“Let no man write my epitaph”: the contributions of Percy Shelley,Thomas Moore and Robert Southey to the memorialisation of Robert Emmet

For centuries elegy has been instrumental to Irish culture and its self-expression. This essay considers the elegies both by and about Robert Emmet written by Thomas Moore, Robert Southey and Percy Bysshe Shelley as well those written by anonymous balladeers. Central to this essay is the examination of the topoi of Irish elegiac verse and song shared by these poems and the way in which they contribute to the evolution of this genre and the radical nationalism associated with it. Their shared discourse is born out of Ireland's colonial experience and contributes to the establishment of Irish national identity, whilst their differing authors and audiences signal the complexities inherent within a colonial textual framework. In particular this essay draws attention to Shelley's neglected Irish poems which reflect the discomfort of a poet and idealist attempting to find his own voice whilst striving to escape the dominant ideology of his own culture.     

Asian Crop Dispersal in Africa and Late Holocene Human Adaptation to Tropical Environments

Journal of World Prehistory - Occupation of the humid tropics by Late Holocene food producers depended on the use of vegetative agricultural systems. A small number of vegetative crops from the...     

Female artistic identity in place: the studio

In this paper I examine the role of the studio as a central site of artistic identity construction and maintenance. Using ten case studies drawn from interviews with contemporary women visual artists from Toronto, Canada, I argue that women artists value studio space because it powerfully reinforces their sense of commitment and belonging to a predominantly male‐dominated profession. I consider how women cope with the demands of artistic practice when they are unable to establish a spatially separate workspace by addressing the experiences of artists who are parents. I demonstrate how women artists who are primary care‐givers are rarely adequately protected from the interruptions of daily life and have grown accustomed to working in fragments of time and space. While these women may appear willing to concede space to others, when space is crucial to their artistic practice, they have a remarkably strong influence on the form of their creative environment. I maintain, then, that the studio as a fixed physical space continues to be a very real necessity for women artists in all stages of their careers.     

Ishango revisited: new age determinations and cultural interpretations

The lakeshore site of Ishango in Zaïre has been interpreted as an early locus of a generalized fishing adaptation or aquatic civilization which spread rapidly across eastern and northern Africa during the wetter climatic conditions of the early to mid-Holocene. New evidence from Ishango implies that this adaptation may have developed in the late Pleistocene and that its technology subsequently diffused to other regions where it was associated with a range of lithic styles, varying economies, and occasional ceramics.

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Résumé Le gisement lacustre d'Ishango au Zaïre a été interprété comme l'ancien locus d'une adaptation généralisée à la pêche ou d'une civilisation aquatique qui s'est étendue rapidement dans l'Afrique orientale et septentrionale au cours des conditions climatiques plus humides de la première moitié de l'Holocène. De nouveaux indices à Ishango impliquent que cette adaptation a pu se développer au cours du Pléistocène tardif, et que sa technologie s'est diffusée ultérieurement dans d'autres régions où elle était associée à toute une série de styles lithiques, à des économies variées, et de temps en temps à des céramiques.