Josephine Ross – författare

The story of the many suitors of Elizabeth I - one of the most eligible brides in 16th century Europe.From her childhood, overshadowed by the marital upheavals of her father Henry VIII, and the tragic first encounter with courtship, to the fantastical flirtations of her old age, Elizabeth refused to commit herself to any man. During the marriage negotiations, which spanned half a century, romance blended with diplomacy as one illustrious suitor after another endeavoured to ally himself to her in the most intimate of treaties. Sought after by some of the most powerful men in Europe, she knew her marriageable status to be one of her greatest assets. She played one suitor against another, exploiting her situation to the full both for England's profit and her pleasure. By turns she encouraged and eluded her pursuers, keeping alive hopes which she would never fulfil. Yet one man did come close to winning her. Ambitious, devious Robert Dudley, Earl of Leicester, suspected by many of having murdered his wife, was the most persistent of the suitors to the Queen, and though he never attained the prize he longed for, he was dearly loved by Elizabeth all her life. This is a fascinating look at the many suitors of Elizabeth I.

The only best-selling authors in Jane Austen's league in the English language today are Shakespeare and Dickens. In the twenty-first century her boundless appeal continues to grow following the enormously successful television and film adaptations of Mansfield Park, Pride and Prejudice, Emma, Persuasion, and Sense and Sensibility. This illuminating, entertaining, up-to-date companion is the only general guide to Jane Austen, her work, and her world. Josephine Ross explores the literary scene during the time Austen's works first appeared: the books considered classics then, the "horrid novels" and romances, and the grasping publishers. She looks at the architecture and dÉcor of Austen's era that made up "the profusion and elegance of modern taste." Regency houses for instance, Chippendale furniture, and "picturesque scenery." On a smaller scale she answers questions that may baffle modern readers. What, for example, was "hartshorn"? How did Lizzy Bennet "let down" her gown to hide her muddy petticoat? Ross shows us the fashions, and the subtle ways Jane Austen used clothes to express character. Courtship, marriage, adultery, class and "rank," mundane tasks of ordinary life, all appear, as does the wider political and military world. This book will add depth to all readers' enjoyment of Jane Austen, whether confirmed addicts or newcomers wanting to learn about one of the world's most popular and enduring writers.

A Feminist Critique of Police Stops examines the parallels between stop-and-frisk policing and sexual harassment. An expert whose writing, teaching and community outreach centers on the Constitution's limits on police power, Howard Law Professor Josephine Ross, argues that our constitutional rights are a mirage. In reality, we can't say no when police seek to question or search us. Building on feminist principles, Ross demonstrates why the Supreme Court got it wrong when it allowed police to stop, search, and sometimes strip-search people and call it consent. Using a wide range of sources - including her law students' experiences with police, news stories about Eric Garner, and Sandra Bland, social science and the work of James Baldwin - Ross sheds new light on policing. This book should be read by everyone interested in how Court-approved police stops sap everyone's constitutional rights and how this form of policing can be eliminated.

A Feminist Critique of Police Stops examines the parallels between stop-and-frisk policing and sexual harassment. An expert whose writing, teaching and community outreach centers on the Constitution's limits on police power, Howard Law Professor Josephine Ross, argues that our constitutional rights are a mirage. In reality, we can't say no when police seek to question or search us. Building on feminist principles, Ross demonstrates why the Supreme Court got it wrong when it allowed police to stop, search, and sometimes strip-search people and call it consent. Using a wide range of sources - including her law students' experiences with police, news stories about Eric Garner, and Sandra Bland, social science and the work of James Baldwin - Ross sheds new light on policing. This book should be read by everyone interested in how Court-approved police stops sap everyone's constitutional rights and how this form of policing can be eliminated.

It is well established that children recognize themselves in mirrors by the end of infancy, showing awareness of the self as an object in the environment. However, the cognitive impact of objective self-awareness requires further elucidation. This gap in the literature is addressed in a series of 7 experiments exploring the role of self in 3- and 4-year-olds' event memory. A mnemonic bias for self-relevant material has been described in adults. This effect is thought to be based on the organizational properties of a highly elaborated self-concept, and so offers a clear route to study the child's developing sense of self. However, very few studies have investigated the ontogeny of this effect. New evidence is provided to suggest that preschool children, like adults, show a mnemonic advantage for material that has been physically linked with the self through performance of a depicted action (Experiment 1). Moreover, 3- and 4-year olds show a bias for material that has been visually and linguistically processed with the self-image (Experiments 2, 3, 4), and material that has been socio-cognitively linked to the self in terms of ownership (Experiments 5, 6, 7). The data imply that both bottom-up (kinesthetic feedback, self-concept) and top-down (attention) aspects of self reflection may play a supporting role in early event memory, perhaps representing a nascent form of autobiographical processing. Importantly, this research highlights a promising methodology for elucidating the executive role of the self in cognition. Following William James's (1890) influential conception of the self, it seems that in typical development, "I" is primed to remember "me."

How to pay and return formal 'calls'; how to refuse a proposal of marriage; who should lead off the dancing at a country-house ball; what to wear for a morning walk...Today such social niceties are largely ignored or forgotten, but they underpin all of Jane Austen's timeless novels and are explored and dealt with in this highly original book. Written as if intended for Austen's original readers in the Regency era, and illustrated with exquisitely witty watercolours, Jane Austen's Guide to Good Manners is a light-hearted, entertaining and instructive little handbook of etiquette as depicted in Jane's novels and letters. It will not only offer sound wisdom and pearls of advice, but also encourage the modern-day reader to look back at Jane's work with a new and deepened appreciation.

'What a fabulous book - a must for any royal watcher! It's elegant, stylish and gloriously illustrated. I didn't want it to end. I loved the original and innovative approach to the subject, and the new insights I gained. I cannot recommend it highly enough.' Alison Weir'Vogue, like the royal family, has been through many evolutions of its own, and to view Her Majesty's life though the record of our pages is truly a document of history.' - Edward Enninful, Editor-in-Chief of British VogueFive monarchs (crowned and uncrowned); one abdication; one royal investiture; a jewel box of jubilees and many, many royal marriages... British Vogue has borne witness to a century of royal history. As another reign begins, The Crown in Vogue is the magazine's 'special royal salute' to the House of Windsor. Vogue's first star photographer, Cecil Beaton, was entranced by the House of Windsor and the admiration was mutual. A younger star photographer, Antony Armstrong Jones, left Vogue to marry the Queen's sister and returned as Lord Snowdon. The Queen's cousin, Vogue's Lord Lichfield proved an insightful photographer of royal style along with many of Vogue's fashion photographers including Horst, Norman Parkinson and David Bailey. With visual treasures from Vogue's unrivalled archive and contributions through the decades from the most perceptive of royal commentators - from Evelyn Waugh to Zadie Smith - The Crown in Vogue is the definitive, authoritative portrait of Queen Elizabeth II's magnificent reign - and of royalty in the modern age.