Journal articles: '1685-1750'

1

Hammond, B. "Review: Aaron Hill: The Muses' Projector, 1685-1750." Review of English Studies 55, no. 222 (November 1, 2004): 800–802. http://dx.doi.org/10.1093/res/55.222.800.

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Combe, K. "Review: Aaron Hill: The Muses' Projector 1685-1750." Notes and Queries 52, no. 1 (March 1, 2005): 126–27. http://dx.doi.org/10.1093/notesj/gji164.

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Melton, Frank T., and Priscilla Scott Cady. "The English Royal Messengers Service 1685-1750: An Institutional Study." Albion: A Quarterly Journal Concerned with British Studies 33, no. 1 (2001): 117. http://dx.doi.org/10.2307/4053076.

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Weitzman, Arthur. "Aaron Hill: The Muses’s Projector, 1685–1750 by Christine Gerrard." Scriblerian and the Kit-Cats 37, no. 1 (2004): 93. http://dx.doi.org/10.1353/scb.2004.0055.

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Wang, Wenhui. "Exploring Bach's "Musical Game" World Analysis of Bach's "Goldberg Variations"." Communications in Humanities Research 23, no. 1 (December 20, 2023): 89–95. http://dx.doi.org/10.54254/2753-7064/23/20230731.

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Johann Sebastian Bach (1685 March 21st 1750 July 28th), born in Eisenach, Thuringia, Germany, was a German composer and keyboard player of the Baroque period. This paper focuses on the musical analysis of Bachs Goldberg Variations to explore Bachs musical game world from four aspects: historical background, counterpoint and fugue, musical analysis of Goldberg Variations, and the essence of Bachs musical games. It aims to provide valuable insights for relevant researchers.

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Sousa, Natanael Martins de, and Marcos da Silva Maia. "Uma digitação do Prelúdio da Suíte para Alaúde BWV 997 de J. S. Bach transcrito para o violão." Per Musi, no. 32 (December 2015): 394–419. http://dx.doi.org/10.1590/permusi2015b3215.

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Resumo:Este trabalho apresenta uma digitação violonística para transcrições do prelúdio da Suíte BWV 997, original para alaúde, de Johann Sebastian Bach (1685-1750). Os aspectos musicais abordados para fundamentar a digitação foram divididos e classificados em motivo, melodia polifônica, contraponto, arpejo e homogeneidade tímbrica. O cotejamento foi aplicado como modelo de análise, em algumas transcrições para violão dessa obra, nas quais foram verificadas digitações diversificadas e notações distintas quanto à representação de alguns valores rítmicos e de determinadas alturas.

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Luth, Jan R. "Troost in de cantates van Johann Sebastian Bach (1685-1750): Een verkenning." NTT Journal for Theology and the Study of Religion 68, no. 1 (February 18, 2014): 67–82. http://dx.doi.org/10.5117/ntt2014.68.067.luth.

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Tot op heden is nog geen onderzoek gedaan naar de manier waarop het begrip “troost” wordt gebruikt in de cantates van Johann Sebastian Bach (1685-1750). Dit artikel is de neerslag van een verkennend onderzoek naar de betekenis van “troost” in samenhang met dood en sterven. Omdat Bach in een traditie stond waarin de tekst met muzikale middelen werd uitgelegd, wordt ook onderzocht op welke manier hij dit woord muzikaal behandelt. Het woord “troost” komt vaak in vocaal-instrumentale werken van Bach voor, maar meestal niet in samenhang met de dood. Daarnaast zijn er cantates die troost willen bieden, zonder dat dit woord wordt gebruikt. Specifiek in verband met de dood komt het woord “troost” in negentien cantates voor. Troost in verband met dood en sterven heeft verschillende betekenissen en bestaat in ieder geval uit het geloof en de zekerheid dat de gelovige het hemelse paradijs zal bereiken, waar hij in de armen van Jezus is. Daarnaast bestaat troost uit het weten dat de dood een slaap is en dat God in dood en sterven van het verderf redt. We zien hier motieven die ook voorkomen in verschillende werken die deel uitmaakten van Bachs theologische bibliotheek. Een voorbeeld zijn de publicaties van de theoloog Heinrich Müller (1631-1675), waarin een sterk verlangen naar voren komt om bij Jezus te zijn, zo sterk, dat het sterven zelf als troost wordt gezien.

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Wheeler, D., R. Garcia-Herrera, C. W. Wilkinson, and C. Ward. "Atmospheric circulation and storminess derived from Royal Navy logbooks: 1685 to 1750." Climatic Change 101, no. 1-2 (October 3, 2009): 257–80. http://dx.doi.org/10.1007/s10584-009-9732-x.

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Caiceo Escudero, Jaime. "Desarrollo agrícola y artesanal en la Hacienda Calera de Tango de los Jesuitas: Siglos XVII y XVIII." Diálogos 27, no. 1 (May 17, 2023): 87–106. http://dx.doi.org/10.4025/dialogos.v27i1.62659.

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Entre 1593 y 1767, los jesuitas promovieron el desarrollo agrícola e industrial en el Chile central; para ello adquirieron la Hacienda Calera de Tango en 1685. Esta hacienda tenía unas minas de cal en el cerro Lonquén, lo cual le interesó a los nuevos propietarios por la explotación minera. En 1748 llegaron jesuitas alemanes, quienes instalaron talleres de artes manuales, transformando el lugar en un importante centro artístico e industrial. Instalaron, además, una viña y una bodega con avanzada tecnología en 1750. Para regar construyeron canales para sacar agua desde el río Maipo; ello ayudó a diversificar la producción agrícola.

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Wheeler, D., R. Garcia-Herrera, C. W. Wilkinson, and C. Ward. "Erratum to: Atmospheric circulation and storminess derived from Royal Navy logbooks: 1685 to 1750." Climatic Change 103, no. 3-4 (October 17, 2009): 617. http://dx.doi.org/10.1007/s10584-009-9755-3.

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11

Capistrán Gracia, Raúl Wenceslao. "La música para teclado de Estilo Barroco en la formación del pianista académico:." MAGOTZI Boletín Científico de Artes del IA 12, no. 24 (July 5, 2024): 34–44. http://dx.doi.org/10.29057/ia.v12i24.12676.

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En muchas instituciones de educación musical a nivel superior, la música para teclado de los siglos XVII y XVIII constituye el corpus didáctico-pedagógico de cual pueden disponer los maestros de piano para que sus estudiantes cubran la parte correspondiente al Estilo Barroco (1600-1750) y acrediten la materia de piano en cada uno de los grados de la carrera. Sin embargo, a pesar de que este periodo estilístico está representado por una pléyade de grandes compositores, sus obras, muchas de ellas de gran calidad estética y tremendo valor didáctico, han sido dejadas de lado en muchos programas académicos, o ignoradas por muchos docentes de piano en favor del legado de Johann Sebastian Bach (1685-1750). Así, en este ensayo el autor presenta un panorama de la situación antes expuesta, aporta algunos datos que dan fe de ello y propone una alternativa formativa que incluye el estudio e interpretación de algunas obras que permiten a los estudiantes conocer de primera mano la vida y la obra de otros compositores barrocos, explorar los distintos estilos nacionales y cubrir los requisitos de cada ciclo escolar con obras quizá menos demandantes.

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12

Hwi, L. P., and J. W. Ting. "36. Practicing medicine and music II: Ophthalmology and music." Clinical & Investigative Medicine 30, no. 4 (August 1, 2007): 46. http://dx.doi.org/10.25011/cim.v30i4.2796.

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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

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13

Medňanský, Karol. "1. Period Influence on the Work of Johann Sebastian Bach." Review of Artistic Education 19, no. 1 (April 1, 2020): 1–9. http://dx.doi.org/10.2478/rae-2020-0001.

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AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.

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14

Tantra, Carolien Eunice, and Mark Peters. "J. S. Bach’s Church Cantatas and Church Music Today." Veritas: Jurnal Teologi dan Pelayanan 20, no. 1 (July 19, 2021): 137–52. http://dx.doi.org/10.36421/veritas.v20i1.473.

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How do we as Christians today learn about worship and church music? How do we think about not only what music we will sing in Christian worship, but also the principles that should guide us in choosing and leading church music? Certainly, there are many different ways we answer that question: we study the Bible, we sing the words of the Scriptures, we read what theologians, worship leaders, and scholars of church music are writing today, we attend lectures and conferences by scholars and practitioners of church music. In this article, I offer and explore yet another example of how we live out God’s call in leading music for the Christian church: by studying the example of a faithful Christian musician from the past. My particular example for this article is the German composer and church musician Johann Sebastian Bach (1685-1750). I want to clarify from the start that I am not arguing that J. S. Bach is the best example of a Christian church musician and certainly not that he is the only example. But Bach does offer us one example of a musician who dedicated most of his life to creating and leading music for the Christian church and sought to do so faithfully, creatively, and skillfully.

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15

Gerrard, Christine. "What the Women of Dublin Did with John Locke." Royal Institute of Philosophy Supplement 88 (October 2020): 171–93. http://dx.doi.org/10.1017/s1358246120000144.

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AbstractWilliam Molyneux's friendship with John Locke helped make Locke's ideas well known in early eighteenth-century Dublin. The Essay Concerning Human Understanding was placed on the curriculum of Trinity College in 1692, soon after its publication. Yet there has been very little discussion of whether Irish women from this period read or knew Locke's work, or engaged more generally in contemporary philosophical debate. This essay focuses on the work of Laetitia Pilkington (1709–1750) and Mary Barber (1685–1755), two of the Dublin women writers of the so-called ‘Triumfeminate’, a literary and intellectual circle connected to Jonathan Swift which met and discussed ideas at the home of Patrick Delaney. Pilkington and Barber were particularly influenced by Locke's ideas on obstetrics and childhood in his Some Thoughts Concerning Education and especially by his discussion of memory in the Essay Concerning Human Understanding. Both authors engage playfully and imaginatively with Locke's theories, especially in a domestic context. Not all philosophical debates took place in the public male spaces of school, coffee house and university. This essay attempts to recreate the contexts in which intellectually curious women of the ‘middling sort’ encountered and engaged with philosophical ideas, especially those of Locke, and how these shaped their writing.

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16

Mellado-Cano, Javier, David Barriopedro, Ricardo García-Herrera, Ricardo M. Trigo, and Armand Hernández. "Examining the North Atlantic Oscillation, East Atlantic Pattern, and Jet Variability since 1685." Journal of Climate 32, no. 19 (August 26, 2019): 6285–98. http://dx.doi.org/10.1175/jcli-d-19-0135.1.

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Abstract Recent studies have stressed the key role of the east Atlantic (EA) pattern and its interactions with the North Atlantic Oscillation (NAO) in Euro-Atlantic climate variability. However, instrumental records of these leading patterns of variability are short, hampering a proper characterization of the atmospheric circulation beyond the mid-nineteenth century. In this work, we present the longest (1685–2014) observational-based records of winter NAO and EA indices as well as estimates of the North Atlantic eddy-driven jet stream speed and latitude for the same period. The time series display large variability from interannual to multidecadal time scales, with, for example, positive (negative) EA (NAO) phases dominating before 1750 (during much of the nineteenth century). By identifying winters with different combinations of NAO/EA phases in the twentieth century, our results highlight the additional role of EA in shaping the North Atlantic action centers and the European climate responses to NAO. The EA interference with the NAO signal is stronger in precipitation than in temperature and affects areas with strong responses to NAO such as Greenland and the western Mediterranean, which prevents simplistic relationships of natural proxies with NAO. The last three centuries uncover multidecadal periods dominated by specific NAO/EA states and substantial interannual-to-centennial variability in the North Atlantic jet stream, thus providing new evidence of the dynamics behind some outstanding periods. Transitions in the NAO/EA phase space have been recurrent and pin down long-lasting anomalies, such as the displacement of the North Atlantic action centers in the late twentieth century, besides some disagreements between NAO indices.

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17

Backscheider, Paula R. "Christine Gerrard. Aaron Hill: The Muses' Projector 1685–1750. New York: Oxford University Press. 2003. Pp. xi, 267. $74.00. ISBN 0-19-818388-7." Albion 36, no. 4 (2005): 707–9. http://dx.doi.org/10.2307/4054613.

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18

HALL, MATTHEW J. "JOHANN SEBASTIAN BACH (1685–1750), ED. DAVID SCHULENBERG COMPLETE ORGAN WORKS, VOLUME 1 (PRELUDES AND FUGUES I)Wiesbaden: Breitkopf & Härtel, 2013 pp. 139, ismn979 0 004 18372 4 - JOHANN SEBASTIAN BACH (1685–1750), ED. DAVID SCHULENBERG COMPLETE ORGAN WORKS, VOLUME 2 (PRELUDES AND FUGUES II)Wiesbaden: Breitkopf & Härtel, 2014 pp. 148, ismn979 0 004 18373 1." Eighteenth Century Music 12, no. 2 (August 24, 2015): 246–47. http://dx.doi.org/10.1017/s1478570615000093.

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19

Lindgren, Lowell. "Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, Mss Rawlinson Letters 116–138)." Royal Musical Association Research Chronicle 24 (1991): 1–194. http://dx.doi.org/10.1080/14723808.1991.10540945.

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Gio. Giacomo Zamboni, merchant, diplomat and amateur harpsichordist, was born in Florence on 26 July 1683, arrived in London late in 1711 and lived there until his death on 8 April 1753. His career closely parallels that of George Frideric Handel, composer, manager and harpsichordist, who was born in Hanover in 1685, arrived in London late in 1710 and lived there from late 1712 until his death in 1759. When these two men arrived in London, opera in Italian was a novelty at the Queen's Theatre in the Haymarket, which had just begun to employ Italian singers, instrumentalists, composers, librettists and stage designers. During the ensuing decades, there was an unprecedented influx of Italian performers and creators who, like Handel and other ‘outlandish’ personnel at this theatre, found that salaries were higher, working conditions were better and freedom was greater in England than in their own lands. Many therefore stayed as long as possible, and their artistic accomplishments as well as their intricate interactions with British and foreign patrons, diplomats, merchants and musicians are fascinating endeavours that deserve detailed study. At present, the best survey is that in George Dorris, Paolo Rolli and the Italian Circle in London, 1715–44 (The Hague and Paris, 1967), which focuses upon literary accomplishments. The essential base for any such study must, of course, be primary source materials, which include letters and other documents as well as librettos and scores. My hope is that the passages cited below from 458 items, most of which have never before been printed, will significantly broaden our base for study of ‘the Italian circle’ in London between 1716 and 1750.

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20

FRAMPTON, ANDREW. "FRANCESCO GASPARINI (1661–1727), ARRANGED BY JOHANN SEBASTIAN BACH (1685–1750), ED. PETER WOLLNY MISSA A QUATTRO VOCI Stuttgart: Carus, 2015 pp. 24, ismn 979 0 0071 6516 1." Eighteenth Century Music 13, no. 2 (August 16, 2016): 321–23. http://dx.doi.org/10.1017/s1478570616000142.

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21

Melton, Frank T. "Priscilla Scott Cady. The English Royal Messengers Service 1685–1750: An Institutional Study. (Studies in British History.) Lewiston, N.Y.: The Edwin Mellen Press. 1999. Pp. xiv, 149. $79.95. ISBN 0-7734-7977-5." Albion 33, no. 1 (2001): 117–18. http://dx.doi.org/10.1017/s0095139000066679.

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22

HAMILTON, CHARLES. "The Election in 1685 at Aylesbury." Parliamentary History 12, no. 1 (March 17, 2008): 68–72. http://dx.doi.org/10.1111/j.1750-0206.1993.tb00292.x.

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23

SOWERBY, SCOTT. "How Bedfordshire Voted, 1685-1735: The Evidence of Local Poll Books. Volume I: 1685-1715 - Edited by James Collett-White." Parliamentary History 27, no. 2 (September 10, 2008): 288–90. http://dx.doi.org/10.1111/j.1750-0206.2008.00041_9.x.

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24

BUTT, JOHN. "ALTBACHISCHES ARCHIV: WORKS BY JOHANN BACH (1604–1673), JOHANN CHRISTOPH BACH (1642–1703), GEORG CHRISTOPH BACH (1642–1697), JOHANN MICHAEL BACH (1648–1694), JOHANN SEBASTIAN BACH (1685–1750) Cantus Cölln / Concerto Paladino / Konrad Junghänel Harmonia Mundi HMC901783/84, 2003; two discs, 2'33"." Eighteenth Century Music 1, no. 1 (March 2004): 109–11. http://dx.doi.org/10.1017/s1478570604290078.

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25

JACKSON, CLARE. "The Scottish Parliament under Charles II 1660-1685 - By Gillian H. MacIntosh." Parliamentary History 28, no. 2 (June 2009): 305–7. http://dx.doi.org/10.1111/j.1750-0206.2009.00111_6.x.

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26

Lees, Lynn Hollen, and Paul M. Hohenberg. "Urban Decline and Regional Economies: Brabant, Castile, and Lombardy, 1550–1750." Comparative Studies in Society and History 31, no. 3 (July 1989): 439–61. http://dx.doi.org/10.1017/s0010417500015991.

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Urban troubles were endemic in early modern Europe. Not only did cities undergo sieges, conquests, and epidemics, but the rapid spread of rural protoindustrial manufacturing threatened established markets and employment patterns. The acute problems of Antwerp, captured by Spanish troops in 1685, or of Como, whose textile industry collapsed in the early seventeenth century are not isolated examples of cities in trouble. Many more could be offered. Indeed, descriptions of cities in the seventeenth century, particularly those of the Spanish Empire, stress depopulation and decay. Contemporaries saw around them scenes of urban desolation. Sir Thomas Overbury, travelling in the Spanish Netherlands around 1610, wrote of the “ruinous” towns, while visitors to Ciudad Real in Spain around 1620 noted vacant, tumbledown houses, unemployment, and urban land gone to waste (Parker 1977:253; Phillips 1979:29). After several years in which Spanish Lombardy was devastated by wars, famine, and plague, the Milan City Council complained of “the destitution of all sorts of persons and the threat of impending ruin.” Moreover, throughout the state, values of houses and landed property had allegedly plummeted (Sella 1979:57,63).

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27

SOWERBY, SCOTT. "Tories in the Whig Corner: Daniel Fleming's Journal of the 1685 Parliament*." Parliamentary History 24, no. 2 (March 17, 2008): 157–201. http://dx.doi.org/10.1111/j.1750-0206.2005.tb00242.x.

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BARCLAY, ANDREW. "Culture and Politics at the Court of Charles II, 1660-1685 - By Matthew Jenkinson." Parliamentary History 31, no. 3 (October 2012): 482–84. http://dx.doi.org/10.1111/j.1750-0206.2012.00351_2.x.

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29

HANDLEY, STUART. "How Bedfordshire Voted, 1685-1735: The Evidence of Local Poll Books. Volume 2: 1716-1735 - Edited by James Collett-White." Parliamentary History 29, no. 3 (October 1, 2010): 475–77. http://dx.doi.org/10.1111/j.1750-0206.2010.00216_7.x.

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30

Hayton, D. W. "The Proclamations of Ireland 1660–1820. Edited by JamesKelly with Mary AnnLyons. Dublin: Irish Manuscripts Commission. 2014. Volume I: Charles II, 1660–85 . lxxxii, 483 pp. €60.00. ISBN 9781906865184. Volume II: James II, 1685–1691 ; William and Mary, 1689–1702 ; Anne, 1702–14 . lxii, 742 pp. €60.00. ISBN 9781906865191. Volume III: George I , 1714–1727 ; George II , 1727–1760 . lxii, 567 pp. €60.00. ISBN 9781906865207. Volume IV: George III , Part 1 , 1760–1790 . lxi, 552 pp. €60.00. ISBN 9781906865214. Volume V: George III , Part 2 , 1791–1820 . lxii, 596 pp. €60.00. ISBN 9781906865221. Five‐volume set: €250.00. ISBN 9781906865535." Parliamentary History 38, no. 3 (October 2019): 444–46. http://dx.doi.org/10.1111/1750-0206.12461.

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31

Castillo, Francisco. "Bad Bunny y Bach: Mitos e imaginarios culturales." Análisis 53, no. 99 (July 23, 2021). http://dx.doi.org/10.15332/21459169.6498.

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Este artículo explora la noción de mito e imaginario colectivo, según se manifiestan en las figuras de Bad Bunny (1994-) y de Johann Sebastian Bach (1685-1750). Bad Bunny ha sido identificado como el depositario de un imaginario que sitúa al reggaetón en tanto género musical que marca la decadencia moral de la cultura. Bach, por el contrario, encabeza el canon de compositores que hacen de la música clásica un paradigma de Arte musical culto y elaborado. La reflexión sugiere que ambas representaciones son parte de una mitología que esconde problemáticas complejas como discriminación de clase y hegemonías culturales violentas. Las conclusiones señalan la desmitificación de ambos músicos como una estrategia para, no solo apreciar de manera más equilibrada su música, sino para atender problemáticas sociales, sin los fanatismos que ambas comunidades musicales promueven en sus mitos.

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Perttula, Timothy K., and Robert Z. Selden. "Glass Beads from Kinsloe Focus Sites in Gregg, Harrison, and Rusk Counties, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2014. http://dx.doi.org/10.21112/.ita.2014.1.54.

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European glass beads are one of the most common artifact categories found on historic Caddo sites in the middle reaches of the Sabine River basin in East Texas on what Jones had dubbed Kinsloe focus sites. Several thousands beads were found by Jones in his investigation of burial features at these sites, along with other European trade goods and Caddo ceramic vessels, pipes, and chipped stone tools. In Jones’ description of the beads from the Kinsloe focus sites, he relied on the analytical and chronological interpretations of John Witthoft, then of the Pennsylvania Historical and Museum Commission, although he did seek the advice of R. K. Harris, a notable glass beads expert who had worked on numerous historic Caddo and Wichita sites in eastern and northern Texas. Witthoft’s interpretations of the age of the beads from the sites tended to suggest that the Kinsloe focus sites dated to the early 17th century—when beads of such types tended to date in aboriginal sites in the Northeast U.S.—while Harris suggested that the glass beads on the Kinsloe focus sites dated from no earlier than the early 18th century, and likely dated in several cases after ca. A.D. 1750. Given the likely late 17th to late 18th century ages of the engraved ceramic vessels found on the Kinsloe focus sites, based in large measure on their occurrence on a wide range of Historic Caddo sites, Harris’ temporal interpretations of the glass bead assemblages are consistent with these ceramic temporal ranges, and thus the Kinsloe focus sites are seen as indicative of Caddo settlements postdating the beginning of intensive contact between Europeans and Caddo peoples that began after A.D. 1685.

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"Inventing and Resisting Britain: Cultural Identities in Britain and Ireland, 1685–1789 by Murray G. H. Pittock, and: A Union of Multiple Identities: The British Isles, c. 1750–c. 1850 ed. by Lawrence Brockliss and David Eastwood." Scriblerian and the Kit-Cats 34, no. 1-2 (2002): 102–4. http://dx.doi.org/10.1353/scb.2002.0024.

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34

"Inventing and resisting Britain: cultural identities in Britain and Ireland, 1685-1789." Choice Reviews Online 35, no. 03 (November 1, 1997): 35–1750. http://dx.doi.org/10.5860/choice.35-1750.

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Journal articles on the topic '1685-1750'

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