The phenomenon of modern fantasy is the result of a tradition that originated with romance. It is a tradition that has experienced continual redefinement and utilization over the years. This is evidenced by the rediscovery of certain characteristics of the Medieval Romance and the development of others by the Romantics, William Blake, William Wordsworth, and Samuel Taylor Coleridge. These characteristics are identifiable in the works of such later writers as Charles Dickens, William Morris, H.G. Wells, G.B. Shaw, C.S. Lewis and J.R.R. Tolkein. The concern of these succeeding authors is the same as that of the Romantics, i.e., the nature and condition of man in modern technological society. The study of the works of these authors reveals two distinct approaches to the relationship of man and his society, and these approaches produce two different types of hero.

Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors. Part I: Panoramas, provides overviews and key contexts; Part II: Cameos offers different perspectives of the varied afterlives of the most widely-circulating illustrations of Paradise Lost, those by Gustave Doré; Part III: Textual Close-ups focuses on a rich variety of book illustrations, from centuries-old elite engravings to a twenty-first century graphic novel; and Part IV: A Prospect beyond Books, explores visual media outside of books that manifest powerful connections, direct and indirect, with Milton’s works and legend.

Sir John Harington’s Orlando Furioso in English Heroical Verse (1591) is a significant example of material-textual Englishing: under the direction of Harington, his book’s emblematic title page, copperplate engravings, typography, mise-en-page, and commentary apparatus are all transmutations of the preeminent Italian editions of the sixteenth century, most notably Francesco de Franceschi’s lavish 1584 edition. This article traces how Harington cannily deploys his bibliographic code in metatextual and metavisual ways to call attention to how the material-textual manipulates the reader’s experience. In what could be called an act of early postmodern deconstruction, Harington playfully dismantles the edifying structures of pragmatic humanism in the same way that romance dissolves epic.

Review of the Renaissance Cultural Crossroads Catalogue (RCCC) database, edited by Brenda Hosington.

No description available.

No description available.

<p>The thesis examined is that the authors of The Spanish Tragedy, Titus Andronicus and The Jew of Malta are making a case for and against the protagonist as in a revenge trial, not as it would be conducted in an Elizabethan court, but as it might be constructed from the works of the Roman rhetors studied in the schools. The method is first to consider the advice given to orators by the Roman rhetors most commonly studied in the schools, which reveals that they emphasise the forensic oration and the dramatic quality of rhetoric, and all give instructions for conducting a case of revenge. Secondly, examination of the system of teaching rhetoric in Elizabethan schools supports the probability that rhetorical precepts would be applied to writing plays. Thirdly, scholarly opinion suggests that forensic rhetoric was already employed in pre-Elizabethan drama, although not in the form of a trial. Lastly, consideration of Elizabethan opinions on blood revenge suggests that its legal status as criminal homicide may have appeared over-simplified to a generation trained in the Roman rhetors' view of revenge as an issue meriting an equitable decision according to the circumstances of the case. This inference is supported by the sophisticated defence provided for the revenger in the plays which would not have been available in an Elizabethan court. Analysis of the plays according to the precepts revealed by the background material indicates that many structural, persuasive and argumentative features of The Spanish Tragedy and Titus Andronicus conform to the rhetorical techniques of the revenge trial. The same method of analysing the elements of the revenge trial apparent in The Jew of Malta highlights Marlowe's variations on Kyd's approach. The most important of these is his argumentative method which employs the resources of both rhetoric and logical dialectic to turn consideration of the case of the revenger into an attack on the audience.</p> / Doctor of Philosophy (PhD)

The detection of dairying is essential to understand prehistoric economies, particularly in northwest Europe, where a high degree of lactose tolerance implies that fresh milk has long been a significant dietary component. Domestic cattle (Bos taurus) are biologically able to breed year-round, potentially enabling farmers to select a calving strategy to suit their economic focus. Published literature and interviews with farmers suggests that spring calving would have been favoured by economies focussed on meat or storable dairy products, whereas the year-round provision of fresh milk would have required two calving seasons, in spring and autumn, or an extended period through spring, summer and autumn. This thesis uses intra-tooth isotope ratio analysis of cattle tooth enamel to predict birth seasonality as an indicator of dairying. Analysis was performed on first, second and third cattle molars from the archaeological sites of Mine Howe, Pool and Earl’s Bu (Iron Age and Viking period Orkney), Old Scatness (Iron Age Shetland) and Grimes Graves (Bronze Age Norfolk). Modern molars from Chillingham Wild White cattle were also analysed. A new method to determine cattle birth seasonality has been proposed utilising the isotopic patterning (δ13C, δ18O) recorded within first and second molar enamel. Results suggest that birth seasonality estimates are of sufficient accuracy to discriminate between single-and multiple-season calving. Although Pool and Grimes Graves have been interpreted as dairying sites from their age-at-death slaughter patterns, birth seasonality predictions imply an economy focussed on year-round fresh milk at Pool but an emphasis on storable dairy products at Grimes Graves. In addition, it has been demonstrated that intra-tooth enamel data can provide information regarding sub-annual variation in diet and environment. A new method to investigate weaning strategy has also been proposed.

No / Recent analysis of the ceramic assemblage from the Neolithic loch islet settlement of Eilean Dòmhnuill, North Uist, in the Western Isles of Scotland has highlighted the intense conservatism of the potting traditions over a period of more than 800 years. Hebridean Neolithic pottery exhibits clear relationships with pottery from Argyll, Arran, and Bute, as well as Orkney and the north-east mainland of Scotland. It appears to have developed a distinctive, often decoratively elaborate regional form very soon after its initial appearance, which subsequently appears to have undergone little or no significant change until the introduction of Grooved Ware in the early 3rd millennium BC. An association exists between large assemblages of elaborately decorated Hebridean pottery and a number of artificial islets in freshwater lochs, some very small and producing little or no evidence for domestic activities. This might be explained by the importance of commensality in mediating relations between small communities in the Western Isles at such sites following the introduction of agriculture in the 2nd quarter of the 4th millennium BC. The conservatism and stasis evident at Eilean Dòmhnuill, in the face of environmental decline, raises wider issues around the adaptive capabilities of the first farming communities prior to significant social changes in the earlier 3rd millennium BC. / University of Bradford

This thesis explores what the role of the artist provides to the colonial novel. Using William Plomer's novel Turbott Wolfe, the role of the Western artist in colonial South Africa is examined and critiqued, putting it in conversation with the art theory of Roger Fry and the Primitivism movement. In doing so, it explores themes such as desire, miscegenation, complexity, and carnival, showing that while artists partake in society, they also remain critical of it, responding to it in their artwork.