fire department, or ambulance even if you're not home.
Wireless home security options keep your system connected via a cellular network with CellGuard®..
Optional two-way voice intercom system lets you instantly talk to ADT whenever an alarm goes off with SecurityLink®
To know more about the packages of the most respected name in the security systems, check this out:
What is Safewatch CellGuard and how does it work?
For homeowners who rely on the comfort of 24/7 security monitoring, the only threat to that peace of mind is usually an interruption to the home phone line, which connects the home and the monitoring center. ADT eliminated that threat with their Safewatch CellGuard® monitoring service that utilizes a cellular phone connection rather than a land line. And in a time when more families are choosing to disconnect their home land line and go 100% cellular, it makes sense to have security options available that don't rely on a land line.
CellGuard® provides entirely wireless security monitoring, which means ADT delivers reliable security monitoring to help keep your home and loved ones safe without requiring the extra expense of a home phone line. This optional upgrade for ADT monitored security customers uses cellular technology to help ensure ADT's network of command centers remains connected to customers during a power outage, when phone lines are down or in the absence of a home phone line.
All that is required to take advantage of the extra security offered by CellGuard® is a cellular transmitter installed on the customer's property. The transmitter provides the same reassurance of 24/7 monitoring that previously required a home phone. And customers can use their existing cell phone-there's no need to switch plans or carriers because Safewatch CellGuard® works with any cellular phone.
For further reading, here's the source article: https://www.safewise.com/home-security-faq/safewatch-cellguard
Photo credit: https://www.investingincities.com/is-broadband-silently-relegating-the-home-landline-to-the-museum/no-more-landlines/
And what is SecurityLink?
SecurityLink® is a powerful two-way system that gives you fast, reliable connection to ADT professionals in case of an emergency, whether your alarm system has activated, there is a fire, or you have a medical emergency.
- Two-way voice connection to ADT during an alarm condition
- Puts you in touch with an ADT trained professional who can help during a stressful situation
- ADT provides peace of mind during an alarm
A powerful, two-way voice communication system that puts you in touch with the ADT customer monitoring centre when your alarm is activatedNow you can enhance your ADT monitored system's responsiveness in an emergency with SecurityLink®. Once your alarm is triggered, an ADT Customer Monitoring Specialist will come on the speaker/microphone to check on your situation. In an emergency, the operator can stay on the line and talk to you while you wait for the authorities to arrive.
Securitylink® is not just a way to communicate with ADT during an alarm, it's also a two-way voice communication system that functions as an intercom inside your home.
- Intercom: Easy, hands-free conversations between family members through the speaker/microphone stations within the home
- Telephone/Speakerphone: Answer incoming calls through the speaker/microphone stations within the home – units also support call waiting feature
- Baby Monitor: Any station can become a baby monitor capable of detecting noises at low levels
- Front Door Intercom: With the addition of an outdoor station, you can answer the front door without opening it to strangers
To see their website: https://homealarmsafety.com/two-way.php
Photo credit: https://www.pinterest.com/pin/433682639089748332/
For parents, having a baby monitor would be such a relief. Being able to hear your child while you are in your bedroom would indeed be sweet sounding music to a father or mother.
More home Security Updates
Aside from the obvious measures you can take to secure your property, there's a host of new gadgets and smart systems to deter potential intruders.
Choose from out-of-the-box technology, such as a doorphone video intercom or a motion-and-sound sensor camera, or a professional integrated home protection system – the latter will not only give you control over your home's safety, but will also work in harmony with any automatically controlled window treatments, lighting and audio/visual features.
'It's important to consider the type of security you want,' says Simon Minor of Go-Green Electrical Brighton, a member of RatedPeople.com. 'Do you want video surveillance? Would you pay a monthly fee to have a linked security service system that sends alerts to the police? And how much would you be prepared to spend? For example, a simple PIR (Passive Infrared) light can be very effective at giving excellent security coverage for large areas, and in some cases just one PIR can detect intruder movement in several areas.
For the complete article, check it out here: https://www.realhomesmagazine.co.uk/advice/the-latest-home-security-updates/
So we can have an idea how Passive Infrared works, check this short quote:
Infrared sensors receive heat radiated from the human body. Segment lenses divide the detection zone into passive and active zones. This way, the highly sensitive sensors can detect persons or warm objects moving between the zones as a change in voltage. Even the smallest of movements are registered. The quality is governed by resolution (number of detection zones), design and the software.
Source: https://pirtechnology.wordpress.com/2011/09/09/hello-world/
Amazing right? Motion detectors are obviously a very effective tools in securing your condo or house.
But what's another consideration in putting a security system?
Fire Detection
Last but not the the least important reason to set up a security system in your house is to detect instances of fire, and of course, smoke. It's possible that an electrical short circuit can come from a phone over charging or a cooking accident leading to a spark from the heating device.
Hi @APPLEOFFIClAL great waking up to your plug looking like this when you've left your phone charging over night ???? pic.twitter.com/1xFIsQtWcQ
— Nichola Bell (@_NicholaBell) September 16, 2015
It's also possible that there could be a mishap by the fireplace, oven or microwave. It is very crucial that you be notified so that you can disseminate the information about the fire quickly as possible as fires can cause great damage and they can, of course, be lethal.
#homesecurity #alarmsystems #homeprotection


text:
Geoffrey Thige
Chief Operating Officer
Geoffrey Thige has over 20 years of leadership and professional experience in international non-governmental organizations and corporate firms. In his various roles, he has overseen the efficient provision of financial, technical, and management expertise in line with the organization's strategic goals and mission. As Chief Operations Officer for Opportunity International Kenya, Geoffrey was responsible for building the capacity of the institution to more effectively and efficiently translate its mission and core values into day-to-day implementation. Geoffrey possesses expertise in institutional and operational turn-around, financial management, transformation and social performance management, micro-finance administration, multiple donor fund reporting, planning and budgetary control, human resources, and administrative oversight. He has an MBA from the University of Nairobi, and a Master's degree in Entrepreneurship from Jomo Kenyatta University of Agriculture and Technology.


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Whether you need a Palm Springs mobile home getaway for the winter, or you want to be a full-time Coachella Valley resident, mobile homes in Caliente Springs resort are an excellent way to get affordable resort amenities, the resort community you've been looking for, and a mobile home in the greater Palm Springs area.
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text:
This takes spotting to a different level. Larry "Wheels" Williams recently manhandled bodybuilder and YouTube personality Zac Perna during a training session the two posted on Instagram.
See the video here:
View this post on Instagram A post shared by Zac Perna 🤪 (@zacperna) on Jun 24, 2019 at 8:59am PDT
A post shared by Zac Perna 🤪 (@zacperna) on Jun 24, 2019 at 8:59am PDT
Perna, an Australian personal trainer, is by no means a small guy, but he's absolutely dwarfed by Wheels' massive stature. The two were training at The WareHouse Gym in Dubai. Perna has been documenting his journey on YouTube, so there's no doubt we'll see more of him and Wheels in the near future.
Wheels, meanwhile, is training for the July 6 "Giants Live: Wembley" show, where he'll hope to qualify for World's Strongest Man 2020 through a series of strength competitions.
Seeing as he's able to easily curl what Perna benches, we have no doubt Wheels will do well in London. Whether he'll be able to go on to defeat reigning WSM Martins Licis remains to be seen.


text:
Sorry. I am a total newbie to Mac and a total newbie to ffmpegX and I have great problems.
I made it to install ffmpegX 0.0.9y, but when I try to encode a file a new window opens and I
get the message 'Where is the progress.app?'
What do I have to do?
Thanks for helping
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Welcome, Juergen.
Other users have reported this too.
Please see https://forum.videohelp.com/topic344989.html
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text: The ability to track moving people is a key aspect of autonomous robot systems in real-world environments. Whilst for many tasks knowing the approximate positions of people may be sufficient, the ability to identify unique people is needed to accurately count people in the real world. To accomplish the people counting task, a robust system for people detection, tracking and identification is needed.


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This TV is a SmartCast TV from VIZIO, which means that it has Google's Chromecast built-in. Allowing you to quickly and easily Cast content from your smartphone to your TV. It is also a 4K HDR TV, so you're going to get some incredible pictures out of this thing, with rich dynamic range here, and there is support for HDR10. You'll get built-in Dolby Digital and DTS Surround sound on this TV, so you're getting a great audio experience. There's also 4 HDMI ports, along with a USB port, a Composite port, a Component port and an Ethernet port, should you need to plug it into your router for streaming.
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If you're interested in learning how to work online and get paid for it, this page will help you get started.
Just over one year ago I had no idea about anything to do with building websites or SEO or how to make an online business, yet now here I am, creator and owner of three niche websites . . . and that's just the start.
In this post I'll show you how to get started and where to learn and get support. Why do you need support? Because if you want to succeed there's loads to learn and you can't just build a website and have success falling down from the sky. No, you need to take action . . .
Affiliate Marketing – What is it?
If you want to work online and get paid for it, one of the best routes you can choose is affiliate marketing. Why? Because for very little cost you can start up your own business and make a living online.
An affiliate site offers its readers extra knowledge about products or services via reviews and recommendations. The readers learn more about the product they're interested in and can make a more informed purchase. When they buy, you get a commission.
It's a win-win situation for everybody – you get to make a living from writing about what you love, the company gets the product promoted and the customer buys the product at the same, normal price, but with extra information.
How to Learn Affiliate Marketing
Affiliate marketing is an art form and many people try it without success. So the question, How to learn Affiliate Marketing and succeed is a really important one to ask yourself.
The answer is, don't do things by halves. Throw yourself into it and roll up your sleeves, ready to learn. Find the place where you can learn and get support and trust 100%.
Avoid Affiliate Marketing Scams – Check them out First
When you want to start and you find a site offering you a glorious future online, it's pretty easy to get swept away with the enthusiasm of the moment and find yourself signing up to an expensive affiliate marketing scam.
Check everything out on Google thoroughly before you get in too deep with any program.
The first program I found was The Six Figure Mentors, created by Stuart Ross and Jay Kubassek. I got really excited. I mean I could fall in love with the whole concept that was being sold to me. That was until I checked it out . . .
They have tons of videos and pretty soon I was convinced I could make heaps of money online . . . which of course, I can.
The videos are well presented, interesting and convincing. He's got a nice-to-listen-to, I'm-a-genuine-honest-type-of-guy voice. I became totally inspired to join them; I was ready to go. But first I went to Google to do my research.
Before paying for anything on the internet, do your research. Double check – and check again. What you see is not always what you get.
So I Googled Six Figure Mentors extensively and what I found was so disappointing that I felt I'd been a bit cheated. They'd offered me the 'free' membership followed by a monthly fee of $29. And I thought that sounded doable.
However, that turned out to be completely untrue.
Affiliate Marketing Programs are Not Always What They Seem
I was so shocked. When you listen to Stuart Ross telling you how successful you can be, it's easy to fall in love with his sincerity and the dream of your success. And yet the truth behind it is that after paying $29 per month you then have to upgrade to a one off payment of $297 plus $97 monthly if you want to access the material.
That's serious money and completely obscured in their advertising.
Here's is a breakdown of their charges at the time of writing this article: $29.95 starter monthly fee followed by $297 one-off payment for the basic membership plus $97 per month. Once you're a member there are also other products which you can only access if you pay more for, including but not limited to the Digital Experts Academy: $2.500 for Silver, $8.000 Gold, $11.000 platinum and $20.000 for Black
So What's Next in How to Learn Affiliate Marketing?
I was pretty disappointed but I didn't give up my search and the next place I came across (luckily for me) was Wealthy Affiliate.
The name Wealthy Affiliate sounded a bit like another get-rich-quick scheme to me, so I was sceptical at first. I read all the reviews I could find but I didn't find any serious negative ones. And that's when I decided to give it a try with the free membership and that I really had nothing to lose by giving it a go.
So I signed up for the free account and within moments of being inside I was inspired. I set about doing the level-one training and soon had my first website up and running.
And this was meeee who knew nothing about anything before!
For me, Wealthy Affiliate is the best place to be. That's my secret which isn't so secret. WA is a community where you can learn and learn, and learn some more.
And if you sign up for premium membership you'll only pay one membership fee – no surprises, no upgrades, no extra payments to access the materials.
It's been a life-changer for me.
Click Below to Join Me at Wealthy Affiliate for Free and Start Your Own Niche Website!
Because the education is intensive, you learn loads in one week and before the week was out I already knew that I wanted to sign up for the Premium membership, so I took advantage of the first discount and my first paying month cost me $19 . . . and then I signed up for the year because I knew this was what I'd been looking for.
Setting up a business online is the only business you can start with such a small amount of investment. So learning how to work online shouldn't cost you heaps of money.
You'll have to pay something of course, because you'll need a website, which will need a domain name and a host. But those costs are minimal compared to any other 'real' business set-up costs.
Getting Down to Working Online
Working online is still work. You have to keep up with your responsibilities, set yourself deadlines, put in the time.
One major difference between working online or working in a physical job is that you can always tweak things to get better results. So if you don't get a good ranking with a post, analyse why and make the necessary changes. Persevere and you'll see the differences in your outcome.
It's very empowering to know that you're in control of your own life. Not just because you're your own boss, but because when you work online, if you don't get the results you're after, you can always do something about it.
Steps to Working Online and What You Need to Achieve:
- Domain name
- Niche website
- Useful & interesting content
- Traffic
- Conversions
- Results
So you see, if you aren't getting results you'll go back to the other points and analyse them, tweak them and improve them. It's a chain result of the building blocks that went before.
Remember, when you're writing your content, the goal is to offer useful and interesting information. Not to sell something. I'm not selling anything except my experience. And I'm giving that for free.
As an online marketer your day will be full. There's always work to do. Always more content to write. Here's a brief breakdown of what your virtual desk will hold for you when you work online:
Daily Online Work:
- Check and answer all comments and emails.
- Research new keywords and articles.
- Check out affiliate programmes for new topics.
- Research all products that you're going to promote.
- Keep updating posts.
- Write new content for new posts.
- Design the layout and add images to new posts.
- Publish posts, check links work, proof read and edit if necessary.
- Search for information to improve your knowledge on any areas of SEO web building etc.
- Keep up to date and informed on Google and other search engines.
- Be active on relevant social media sites.
This can become an all-day occupation but the upside is that as long as you put in the time, you can work any hours you like from wherever you like.
Set yourself a structure for the day. You should be posting to your website regularly. Once the skeleton website has been built and you have your fixed pages in place, choose how often you can post and try to stick to it.
You should aim to be consistent, as this will help boost your Google rank and the best would be to post every day. Recommended would be 2-3 times a week. You might work for hours and hours but if you enjoy the work, who minds?
I have two other sites you can visit me on; Love Positive Thinking and Love Vegetarian Life.
Good luck with your new venture. All I ask is that if you have any thoughts please leave me a comment and let me know how you get on.


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One month to go!
Some of me is happy about that, some isn't. Practically speaking, we are ready. We finished our Bradley class, got our child/infant CPR certification last weekend, made our birth plan and poster, received the birth kit and gotten the rest of our supplies ready. Clothes and diapers are washed, the freezer is getting full (although I have a few more meals to make) and I'm almost out of craft projects. We still need to re-install the car seat (we already installed it to make sure it worked in our car but took it out since it was so big), make a rice sock and get the ingredients for labor-aid ready but considering I could do all that in about 30 minutes, I'm not worried.
Emotionally, I'm getting there. Until last week, I wavered between "I'm so excited, the baby is almost here!" to "Ack, everything is going to change. I don't like change! I'm not ready for this!" But I'm pretty quickly getting over that.
Why the big switch? Mostly because I'm way more physically uncomfortable now. It seemed like one second I was fine, now I'm not. Nigel has apparently grown big enough that the last remaining space my stomach has is used up now and I feel nauseous most of the time. It's also gotten to the point where I can't stay in the same position for very long but it is difficult to shift without pulling something. Once I stand up for any reason, I go ahead and go to the bathroom because chances are I'll need to some time in the next 30 minutes and once I've sat down on floor (if I'm being good) or the couch (if I'm being bad), it takes way too much energy to get up again. I can't breathe very well (don't tell, but I had to fake breathe into my dummy during the CPR class when the instructor wasn't watching, it's hard enough breathing for two let alone three) and while I used to think baby hiccups were cute, they are now getting to be kinda irritating. It's nice to know Nigel's diaphragm is getting lots of practice but enough is enough already. I'm ready to meet and hold Nigel and more importantly, let Craig do some carrying and holding for a change.
So basically, everything is just how it should be and I am thankful for that. I figure it's all part of nature's plan. I'm still a bit nervous about labor but right about 40 weeks I''m sure I'll be reaching the point where I don't care if wild horses have to drag this kid out of me, I do not want to be pregnant any longer. Until then, I'll be here. Waiting.
4 comments :
Wait, why are you supposed to be sitting on the floor instead of the couch? That just seems mean.ReplyDelete
The last month is definitely the longest part of pregnancy. Hang in there! Nigel will be here soon and you'll forget most (I can't promise "all") of the discomforts of late pregnancy and labor.ReplyDelete
The Bradley method likes to have you sit on the floor, especially in tailor (indian) style because it strenghtens and stretches your muscles and helps the uterus/baby stay in the correct position, preventing a posterior birth. From what I have heard, you really don't want a posterior birth (when the baby is facing your front and not your back) since it causes a lot more back pain.ReplyDelete
It never really want to do it but once I get down there, it's actually pretty comfortable. I also recently got a birth ball and I think that is my favorite place to sit, except that it is never in the room I want it in and I'm normally too lazy to go get it.


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Dinacharya Now – Current state of your routine
You've figured out what your dosha super powers are. Its time to figure out what you actually do right now. What is the state of your dinacharya now?
If you don't know what your superpower and kryptonite is based on your dosha please start here: How to get into your Dinacharya.
Where do daily activities come from?
I've discovered that each of us do what we do based on several outer influences rather than internal influences.
- Family training
- Social training
- Government training
- School training / self taught books
- ??? just is that way.
These influences are mostly unconscious and have entered into our daily routines without our conscious agreement or permission.
The first step in creating a conscious dinacharya is to get these unconscious and sometimes conscious habits out in front.
- Get out a piece of paper,
- Very quickly write down everything you do or think you do from the moment you wake up until the moment you go to sleep.
I used a mind map to help me pull out what can be done during the course of a day.
(You can print out the mind map by clicking on the image)
To help jog your memory here is a list of activities you may have:
This list is in no particular order
- brush teeth
- make bed
- drink coffee
- eat breakfast
- take vitamins/meds
- Eat (Breakfast Lunch Dinner Snack late night snack)
- exercise
- facebook time / internet time
- entertainment
- enjoy company of …
- homework
- travel/commute
- work
- bathe
- cook
- pray
- meditate
- pray
please, please please…
no judgements, no dreams of what should be, could be or would be.
No remembering of what you did when you where young, in school, with family do not pull in the past.
Just write down what is now.
Breathe, Relax, Have Tea
Once you've written down everything you do its time to have some tea.
You just pulled habits and unconscious behavior on to a platform where you can see them. The next step is to track what you are doing for a week.
I like tracking what I do in a bullet journal. My bullet journal is a whole other topic. However within the bullet journal is a page I created to help me keep track of habits I currently have.
You can create something like this based on your mind map or list you created. You can also get as detailed as you like. The idea is to track what you do and days you do it.
Some more advice for each of the dosha-s:
Vata: Stay focused. You can make this as pretty and creative as you want. Give yourself a short deadline to complete this exercise. Stay away from the future.
Pitta: Try to keep this simple. Your details of everything you do is not necessary. Stay in the present and out of perfection.
Kapha: Start tracking today. Give yourself permission to start tracking without delay. Try to stay out of the past. There is no need to purchase materials to create a tracker. You can fill out the details as you go.
Next Post in this series:
Dinacharya: Know WHEN you are in Time
Can you conquer the food log on your own? Show me how you do it.
Please comment below.


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Acquia, the enterprise guide to Drupal Acquia empowers enterprises with the open-source social publishing system Drupal. Co-founded by Drupal's creator in 2007, Acquia helps customers manage their growth and scale their online properties with confidence. Acquia's products, cloud infrastructure, and support enable companies to realize the full power of Drupal while minimizing risk, as it's done for nearly 1,500 enterprise customers including Twitter, Al Jazeera, Turner, Intuit, World Economic Forum, Stanford University, New York Senate and NPR. See who's using Drupal at http://showcase.acquia.com, and for more information please visit www.acquia.com or call 888-9-ACQUIA.
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Bus from Bangalore to Munirabad
A convenient mode of travel while commuting from Bangalore to Munirabad is by taking a bus. The time taken to complete the bus journey is dependent on traffic, roads and climatic conditions.The bus companies adopt safety measures while running their buses from Bangalore and Munirabad. The smooth availability of bus service creates travel convenience for many people travelling from Bangalore to Munirabad.
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