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This chapter focuses on France, where both James’s Oath of Allegiance and Bellarmine’s theory were vivaciously and dramatically debated, especially after the assassination of King Henri IV by a Catholic fanatic and supporter of the Jesuits in 1610. The first section of this chapter offers an overview of the issues at stake by exploring the link between Papal authority, tyrannicide, and the doctrine of Papal deposition of heretical princes. A second section shows how Bellarmine’ theories were at the forefront of a crucial political debate involving Rome, London, and Paris by analyzing the reaction of the Parlement to Bellarmine’s theory. Another section of this chapter illustrates the significance of Bellarmine’s theory in another, parallel, debate, involving the role and nature of the Catholic Church in France, the relationship between the French Gallican tradition and the Roman centralizing tendencies, the political and ecclesiological force of Conciliarist theories. More specifically, this section will examine closely the theological debate within the Sorbonne between Edmond Richer and André Duval.

This particular attempt at imagining a site of memory made of words may appear irreverent at first, but it has been crafted as an homage to a formidable woman: Jeanne Duval. I have taken the liberty of fictionalizing a first-person narrator who will talk about ‘herself’, at the risk of usurping her voice and her identity. Jeanne (whose name was or was not Duval) was a woman of colour and she had a long-term turbulent relationship with the enfant terrible of French nineteenth-century poetry, Charles Baudelaire. As a result, historical accounts both magnify and marginalize her. Trying to do justice to a historical character who was so much more than a muse but may not have been happy to embrace the role of exemplary black foremother, this text puts together the numerous and often incompatible portraits of Jeanne Duval. She appears and disappears in biographies (Emmanuel Richon), novels (Fabienne Pasquet), short stories (Angela Carter), academic studies (Claude Pichois). She is both present and absent, celebrated and erased in the so-called ‘Black Venus cycle’ of Baudelaire’s Flower of Evil as well as in paintings by Edouard Manet (Baudelaire’s Mistress, Reclining) and Gustave Courbet (The Painter’s Studio). The objective was to question the process of memorialization that might silence or appropriate her instead of providing her with a safe space of memory. It remains to be seen to what extent Jeanne is here celebrated or betrayed.

This chapter presents an interview with Robin Duval. One of the difficulties with the British Board of Film Classification (BBFC) throughout a large part of its history was that it left an awfully large space available for newspapers and others who were hostile to the Board to fill in their own interpretations. It is asked whether the Video Recordings Act simply mistake offensiveness for harmfulness. The only way in which to deal with films fairly is to start from first principles in terms of the way things are now. It is suspected that the ‘gentleman's agreement’ has been comprehensively forgotten by the Crown Prosecution Service. The chapter also mentions that the ‘R18’ affair had long been a running sore for the BBFC.

This chapter describes Colette Willy's marriage to Henri Gauthier-Villars (“Willy”); her affair with married American woman Georgie Raoul-Duval; the publication of books about her adolescent adventures under Willy's name; and her toning of her physical body in preparation for the stage.

Chapter 1 introduces the magazine, which was Duval’s primary site of publication, and her place within it. Themes that emerge affecting her work relate to the serial publication of the magazine and its political orientation, and the way in which Duval’s work was juxtaposed with the contributions of others, notably the cartoonist of the main ‘cut’ (the illustration with the highest status), William Boucher. The chapter emphasises the innovative nature not only of Judy but also of Duval’s role within the magazine and, by extension, her role in developing cartooning itself.

Chapter 2 considers how Duval subverted the established nineteenth-century idea that employment was masculine and brutalising by inhabiting and then manipulating the gap between supported middle-class women and working-class women manual and service workers. It suggests that her stage career allowed her to develop complex metaphors in print, highlighting the mutability of gender and significance of clothing. Duval emerges as a flâneuse wandering through the pages of the popular publications of her time.

Chapter 3 traces Duval’s stage performances, from pantomimes to romantic dramas and burlesque, using the sparse available evidence, and relates known events in her life to specific drawings she made. Her highs and lows in Ross productions, and her use of stock characters, were inspirations for her Judy strips and cartoons, though less than 5 per cent are explicitly theatre-based.

Chapter 4 examines Duval’s only children’s book, with particular reference to its relationship to Edward Lear’s nonsense verse, other influences on its content and its contemporary reception. The book’s lavish production values point to a high point in her career, and its mode of address to a willingness to experiment.

Chapter 5 considers the nature of the journalistic workplace Duval found herself in, including an analysis of the processes of periodical publishing in general. It focuses on wood-block engraving technology and the role of the journalist in the publishing industry in particular. This allows for reflections on the significance of gender and class in nineteenth-century employment.

Chapter 6 describes the conditions in which Duval’s drawings were drawn, produced and read. It navigates Duval’s contemporaries, who had a critical stance on her work despite its clear popular appeal, defining her work in a very subtle way as ‘vulgar’. The chapter goes on to demonstrate the complex nature of Duval’s comic achievement, through a close examination of her parodies of various artworks displayed at The Royal Academy Summer Exhibitions of 1880 and 1876.

Chapter 7 introduces the influences that may have impinged on Duval as an actor and therefore informed her drawing, including nineteenth-century performance theory and rehearsal practices as revealed through contemporary actor diaries. The chapter concludes with some thoughts on how Duval’s apparently spontaneous style may relate to current notions of drawing as performance.

Chapter 8 examines the theatre influence on Duval’s output, by noticing models other than academic drawing arising from the visual tropes of theatre spectacle. Examples of stage mechanics and human athleticism are explored for clues to her depiction of movement and novelty.

Chapter 9 considers Duval’s role in the developing canon of women artists and writers, and her connections with ‘serio-comic’ modes of female performance. An extensive survey of her strips and cartoons reveals indications of her attitudes to gender and politics, initiating a discussion of her work as potentially proto-feminist.

This chapter discusses the case of Marin le Marcis. Jacques Duval was brought in to examine Marin after he and his partner were arrested and sentenced to death for alleged sodomy. The trials of Marin represent the first well-documented case of intersex individuals taken for the purpose of legally defining their gender. Duval's treatise on hermaphroditism is a material questioning the distinction between biological sex and binary gender. The defendant and Duval use established medical and linguistic discourses concerning gender designation in order to legitimize Marin's choice. The chapter highlights Duval's studies of sex using Ambroise Paré as a model.

This chapter focuses on cases involving First Amendment, abortion rights, and employment discrimination cases that came before the Middle District of Florida from 1992 to 2000. School prayer is chronicled and analysed. Numerous cases involving the right to abortion are included, especially litigation involving controversial abortion doctor James Scott Pendergraft. A number of important employment discrimination cases such as plaintiff actions against Publix Supermarkets, Winn-Dixie, and Florida Progress are discussed. Next the chapter turns to desegregation litigation from the 1990s to the present. As of 1990 Duval, Hillsborough, Marion, Lee, Polk, Pinellas, and Orange counties were still under court supervision. Various rulings by Middle District judges pushed these counties closer and closer toward unitary status. The chapter discussed the litigation in those counties and concludes with the Duval, Hillsborough, Orange, and Marion school districts achieving unitary status.

This chapter includes an extended narrative and analysis of civil rights with the Middle District of Florida from 1968 to 1976. The federal judicial context during the Nixon-Ford Years is addressed as well as the advent of the Burger court, especially its ruling regarding civil rights, busing, and desegregation, beginning with Swann v. Charlotte-Mecklenburg Board of Education, 1971. Judges’ rulings in desegregation cases in Pinellas, Sarasota, Hillsborough, Lee, Polk, Manatee, and Duval are discussed. Florida elected officials’ (both local and state wide) reactions to these rulings are included. Receiving significant treatment is Governor Claude Kirk’s challenging of the court’s Manatee County School desegregation order and Judge Ben Krentzman’s handing of it—including the Nixon Administration’s finesse of the subject within his campaign for re-election in 1972. The chapter covers Gerald Tjoflat’s appointment by Richard Nixon and his masterful handling of the Duval desegregation plan within months after his being sworn in.