How many "bodies" does a queen have? What is the significance of multiple "bodies"? How has the gendered body been constructed and perceived within the context of the European courts during the course of the past five centuries? These are some of the questions addressed in this anthology, a contribution to the ongoing debate provoked by Ernst H. Kantorowicz in his seminal work from 1957, The King's Two Bodies. On the basis of both textual self-presentations and visual representations a gradual transformation of the queen appears: A sacred/providential figure in medieval and early modern period, an ideal bourgeois wife during the late-18th and 19th Centuries, and a star-like (re-) presentation of royalty during the past century. Twentieth-century mass media has produced the celebrity and film star queens personified by the contested and enigmatic Nefertiti of ancient Egypt, the mysterious Elizabeth (Sisi) of Austria, Grace Kelly as Queen of both Hollywood and Monaco and Romy Schneider as the invented Empress.

How many "bodies" does a queen have? What is the significance of multiple "bodies"? How has the gendered body been constructed and perceived within the context of the European courts during the course of the past five centuries? These are some of the questions addressed in this anthology, a contribution to the ongoing debate provoked by Ernst H. Kantorowicz in his seminal work from 1957, The King's Two Bodies. On the basis of both textual self-presentations and visual representations a gradual transformation of the queen appears: A sacred/providential figure in medieval and early modern period, an ideal bourgeois wife during the late-18th and 19th Centuries, and a star-like (re-) presentation of royalty during the past century. Twentieth-century mass media has produced the celebrity and film star queens personified by the contested and enigmatic Nefertiti of ancient Egypt, the mysterious Elizabeth (Sisi) of Austria, Grace Kelly as Queen of both Hollywood and Monaco and Romy Schneider as the invented Empress.

The rural village of nineteenth century Europe was caught in a conflict between its traditional local culture and its integration into new state institutions and modern social structures. Local practices were turned into crimes; the social meaning of crime within the village culture was redefined by the introduction of bourgeois penal law and psychiatry. The language of the intruding agencies has created, through a wealth of written documentation, an image of village life for the outside world. Criminal investigations, however, had to be based on interrogations of the villagers themselves, and it was through this questioning process that their own views, language, and symbolic gestures went on record. In this book, first published in 1994, Schulte provides an interpretation of village power structures, gender relations, and generational rites of passage in Upper-Bavaria through a close examination of the proceedings before the penal courts of Upper-Bavaria for the three most important types of rural crime: arson, infanticide, and poaching.