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                  <text>“Biography.” &lt;em&gt;Spenser Online&lt;/em&gt;, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. &lt;br /&gt;&lt;br /&gt;Hadfield, Andrew. &lt;em&gt;Edmund Spenser: A Life&lt;/em&gt;. Oxford UP, 2012. &lt;br /&gt;&lt;br /&gt;Judson, Alexander C. &lt;em&gt;The Life of Edmund Spenser&lt;/em&gt;. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. &lt;br /&gt;&lt;br /&gt;Maley, Willy. &lt;em&gt;A Spenser Chronology&lt;/em&gt;. MacMillian, 1994. &lt;br /&gt;&lt;br /&gt;Spenser, Edmund. &lt;em&gt;Selected Letters and Other Papers&lt;/em&gt;. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009.</text>
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                <text>Spenser witnesses the execution of Nicholas Nugent. (Maley, 32)</text>
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                    <text>	

Less than a quarter of a mile from the Parc de la Ciutadella, sits the towering structure
that is Arc de Triomf. There are similar structures all around the world in cities such as Paris
and New York. From the name, one might think that this arch is dedicated to some type of
military conquest. This is not the case. This arch was built to be an extravagant entrance to
Barcelona’s first World Exposition in 1888 (Hochadel and Nieto-Galan 2016: 2). The arch
was designed by architect Josep Vilaseca and is made primarily of red brick. There are many
details on Arc de Triomf including several stone bats sculpted by Josep Reynés. These bats
were a tribute to King Jaume I who led Barcelona during a time of economic prosperity and
also ordered the construction of the Saló de Cent (Hughes 2004: 13). The bat was the king’s
lucky charm and is still an emblem of Valencia. The bat was so ingrained in the culture that it
was actually part of the first crest of the Fútbol Club of Barcelona and stands to this day as a
symbol of Catalan Independence. The arch also serves a more recreational and tourist use as a
place to meet or an interesting place to take a walk or ride a bike. Arc de Triomf is located
between the Parc de la Ciutadella and the Passeig de Sant Joan. It created a vivid cityscape
that “has inspired successive generations of Barcelona's administrators to consider grand
events as a means to transform the city in their own image” (Kent 2002: 225)

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                    <text>Named the world’s most beautiful bookstore by National Geographic in 2019, the Ateneo
Grand Splendid is a spectacle of literature, architecture, and art. Originally designed to be a
tango theatre in 1919, the building is remarkable for its painted ceilings, sculpted columns, and
embellished architecture. During the building’s time as a theater, it was known as the Teatro
Gran Splendid and hosted some of the most prominent names in Tango history, like Carlos
Gardel and Robert Firpo. The theatre would come to serve as a tango recording studio as well,
before being converted into a film cinema in the twenties. The first movies with sound shown in
all of Argentina were shown in the Gran Splendid in 1929. Over 70 years later, Grupo Ilhsa,
owner of Yenny libraries, the Ateneo chain, and more, leased the building in 2000. The building
was once again converted to fit a new purpose- this time becoming the flagship store of the
chain. Under architectural supervision, the cinematic seating was replaced with shelving and
reading nooks, and a modern café was built on the stage. While modern features have been
added, the original style and beauty remain, leading to a one-of-the-kind shopping experience.
Whether you’re interested in looking through the thousands of books the store stocks, sipping a
cappuccino at the café, or simply walking through the historical building, the Ateneo Grand
Splendid is a top-pick when touring Buenos Aires.

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                  <text>&lt;p align="center"&gt;&amp;nbsp;(English)&lt;/p&gt;&#13;
&lt;p&gt;Bernstein, Aline.&amp;nbsp;&lt;em&gt;Masterpieces of Women's Costume of the 18th and 19th Centuries&lt;/em&gt;. Mineola, NY: Dover Publications, 2001.&lt;/p&gt;&#13;
&lt;p&gt;Efimova, L. V., and T. S. Aleshina.&amp;nbsp;&lt;em&gt;Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century&lt;/em&gt;. London: Vivays Pub., 2011.&lt;/p&gt;&#13;
&lt;p&gt;Hahn, H.&amp;nbsp;&lt;em&gt;Scenes of Parisian Modernity&lt;/em&gt;. New York: PALGRAVE MACMILLAN, 2016.&lt;/p&gt;&#13;
&lt;p&gt;Hiner, Susan.&amp;nbsp;&lt;em&gt;Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France&lt;/em&gt;. Philadelphia: University of Pennsylvania Press, 2010.&lt;/p&gt;&#13;
&lt;p&gt;Perrot, Philippe.&amp;nbsp;&lt;em&gt;Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century&lt;/em&gt;. Princeton, NJ: Princeton University Press, 1996.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Pushkin, Alexander.&amp;nbsp;&lt;em&gt;Eugene Onegin:&amp;nbsp;&lt;/em&gt;A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009.&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;Ribeiro, Aileen.&amp;nbsp;&lt;em&gt;The Art of Dress: Fashion in England and France, 1750-1820&lt;/em&gt;. London: Yale University Press, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Salmond, Wendy R., et al. Konstantin&amp;nbsp;&lt;em&gt;Makovsky: The Tsars painter in America and Paris.&amp;nbsp;&lt;/em&gt;Washington, D.C., Hillwood Estate, Museum &amp;amp; Gardens, 2015.&lt;/p&gt;&#13;
&lt;p&gt;Takeda, Sharon Sadako., et al.&amp;nbsp;&lt;em&gt;Reigning Men: Fashion in Menswear, 1715-2015&lt;/em&gt;. Los Angeles County Museum of Art, 2016.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p align="center"&gt;(Russian)&lt;/p&gt;&#13;
&lt;p&gt;Кирсанова Р. М.&amp;nbsp;&lt;em&gt;Костюм в русской художественной культуре&lt;/em&gt;. М.: Большая Советская Энциклопедия, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Лотман Ю. М. Роман А. С. Пушкина &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий // Лотман Ю. М.&amp;nbsp;&lt;em&gt;Пушкин: Биография писателя; Статьи и заметки, 1960-1990; &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий.&amp;nbsp;&lt;/em&gt;- СПб.: Искусство-СПб, 1995. С. 472-762.&lt;/p&gt;&#13;
&lt;p&gt;Лотман, Юрий.&amp;nbsp;&lt;em&gt;Беседы о русской культуре&lt;/em&gt;. СПб.: Искусство-СПб, 1994.&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Русская культура&lt;/em&gt;. М.: Белый город, 1995.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Пушкин А. С. &amp;ldquo;Евгений Онегин&amp;rdquo;// А. С. Пушкин. Полное собрание сочинений в 10 тт. Издание третье. М.: Наука. Т. 4. С. 6-213; 581-608.&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;&amp;nbsp;&lt;/em&gt;&lt;/p&gt;</text>
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                  <text>Permission to use images, from the Middleton album and exhibit, granted by Angie Dodson of Hillwood Estate, Museum and Garden. </text>
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              <text>&lt;p&gt;&amp;laquo;Янтарь на трубках Цареграда,&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;Фарфор и бронза на столе,&lt;/p&gt;&#13;
&lt;p&gt;И, чувств изнеженных отрада,&lt;/p&gt;&#13;
&lt;p&gt;Духи в гранёном хрустале;&lt;/p&gt;&#13;
&lt;p&gt;Гребенки, пилочки стальные,&lt;/p&gt;&#13;
&lt;p&gt;Прямые ножницы, кривые,&lt;/p&gt;&#13;
&lt;p&gt;И щетки тридцати родов&lt;/p&gt;&#13;
&lt;p&gt;И для ногтей и для зубов&amp;raquo;(1, XXIV, 15).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&amp;ldquo;Imported pipes of Turkish amber,&lt;/p&gt;&#13;
&lt;p&gt;Fine china, bronzes&amp;mdash;all displayed;&lt;/p&gt;&#13;
&lt;p&gt;And purely to delight and pamper,&lt;/p&gt;&#13;
&lt;p&gt;Perfumes in crystal jars arrayed;&lt;/p&gt;&#13;
&lt;p&gt;Steel files and combs in many guises,&lt;/p&gt;&#13;
&lt;p&gt;Straight scissors, curved ones, thirty sizes&lt;/p&gt;&#13;
&lt;p&gt;Of brushes for the modern male&amp;mdash;&lt;/p&gt;&#13;
&lt;p&gt;For hair and teeth and fingernail&amp;rdquo; (Chapter 1, Stanza 24, Page 15).&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&lt;br /&gt;&lt;br /&gt;&amp;laquo;Хранили многие страницы&lt;/p&gt;&#13;
&lt;p&gt;Отметку резкую ногтей&amp;raquo; (7, XXIII, 167).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&amp;ldquo;Some pages still preserved the traces&lt;/p&gt;&#13;
&lt;p&gt;Where fingernails had sharply pressed&amp;rdquo; (Chapter 7, Stanza 23, Page 167). &amp;nbsp;&lt;/p&gt;</text>
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                <text>Attributes of a Dandy </text>
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                <text>&lt;em&gt;Eugene Onegin:&amp;nbsp;&lt;/em&gt;"Reading Fashion"</text>
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                <text>Onegin's attention to the finer details of appearance, including nails and hands, characterized a dandy. </text>
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                <text>Text: Alexander Pushkin;&amp;nbsp;&lt;em&gt;Eugene Onegin&lt;/em&gt;&lt;br /&gt;Image:&amp;nbsp;&lt;em&gt;Reigning Men: Fashion in Menswear&lt;/em&gt;</text>
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                <text>Text: Oxford's World Classics&#13;
Image: Los Angeles County Museum of Art</text>
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                  <text>"Reading" Fashion in A. Pushkin's Eugene Onegin: Word as Image in 1820s Imperial Russia</text>
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                  <text>The importance of fashion in XIX Century Russian Literature, with referene to&amp;nbsp;&lt;em&gt;Eugene Onegin.&amp;nbsp;&lt;/em&gt;</text>
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                  <text>&lt;p align="center"&gt;&amp;nbsp;(English)&lt;/p&gt;&#13;
&lt;p&gt;Bernstein, Aline.&amp;nbsp;&lt;em&gt;Masterpieces of Women's Costume of the 18th and 19th Centuries&lt;/em&gt;. Mineola, NY: Dover Publications, 2001.&lt;/p&gt;&#13;
&lt;p&gt;Efimova, L. V., and T. S. Aleshina.&amp;nbsp;&lt;em&gt;Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century&lt;/em&gt;. London: Vivays Pub., 2011.&lt;/p&gt;&#13;
&lt;p&gt;Hahn, H.&amp;nbsp;&lt;em&gt;Scenes of Parisian Modernity&lt;/em&gt;. New York: PALGRAVE MACMILLAN, 2016.&lt;/p&gt;&#13;
&lt;p&gt;Hiner, Susan.&amp;nbsp;&lt;em&gt;Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France&lt;/em&gt;. Philadelphia: University of Pennsylvania Press, 2010.&lt;/p&gt;&#13;
&lt;p&gt;Perrot, Philippe.&amp;nbsp;&lt;em&gt;Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century&lt;/em&gt;. Princeton, NJ: Princeton University Press, 1996.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Pushkin, Alexander.&amp;nbsp;&lt;em&gt;Eugene Onegin:&amp;nbsp;&lt;/em&gt;A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009.&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;Ribeiro, Aileen.&amp;nbsp;&lt;em&gt;The Art of Dress: Fashion in England and France, 1750-1820&lt;/em&gt;. London: Yale University Press, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Salmond, Wendy R., et al. Konstantin&amp;nbsp;&lt;em&gt;Makovsky: The Tsars painter in America and Paris.&amp;nbsp;&lt;/em&gt;Washington, D.C., Hillwood Estate, Museum &amp;amp; Gardens, 2015.&lt;/p&gt;&#13;
&lt;p&gt;Takeda, Sharon Sadako., et al.&amp;nbsp;&lt;em&gt;Reigning Men: Fashion in Menswear, 1715-2015&lt;/em&gt;. Los Angeles County Museum of Art, 2016.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p align="center"&gt;(Russian)&lt;/p&gt;&#13;
&lt;p&gt;Кирсанова Р. М.&amp;nbsp;&lt;em&gt;Костюм в русской художественной культуре&lt;/em&gt;. М.: Большая Советская Энциклопедия, 1995.&lt;/p&gt;&#13;
&lt;p&gt;Лотман Ю. М. Роман А. С. Пушкина &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий // Лотман Ю. М.&amp;nbsp;&lt;em&gt;Пушкин: Биография писателя; Статьи и заметки, 1960-1990; &amp;ldquo;Евгений Онегин&amp;rdquo;: Комментарий.&amp;nbsp;&lt;/em&gt;- СПб.: Искусство-СПб, 1995. С. 472-762.&lt;/p&gt;&#13;
&lt;p&gt;Лотман, Юрий.&amp;nbsp;&lt;em&gt;Беседы о русской культуре&lt;/em&gt;. СПб.: Искусство-СПб, 1994.&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Русская культура&lt;/em&gt;. М.: Белый город, 1995.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Пушкин А. С. &amp;ldquo;Евгений Онегин&amp;rdquo;// А. С. Пушкин. Полное собрание сочинений в 10 тт. Издание третье. М.: Наука. Т. 4. С. 6-213; 581-608.&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;&amp;nbsp;&lt;/em&gt;&lt;/p&gt;</text>
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                  <text>Permission to use images, from the Middleton album and exhibit, granted by Angie Dodson of Hillwood Estate, Museum and Garden. </text>
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              <text>&lt;p&gt;&amp;laquo;Знакомство покороче свесть.&lt;/p&gt;&#13;
&lt;p&gt;Они сошлись. Волна и камень,&lt;/p&gt;&#13;
&lt;p&gt;Стихи и проза, лёд и пламень&lt;/p&gt;&#13;
&lt;p&gt;Не столь различны меж собой.&lt;/p&gt;&#13;
&lt;p&gt;Сперва взаимной разнотой&lt;/p&gt;&#13;
&lt;p&gt;Они друг другу были скучны;&lt;/p&gt;&#13;
&lt;p&gt;Потом понравились; потом&lt;/p&gt;&#13;
&lt;p&gt;Съезжались каждый день верхом,&lt;/p&gt;&#13;
&lt;p&gt;И скоро стали неразлучны.&lt;/p&gt;&#13;
&lt;p&gt;Так люди (первый каюсь я)&lt;/p&gt;&#13;
&lt;p&gt;От делать нечего друзья&amp;raquo; (2, XIII, 41).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&amp;ldquo;And so they met&amp;mdash;like wave with mountain,&lt;/p&gt;&#13;
&lt;p&gt;Like verse with prose, like flame with fountain;&lt;/p&gt;&#13;
&lt;p&gt;Their natures distant and apart.&lt;/p&gt;&#13;
&lt;p&gt;At first their differences of heart&lt;/p&gt;&#13;
&lt;p&gt;Made meetings dull at one another&amp;rsquo;s;&lt;/p&gt;&#13;
&lt;p&gt;But then their friendship grew, and soon&lt;/p&gt;&#13;
&lt;p&gt;They&amp;rsquo;d meet on horse each afternoon,&lt;/p&gt;&#13;
&lt;p&gt;And in the end were close as brothers&amp;rdquo; (Chapter 2, Stanza 13, Page 41).&amp;nbsp;&lt;/p&gt;</text>
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                <text>&lt;em&gt;Eugene Onegin:&amp;nbsp;&lt;/em&gt;"Reading Fashion"&amp;nbsp;</text>
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                <text>Onegin and Lensky mended their opposing personalities to form a blossoming friendship, through afternoons spent on horseback. </text>
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                <text>Text: Alexander Pushkin;&amp;nbsp;&lt;em&gt;Eugene Onegin&amp;nbsp;&lt;br /&gt;&lt;/em&gt;Image:&amp;nbsp;&lt;em&gt;Костюм в Русский Художественной Культуре&lt;/em&gt;</text>
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Image: Большая Советская Энициклопедия</text>
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                  <text>“Biography.” &lt;em&gt;Spenser Online&lt;/em&gt;, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. &lt;br /&gt;&lt;br /&gt;Hadfield, Andrew. &lt;em&gt;Edmund Spenser: A Life&lt;/em&gt;. Oxford UP, 2012. &lt;br /&gt;&lt;br /&gt;Judson, Alexander C. &lt;em&gt;The Life of Edmund Spenser&lt;/em&gt;. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. &lt;br /&gt;&lt;br /&gt;Maley, Willy. &lt;em&gt;A Spenser Chronology&lt;/em&gt;. MacMillian, 1994. &lt;br /&gt;&lt;br /&gt;Spenser, Edmund. &lt;em&gt;Selected Letters and Other Papers&lt;/em&gt;. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009.</text>
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                <text>Grey and his entourage arrive in Dublin, "Spenser most likely accompanies him"; at Dublin Castle, Spenser probably “started his new life taking rooms in the castle.” (Hadfield, 156; Burlinson and Zurcher, 224) </text>
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                  <text>“Biography.” &lt;em&gt;Spenser Online&lt;/em&gt;, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. &lt;br /&gt;&lt;br /&gt;Hadfield, Andrew. &lt;em&gt;Edmund Spenser: A Life&lt;/em&gt;. Oxford UP, 2012. &lt;br /&gt;&lt;br /&gt;Judson, Alexander C. &lt;em&gt;The Life of Edmund Spenser&lt;/em&gt;. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. &lt;br /&gt;&lt;br /&gt;Maley, Willy. &lt;em&gt;A Spenser Chronology&lt;/em&gt;. MacMillian, 1994. &lt;br /&gt;&lt;br /&gt;Spenser, Edmund. &lt;em&gt;Selected Letters and Other Papers&lt;/em&gt;. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009.</text>
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