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Titlebook: Vestiges of Colonial Empire in France; Robert Aldrich Book 2005 Palgrave Macmillan, a division of Macmillan Publishers Limited 2005 coloni

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story is clearly described in James’s . in an anecdote about the career of John Addington Symonds. However, the work also dramatises themes that James treated in ‘The Art of Fiction’, published just two months later. Moreover, it prefigures forms and themes that James would use throughout his ficti
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Robert Aldrichong the educated classes. Joseph Glanvill’s once famous book, ., published with Henry More’s copious annotations three times in the seventeenth century and twice more in the eighteenth, had become an object of curiosity, a relic of those past popular delusions ridiculed in the age of Enlightenment.
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Robert Aldrichly opposed both the apparent implications of the Calvinism of his upbringing and the scholastic philosophy he had first imbibed at Christ’s.. This he delineated in the first canto of “Psychozoia” (1642), that might be described as the first philosophical production of Cambridge Platonism, a first ‘m
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Robert Aldrich. We can reasonably conjecture from the referencesto Essex’s campaign in Ireland (see 7.5) that .was firstperformed in the spring or early summer of 1599, probably at the Curtain Theatre,the Globe not being ready until late summer of 1599 (see Commentary toPrologue). The first definite record of a p
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Robert Aldrich the break with Rome, as Cromwell’s papers show, although perhaps neither this nor the subordination of the clergy to the crown made much practical difference. The dissolution of the monasteries, though resented, probably made less of a mark upon mental than upon physical horizons. But Henry’s elimi
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Robert Aldrichuture, Hal is unusual. This is a reign in which both king and rebels insistently rake over the grievances of the past. This is as pronounced at the end of Part 2 as it was at the beginning of Part 1, with the rebel Mowbray’s speech of grievance [2, IV i]. His hatred dates back to the time when his f
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