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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.

A key feature of Brink’s examination of Spenser’s education and early life is her claim that he was all set for a church career and not a court career ... An unwillingness to home in on the economic reasons for Spenser going to Ireland mean that

Boudica confronted the Roman governor, Suetonius Paulinus, in a final battle: “Boudica herself, with her two daughters, drove from tribe to tribe in her chariot in order to address her warriors,” ... There follows a thorough discussion of Cymbeline,

However the novel is also notable for its examination of multicultural relations and the racism and alienation experienced by immigrants in 1980s Britain. ... As long as Samad views himself as a colonial subject he is able to keep his racial and national

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

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

kingdoms became national types, representing an identity to be performed, rather than genealogical forebears. ... in which the question of historicity becomes less important than Higgins’s construction of a national tradition.