Titlebook: Memories of War in Early Modern England; Armor and Militant N Susan Harlan Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 1

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Susan Harlans, CLR functions allow us to take data from outside SQL Server and integrate it completely with SQL data—for example, incorporating the function as a subquery into a larger query..UDFs come in two distinct flavors, scalar-valued and table-valued functions, and in this chapter we looked at examples o

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Susan Harlanhe IDEF1X modeling methodology, taking a detailed look at the symbology that will be used through database designs. The base set of symbols outlined here will enable us to fully model logical databases (and later physical databases) in great detail..The primary tool of a database designer is the dat

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he IDEF1X modeling methodology, taking a detailed look at the symbology that will be used through database designs. The base set of symbols outlined here will enable us to fully model logical databases (and later physical databases) in great detail..The primary tool of a database designer is the dat

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,Chapter 1 “Objects Fit for Tamburlaine”: Self-Arming in Marlowe’s ,, Robert Vaughan’s Portraits, an a legitimating cultural tradition of armed figures, as does Vaughan’s portrait, which was published in 1622. She examines the discourse of acquisition and rejection that governs Marlowe’s treatment of elite military dress, as well as the spoiling of Zenocrate and her absorption into the masculine m

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Chapter 2 Spoiling Sir Philip Sidney: Mourning and Military Violence in the Elegies, ,, and Grevillnostalgia to control the activities of mourning and memorializing and operate as forms of textual trophy. She analyzes how Sidney’s elegists established his armored body as a spoil, as well as how Thomas Lant’s 1588 scroll depicting the funeral procession appropriated, or spoiled, two processional d

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,Interlude-Scatter’d Men: Mutilated Male Bodies and Conflicting Narratives of Militant Nostalgia in imagined broken bodies play an integral role in the two conflicting narratives of militant nostalgia in Act 4: Williams’ horrific vision of a recomposed, soldierly ghost of the Day of Judgment and the king’s St. Crispin’s Day speech, in which he imagines a soldierly host at future feasts that celebr

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