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The second explores the perils of collusion. The third follows the Old English into war, and the fourth counts the economic cost of the conflict. ... The final chapter and the epilogue chart the displacement of the Old English by the new men.

mind when considering Henry VII’s reign, such as the role of the government in social and economic regulation. ... The final chapters of the book move on to Henry VIII’s reign, and take a more narrative approach.

No Nation Voide of Myxture’: Representations of Generic and National Mixtures in the Irish Histories of Spenser, Campion, and Hanmer”. ... criticism. This presentation aims to bring them back under critical examination and, perhaps, show the

Economic and Social History. Thursday, 27 October, 5 PM, Lecture Theatre, Trinity Hall. ... The project will focus on the technical examination of paintings in the National Galleries of Scotland collection with the aim of clarifying issues of attribution

giving, owing, debt, and credit that govern broader social, familial, and economic structures of exchange. ... This skipping over is perhaps most severe an issue in the final chapter, which treats ‘Inheritance, Money, Modernity’.

Rückenfigur is part of an (ongoing?) series of neons that riff on national symbolism. ... Instead, I am reminded of the final painting in Cole’s series – Desolation.

Meanwhile, his literary career was initiated at age twenty, no doubt less by artistic inspiration than by the more common motive of economic necessity. ... By Steven W. May. University of Sheffield. [1] Michael Neill, “Ford, John,” Oxford Dictionary

Historiography panel: Space, Geography and Memory’. Early Modern Economic and Social History Seminar. ... The final seminar of the series will be given by Jane Munro, Keeper of Paintings, Drawings and Prints at the Fitzwilliam.

of world economics in the fourteenth century: how the Crusades, the slave trade, ship design, European politics, and the desirable products of the Middle East and beyond[,] all affected the trading ... the final say in matters of belief, and following

One of the major questions motivating this examination asks why does Spenser return to the pastoral once he has traversed into epic? ... His early work is resolutely non-national, and his Ireland is a space that is part of the world: deeply mixed and