Joanna I

Joanna I,

1326–82, queen of Naples (1343–81), countess of Provence. She was the granddaughter of King Robert of Naples, whom she succeeded with her husband, Andrew of Hungary. The murder (1345) of Andrew at the queen's behest brought the wrath of Andrew's brother, Louis ILouis I
or Louis the Great,
1326–82, king of Hungary (1342–82) and of Poland (1370–82). He succeeded his father, Charles I, in Hungary, and his uncle, Casimir III, in Poland.
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 of Hungary. Louis twice invaded Naples; each time Joanna fled, and in 1352 she made peace with Hungary. Joanna married twice more but remained childless and adopted young Charles of Durazzo (later Charles IIICharles III
(Charles of Durazzo), 1345–86, king of Naples (1381–86) and, as Charles II, of Hungary (1385–86); great-grandson of Charles II of Naples. Adopted as a child by Joanna I of Naples, he later lived at the court of Louis I of Hungary.
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 of Naples) as her heir. When Pope Urban VI, angered by Joanna's support of the antipope Clement VII, urged Charles to dethrone her, she disinherited Charles in favor of Louis of Anjou (see Louis ILouis I,
1339–84, king of Naples (1382–84; rival claimant to Charles III), duke of Anjou, count of Provence, second son of John II of France. He founded the second Angevin line in Naples. As a regent for his nephew, Charles VI of France, he was noted for his rapacity.
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, king of Naples). Charles conquered (1381) Naples, imprisoned the queen, and was granted the kingdom by the pope. Joanna died by Charles's orders. Her successive adoptions caused chronic warfare between the two claimants (continued by their heirs); thus began the decline of French hegemony in Italy.
References in periodicals archive ?
The two women protagonists bear this out: The working-class Maggie thinks only of her private concerns, while the bourgeois Joanna is possessed of visionary racial consciousness.
Then the contrast with staid singing comes through sharply, as Joanna is classically transported by visions of her name in lights:
Having thoroughly conned its intricacies, Joanna is ready to join in:
We should note, though, that Joanna is nevertheless subject to a species of "blaming the victim": The very performance which is her racial duty will be cast increasingly as selfish indulgence.
This is not a dignified, middle-class pursuit, as Joanna is quick to point out, but the novel clearly recognizes its status as a venture in modem publicity, one peculiarly suited to the working-class urban woman.
But even during the time of her estrangement from Peter, when she must face the street alone, Joanna is figured as a racial strategist, plotting how she will get restaurant service in white-dominated midtown, rather than as a feminine victim, buffeted by the unwanted attention of strangers (195).