Rather, Chantal Thomas presents the history of the verbal and visual representations of Marie-Antoinette, the history of her mythification. Almost as soon as Marie-Antoinette, archduchess of Austria, was brought to France in 1771 as the bride of Louis XVI, she was smothered in images.In a monarchy increasingly under assault, the charm and horror of her feminine body and her destructive political power as a foreign intruder turned Marie-Antoinette into an alien other -- the bestial "arch-tigress of Austria." Working as a historian and writing like a novelist, Thomas reveals how Marie-Antoinette came to symbolize the marginalization and negation of women in French society before the French Revolution.In a series of pamphlets written between the 1770s and her death in 1793, Marie-Antoinette was portrayed as a frivolous and extravagant spendthrift and lesbian, an incestuous and bloodthirsty libertine, a poisoner and infant murderess. "Through her wickedness," writes Thomas, "she caused the Revolution."In her analyses of these anonymous pamphlets, seven of which are included here in translation for the first time, Thomas reconstructs how the pamphleteers' mounting hallucinatory and libelous discourse culminated in the inevitable and physical destruction of what had become the counterrevolutionary symbol par excellence. The Wicked Queen exposes the complex and complicated history and power of an image, the elaborate process by which the myth of Marie-Antoinette emerged as a crucial element in the successful staging of the French Revolution.

    The year was 1832 and the French royal family was in exile, driven out by yet another revolution. From a drafty Scottish castle, the duchesse de Berry -- the mother of the eleven-year-old heir to the throne -- hatched a plot to restore the Bourbon dynasty. For months, she commanded a guerilla army and evaded capture by disguising herself as a man. But soon she was betrayed by her trusted advisor, Simon Deutz, the son of France's Chief Rabbi. The betrayal became a cause célèbre for Bourbon loyalists and ignited a firestorm of hate against France's Jews. By blaming an entire people for the actions of a single man, the duchess's supporters set the terms for the century of antisemitism that followed. Brimming with intrigue and lush detail, The Betrayal of the Duchess is the riveting story of a high-spirited woman, the charming but volatile young man who double-crossed her, and the birth of one of the modern world's most deadly forms of hatred.

    As wife of Louis XVI of France she was first feted and adored and then universally hated as tales of her dissipated lifestyle and extravagance pulled the already discredited monarchy into a maelstrom of revolution, disaster and tragedy.This illustrated first biography by historian and writer Melanie Clegg takes a fresh look at the story of this most fascinating and misunderstood of queens, exploring her personal tribulations as well as the series of disasters that brought her to the guillotine in October 1793.Melanie Clegg is the author of five historical novels and is also a regular contributor to Majesty magazine and her own women's history blog Madame Guillotine. Her second biography, a life of Marie de Guise, is due to be published by Pen and Sword Books in 2016.

    This text turns aside from the official portraits and great historical events to rediscover the private places and objects that reflect Marie Antoinettes personality and reveal her more directly to our modern gaze.

    Even in the darkest moments of Occupation, glamour was ever present. French women wore lipstick. Why?It was women who came face to face with the German conquerors on a daily basis – perhaps selling them clothes or travelling alongside them on the metro, where a German soldier had priority over seats. By looking at collaborators to resisters, actresses and prostitutes, as well as teachers and writers, including American women and Nazi wives, spies, mothers, mistresses, fashion and jewellery designers – Anne Sebba shows that women made life-and-death decisions every day, and, in an atmosphere where sex became currency, often did whatever they needed to survive. Her fascinating cast includes both native Parisian women and those living in Paris temporarily: American women and Nazi wives, spies, mothers, mistresses, and fashion and jewellery designers. Some like the heiress Béatrice Camondo or novelist Irène Némirovsky, converted to Catholicism; others like lesbian racing driver Violette Morris embraced the Nazi philosophy; only a handful, like Coco Chanel, retreated to the Ritz with a German lover.In enthralling detail Sebba explores the aftershock of the Second World War. How did women who survived to see the Liberation of Paris come to terms with their actions and those of others? Although politics lies at its heart, Les Parisiennes is the first in-depth account of the everyday lives of women and young girls in this most feminine of cities.

    Coco Chanel and Elsa Schiaparelli are fighting for recognition as the most successful and influential fashion designer in France, and their rivalry is already legendary. They oppose each other at every turn, in both their politics and their designs: Chanel's are classic, elegant, and practical; Schiaparelli's bold, experimental, and surreal.When Lily Sutter, a recently widowed young American teacher, visits her brother, Charlie, in Paris, he insists on buying her a couture dress--a Chanel. Lily, however, prefers a Schiaparelli. Charlie's beautiful and socially prominent girlfriend soon begins wearing Schiaparelli's designs as well, and much of Paris follows in her footsteps.Schiaparelli offers budding artist Lily a job at her store, and Lily finds herself increasingly involved with Schiaparelli and Chanel's personal war. Their fierce competition reaches new and dangerous heights as the Nazis and the looming threat of World War II bear down on Paris.

    When Toussaint-Augustin Gouffé entered 3, rue Tronson du Coudray, he expected nothing but a delightful assignation with the comely young Gabrielle Bompard. Instead, he was murdered—hanged!—by her and her companion Michel Eyraud. The body was then stuffed in a trunk and dumped on a riverbank near Lyon.As the inquiry into the guilt or innocence of the woman the French tabloids dubbed the "Little Demon" escalated, the most respected minds in France debated whether Gabrielle Bompard was the pawn of her mesmerizing lover or simply a coldly calculating murderess. And, at the burning center of it all: Could hypnosis force people to commit crimes against their will?

    But as the tide of revolution rises, women from gilded salons to the streets of Paris decide otherwise—upending a world order that has long oppressed them.Blue-blooded Sophie de Grouchy believes in democracy, education, and equal rights for women, and marries the only man in Paris who agrees. Emboldened to fight the injustices of King Louis XVI, Sophie aims to prove that an educated populace can govern itself--but one of her students, fruit-seller Louise Audu, is hungrier for bread and vengeance than learning. When the Bastille falls and Louise leads a women’s march to Versailles, the monarchy is forced to bend, but not without a fight. The king’s pious sister Princess Elisabeth takes a stand to defend her brother, spirit her family to safety, and restore the old order, even at the risk of her head.But when fanatics use the newspapers to twist the revolution’s ideals into a new tyranny, even the women who toppled the monarchy are threatened by the guillotine. Putting her faith in the pen, brilliant political wife Manon Roland tries to write a way out of France’s blood-soaked Reign of Terror while pike-bearing Pauline Leon and steely Charlotte Corday embrace violence as the only way to save the nation. With justice corrupted by revenge, all the women must make impossible choices to survive--unless unlikely heroine and courtesan’s daughter Emilie de Sainte-Amaranthe can sway the man who controls France’s fate: the fearsome Robespierre.

    At its heart are the three Cartier brothers whose motto was "Never copy, only create".Francesca Cartier Brickell, whose great-grandfather was the youngest of the brothers, has traveled the world researching her family's history, tracking down those connected with her ancestors and discovering long-lost pieces of the puzzle along the way. Now she reveals never-before-told dramas, romances, intrigues, betrayals, and more.

    Yet there was an innocence about Antoinette, thrust as a child into the chillingly formal French court.Married to the maladroit, ill-mannered Dauphin, Antoinette found pleasure in costly entertainments and garments. She spent lavishly while her overtaxed and increasingly hostile subjects blamed her for France's plight. In time Antoinette matured into a courageous Queen, and when their enemies finally closed in, Antoinette followed her inept husband to the guillotine in one last act of bravery.In To the Scaffold, Carolly Erickson provides an estimation of a lost Queen that is psychologically acute, richly detailed, and deeply moving.

    To many people, she is still 'la reine méchante', whose extravagance and frivolity helped to bring down the French monarchy; her indifference to popular suffering epitomised by the (apocryphal) words: 'let them eat cake'. Others are equally passionate in her defence: to them, she is a victim of misogyny.Antonia Fraser examines her influence over the king, Louis XVI, the accusations and sexual slurs made against her, her patronage of the arts which enhanced French cultural life, her imprisonment, the death threats made against her, rumours of lesbian affairs, her trial (during which her young son was forced to testify to sexual abuse by his mother) and her eventual execution by guillotine in 1793.

    It was also known as the waiting room for the guillotine because prisoners only spent a day or two here before their conviction and subsequent execution. The ex-queen surely knew her days were numbered, but she could never have known that two and a half months would pass before she would finally stand trial and be convicted of the most ungodly charges. Will Bashor traces the final days of the prisoner registered only as Widow Capet, No. 280, a time that was a cruel mixture of grandeur, humiliation, and terror. Marie Antoinette s reign amidst the splendors of the court of Versailles is a familiar story, but her final imprisonment in a fetid, dank dungeon is a little-known coda to a once-charmed life. Her seventy-six days in this terrifying prison can only be described as the darkest and most horrific of the fallen queen s life, vividly recaptured in this richly researched history."

    Her sister-in-law Fredegund started out as a lowly palace slave. And yet—in the 6th-century Merovingian Empire, where women were excluded from noble succession and royal politics was a blood sport—these two iron-willed strategists reigned over vast realms for decades, changing the face of Europe.The two queens commanded armies and negotiated with kings and popes. They formed coalitions and broke them, mothered children and lost them. They fought a years-long civil war—against each other. With ingenuity and skill, they battled to stay alive in the game of statecraft, and in the process laid the foundations of what would one day be Charlemagne’s empire. Yet after Brunhild and Fredegund’s deaths—one gentle, the other horrific—their stories were rewritten, their names consigned to slander and legend.In The Dark Queens, award-winning writer Shelley Puhak sets the record straight. She resurrects two very real women in all their complexity, painting a richly detailed portrait of an unfamiliar time and striking at the roots of some of our culture’s stubbornest myths about female power. The Dark Queens offers proof that the relationships between women can transform the world.

    The popular image of the Regency continues to be mythologized by the hundreds of romance novels set in the period, which focus almost exclusively on wealthy, white, Christian members of the upper classes.But there are hundreds of fascinating women who don't fit history books limited perception of what was historically accurate for early 19th century England. Women like Dido Elizabeth Belle, whose mother was a slave but was raised by her white father's family in England, Caroline Herschel, who acted as her brother's assistant as he hunted the heavens for comets, and ended up discovering eight on her own, Anne Lister, who lived on her own terms with her common-law wife at Shibden Hall, and Judith Montefiore, a Jewish woman who wrote the first English language Kosher cookbook.As one of the owners of the successful romance-only bookstore The Ripped Bodice, Bea Koch has had a front row seat to controversies surrounding what is accepted as "historically accurate" for the wildly popular Regency period. Following in the popular footsteps of books like Ann Shen's Bad Girls Throughout History, Koch takes the Regency, one of the most loved and idealized historical time periods and a huge inspiration for American pop culture, and reveals the independent-minded, standard-breaking real historical women who lived life on their terms. She also examines broader questions of culture in chapters that focus on the LGBTQ and Jewish communities, the lives of women of color in the Regency, and women who broke barriers in fields like astronomy and paleontology. In Mad and Bad, we look beyond popular perception of the Regency into the even more vibrant, diverse, and fascinating historical truth.

    These women infiltrated the all-male domain of Disney Studios and used early technologies to create the rich artwork and iconic storylines that would reach millions of viewers across generations. Over the decades--while battling sexism, domestic abuse, and workplace harassment--these women also fought to influence the way female characters are depicted to young audiences.Based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation tells the story of their vital contribution to Disney's golden age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film.