Dorota Vargová
I'm a postgraduate researcher at the Institute for Habsburg and Balkan Studies at the Austrian Academy of Sciences in Vienna.
After having completed my project cooperation with Mihailo St. Popović at the Institute for Medieval Research, I've analysed late 18th century French manuscripts as a co-worker on the project "The "Blind Duke". The Revolutionary Career of Louis Engelbert of Arenberg Between the Habsburg, Holy Roman, and Napoleonic Empires" under William D. Godsey.
I currently prepare my doctoral thesis at the University of Vienna, "The Dynamic of Action of the Duke and the Duchess of Marlborough in the Context of the English Socio-Political Landscape of the Early 18th Century" under the supervision of Katrin Keller.
After having completed my project cooperation with Mihailo St. Popović at the Institute for Medieval Research, I've analysed late 18th century French manuscripts as a co-worker on the project "The "Blind Duke". The Revolutionary Career of Louis Engelbert of Arenberg Between the Habsburg, Holy Roman, and Napoleonic Empires" under William D. Godsey.
I currently prepare my doctoral thesis at the University of Vienna, "The Dynamic of Action of the Duke and the Duchess of Marlborough in the Context of the English Socio-Political Landscape of the Early 18th Century" under the supervision of Katrin Keller.
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However, the husband and wife maintained active written communication with each other regarding their official governmental and courtly capacities. It is the peculiar dynamic of their actions as a spatially separated couple which is the main issue of this paper.
Although they have been the subjects of numerous military studies and biographical works, the Duke and the Duchess of Marlborough still represent an unexplored matter which requires research with a new well-established theoretical and methodological approach and broad critical analysis. From the actor-centred perspective and on the basis of modern principles of gender and cultural history, this paper critically examines the partly preconceived perceptions of the ducal couple and discusses the previously unconsidered aspects of their political agency. Based on the speaker’s consultation of the vast original correspondence of the Marlborough family in several archival collections, this paper focuses on the Duke’s and the Duchess’s mutual gender relationship and the dynamic of their actions as a married couple in communication with the English centres of power of the early 18th century.
With regard to the biased images of the Duchess, which were publicly disseminated through these pamphlets, this paper focuses on three questions: What are the diverse features of Sarah’s manifold character outlined in these works? Further, what moral principles do the satirical narratives follow and how do they shift between the characters and theirs actions? Finally, how are the several preconceived images in the narratives shaped by contemporary gender bias?
However, the husband and wife maintained active written communication with each other regarding their official governmental and courtly capacities. It is the peculiar dynamic of their actions as a spatially separated couple which is the main issue of this paper.
Although they have been the subjects of numerous military studies and biographical works, the Duke and the Duchess of Marlborough still represent an unexplored matter which requires research with a new well-established theoretical and methodological approach and broad critical analysis. From the actor-centred perspective and on the basis of modern principles of gender and cultural history, this paper critically examines the partly preconceived perceptions of the ducal couple and discusses the previously unconsidered aspects of their political agency. Based on the speaker’s consultation of the vast original correspondence of the Marlborough family in several archival collections, this paper focuses on the Duke’s and the Duchess’s mutual gender relationship and the dynamic of their actions as a married couple in communication with the English centres of power of the early 18th century.
With regard to the biased images of the Duchess, which were publicly disseminated through these pamphlets, this paper focuses on three questions: What are the diverse features of Sarah’s manifold character outlined in these works? Further, what moral principles do the satirical narratives follow and how do they shift between the characters and theirs actions? Finally, how are the several preconceived images in the narratives shaped by contemporary gender bias?