"The primary ethical issue of both films, however, is the representation of Bothwell as the rugged, uncouth, yet loyal love match for Mary. This choice renders invisible the sexual assault of Mary by Bothwell described by Sir James Melville and the entire historiographic debate regarding the abduction. In the 2013 film, Bothwell and Mary make love following the celebrations of her son, James's christening, as Mary grows to desire Bothwell after seeing his stalwart defense of her interests. Then, John Knox officiates their marriage immediately following the blast at Kirk o'Fields that killed Darnley. There is no intimation whatsoever that Mary was assaulted or that Bothwell only divorced his previous wife (even that he had a previous wife) seven days before his marriage to Mary, or that he increasingly dominated her physically and psychologically over the course of the next few months.
Eliminating these aspects of the historical narrative situates the story as a kind of bodice-ripping romance, but also utterly silences the role of sexual violence in the governance of early modern women's bodies, even if the women happen to be queens. In the 2013 film, as Bothwell and Mary lie in bed for the first time, Mary's voiceover hammers home the romanticization of their relationship: 'Never before has it been like this. I have found something I never dared hope for. I know everyone will turn against me and condemn me. Don't call it sin.' Turning to Bothwell, she then says aloud, 'You may think I am no match for you, but just you wait.' Similarly, the 1971 movie shows the few nights that Mary and Bothwell have together after Darnley's death as a blissful and romantic interlude for both characters. Such silencing of the abusive nature of their relationship, from start to finish, only benefits Bothwell and posits sexual violence as a normative form of romantic sexual relations. In these films, rape is transformed into passion, as what Mary really rants is to be dominated to the point of abuse."
Andrew Bretz, "Imposing Romance," Early Modern Women 10, no. 2 (Spring 2016), 113–114.
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"proper leader"
Getting a roll leaving Bothwell, Ontario is CP Rail train #503 Chicago bound following a meet. The old shed for the roadmasters inspection fairmont speeder now sits unused now that he has a hi-rail pickup. The power is C424 4212 leading Soo Line SD40-2 6620 and a former Southern SD40-2 "B" unit with painted over windows 5477 on March 19, 1994.
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6 reconstructions numériques de châteaux britanniques en ruine
Nouvel article publié sur https://www.2tout2rien.fr/6-reconstructions-numeriques-de-chateaux-britanniques-en-ruine/
6 reconstructions numériques de châteaux britanniques en ruine
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Bothwell Street, Glasgow October 2022 #glasgow #bothwell #street #streetphotography #streetstyle #bnw #bnwphotography #scotland #bothwellstreet #city #cityphotography #mono #monochrome #blackandwhitephotography #blackandwhitephotos #scotlandphotography #scotland_greatshots #scotlandshots #glasgowphotographer #glasgowphotography (at Bothwell Street) https://www.instagram.com/p/CkOl4kfuzrP/?igshid=NGJjMDIxMWI=
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Christina Bothwell: While You Were Sleeping (2007)
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newborn mermaid by christina bothwell
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flickr
"N&W on CN - Bothwell"
Late in the day nearing sunset we find a pair of Norfolk & Western GP9's rolling a Buffalo bound freight along the Canadian National mainline at Bothwell, Ontario - June 3, 1979.
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Christina Bothwell - Little Deer (2021)
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Etel Adnan: Beirut, Paris, New York, California, Kufa Gallery, London, September 26 – October 20, 1990 [Dorr Bothwell papers, 1900-2006, Archives of American Art, Smithsonian Institution, Washington, DC. Rose Issa Projects. © Etel Adnan]
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Christina Bothwell, Awakening, 2021, cast glass, raku ceramic, oil.
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Christina Bothwell's magical glass deer.
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