According to Salzman, Man erases some of the sexual-political resonance of the text to focus on the potential for the heroine to regenerate and re-order the kingdom through her loyalty and subordination to male
monarchic power, rather than her own ingenuity, which is stressed in Barclay's original.
But Laguna's approach allows for the treatment of significant issues, some of them well worn (Don Quijote asa critique of decadent
monarchic pretensions), some suggestively novel (El coloquio de los perros and the representational logic of Northern still-lifes).
The authority doesn't intend to impose an unannounced
monarchic system of governance as some politicians speak about frequently.
The rise of Constantine as a
monarchic, Christian ruler prompted Christians to consider both the emperor's relationship to God and the relationship between God the Father and God the Son.
He is also wary of theatrical metaphors for political power, parliamentary or
monarchic; not least because his argument is that the public theatre poses a temporary but radical alternative to political representation.
There is a widespread impression that the Monarchomaques were deeply anti-royalist, critics of the practice, indeed the very idea, of
monarchic authority.
There are four forms of mental self-government:
monarchic, hierarchic, oligarchic, and anarchic (Sternberg, 1997).
In the context of the Kingdom proclamation, at March 14th/26th 1881, was necessary the strengthening of the prestige of the
monarchic dynasty, without being in any way affected the external one.
The pirates speak in
monarchic tones, as "Lords/ Nay Kings at Sea" (qtd.
The second dimension of the mental self-government theory includes four forms:
monarchic, hierarchic, oligarchic, and anarchic.
And yet despite these cultural and social incursions on individual liberty and creativity, "the 1920s," says one academic at the AUB conference, "were the beginning of feminist consciousness." Indeed, the documentary seems geared towards the idea that with the end of
monarchic rule at the hands of the Egyptian revolutionaries in 1952, a cultural and artistic renaissance was in store for the Egyptian cinema industry, which survived as unsettling a shift as the nationalization of studios and production companies.
These essays explore the common theme among these strikingly different characters: an unswerving loyalty to the idea that moving away from
monarchic ideals for the sake of the emergent republic was not only just but essential.
