Provisional report. 1986 Season. Gubbio Project.

Stoddart, S.K.F. and C. Malone, ProXerox circulation to sponsors. 1986.

Review of: Roccagloriosa I. L'abitato: Scavo e Ricognizione topografica (1976-1986), edited by M. Gualtieri and H. Fracchia. Centre Jean Berard, Naples,

Malone , C., 1990. American Journal of Archaeology 1993. 97(179-80).

Don Juan, 2012

A long poem in ottava rima, based on Byron's Don Juan, concerning the Eurocrisis and the social consequences of an economic policy of austerity, particularly as it has impacted on Greece.

'Easter Rising', 1914-1918-online. International Encyclopedia of the First World War

Although a military failure, the 1916 rebellion transformed Ireland by destroying the possibility of a political settlement between Irish nationalists and the British state and by popularising a republican movement prepared to use violence to achieve independence. This essay surveys the political background to the Easter Rising, its planning, the motivations and ideology of the rebels and the battle for Dublin. It concludes by assessing the Rising’s political impact and briefly summarising historiographical interpretations and commemorative trends. It argues that the origins, conduct, impact and aftermath of the insurrection are best understood within the wider context of the First World War.

Es teatro vuestra oración: Santa Teresa’s performed confession in Juan Mayorga’s La lengua en pedazos

Juan Mayorga’s La Lengua en Pedazos (2010) strikes at the heart of the compositional circumstances of St Teresa's Libro de la Vida– staging, and arguably heightening the origins of her rhetorical strategies, the sense of awareness of readership and potential censure we encounter within the Libro de la Vida. His inquisitor refuses to be complicit in the tacit agreement that the word spoken in the theatrical space can conjure new realities –insistent on underscoring the textual origin of the visions painfully and partially offered up for his and our scrutiny. I will suggest that the persistent undertow towards a meta-commentary on the unmaking and remaking of the autobiographical text creates an unresolved tension between Teresa’s eloquent ability to take the spectator to a place beyond language, and our awareness that we are in the presence of a consummate performer, the textual source for the script itself produced with a supreme awareness of audience scrutiny. The play reflects ongoing lines of inquiry in our evolving understanding of the cultural production of Teresa and other holy women of the Early Modern period.