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Stuart Kinsella

– have become familiar illustrations in Irish history books.’ 34 Hadfield’s ODNB entry on the other hand, refers to Derricke as an ‘author’. 35 This mix of descriptions: ‘English’, ‘engraver’, ‘author’ draws attention to the fact that, as observed, very little is known about Derricke’s identity. To better understand him, it is therefore prudent to explore the question of his origins and occupation. Nationality Derricke wished readers to accept his book, ‘entertainyng it as a straunger, or

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Thomas Herron, Denna J. Iammarino, and Maryclaire Moroney

compensates for this in his later edition of Derricke, which also analyses the ‘English’ armies at length. 52 Andrew Carpenter (ed.), Verse in English from Tudor and Stuart Ireland (Cork: Cork University Press, 2003), pp. 59–64. 53 Leerssen, Mere Irish and Fíor-Ghael: Studies in the Idea of Irish Nationality, its Development and Expression Prior to the Nineteenth Century (Cork: Cork University Press, 1996), p. 42. In note 5 Leerssen profoundly influences the

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Lewis Carroll
Nicholas Royle

… have left their mark on my language’; and a scholarly attention to such imprints, sedimentations and inventions is indispensable. 12 But her writing is more about inhabiting a continent like the unconscious, mixing timelessness and magic, where hundreds of years can be condensed into an instant: Milton can come out with a phrase and three hundred years later Cixous replies to it. 13 Her writing is about what she calls ‘literary nationality’. 14 This literary nationality does not emerge from nowhere: it is the imaginary nationality she tells us she adopted in 1955

in Hélène Cixous
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Queen Elizabeth, and Joan La Pucelle in 1 Henry VI
Ben Spiller

While the obstinacy behind such resistance appears somewhat more level-headed and the fuel for a more credible claim than that belonging to Joan, both personalities possess a self-determined resilience, perhaps even an arrogance, which spites an otherwise mighty and fearful opposition; however, ultimately, Joan loses her battle to survive. Questions of nationality and national

in Goddesses and Queens
Macbeth’s national identity in the eighteenth century
Rebecca Rogers

persistent and popular but quite unfounded rumour that Bute was bedding the King’s mother. During and after his disastrous premiership, Bute was a prime target for lampoons, cartoons and caricatures, all of which attacked him on the grounds of his nationality. Bute’s Scottishness served as a static point of reference in the midst of complex and bitterly personal faction fighting. A

in Shakespeare and Scotland
Playing black in late seventeenth-century France and Spain
Noémie Ndiaye

, both in the rank-based and ethnicity-based senses of the term racial . Yet, the play itself is one of the most racially hybrid theatrical objects of the period: it hybridises performance traditions that differ in nationality (French vs. Spanish), and in social rank (court ballet culture vs. popular theatrical culture). On the one hand, Boursault’s play denigrates rank and

in Transnational connections in early modern theatre
Felicity Dunworth

moment (and performed at another such moment) carries meaning for both. 20 What brings these meanings into proximity with one another in Richardus Tertius is that together they construct an idea of nationality which is formed out of an emotional engagement with history: the historic mother queen becomes, when dramatised, an emblem of the well-being of England now . 21 This gives an extra resonance to the link between Elizabeth

in Mothers and meaning on the early modern English stage
The English Comedy as a transnational style
Pavel Drábek

was not the necessary criterion for its plays, and they bear ‘a surprising degree of un-Englishness’ (Drábek and Katritzky 2016: 1531). Nor were the actors themselves limited to British nationality: from very early on, the English Comedy was also practised by comedians born in Germany, the Low Countries, the Czech lands or Austria. It was a distinctive theatrical style

in Transnational connections in early modern theatre
Nicoleta Cinpoeş

: Cambridge Scholars Press , 2008 ), pp. 211–20 . Maus , K. Eisaman , ‘ The Spanish Tragedy , or, The Machiavel’s Revenge ’, in S. Simkin (ed.), Revenge Tragedy ( Basingstoke : Palgrave Macmillan , 2001 ), pp. 88–106 . Mulryne , J. R. , ‘ Nationality and language in Thomas Kyd’s The Spanish Tragedy ’, in J. P. Maquerlot and M. Willems (eds), Travel and Drama in Shakespeare’s Time ( Cambridge and New

in Doing Kyd
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Simon Ditchfield and Helen Smith

’ conversions. Her chapter asks us to consider how tropes of masculinity and effeminacy were used to respond to and negotiate religious difference, and how the comforting fictions of the stage sought to establish both gendered and religious identity as tied to nationality, and as staunchly immutable. In its closing account of women’s perceived religious fickleness, Houston’s chapter suggests the need for

in Conversions