This article, a revised and annotated version of a plenary lecture given at the North American Conference on British Studies meeting in October 2018, considers the place and significance of aliens in England's history between the expulsion of the Jews in 1290 and the arrival of the French and Dutch Protestants from the 1540s onward. It draws extensively on a new database of immigrants to England between 1330 and 1550, which itself relies principally on the remarkable records generated by a tax on aliens resident in England, collected at various points between 1440 and 1487. Aliens emerge as a significant element in English society—sometimes chastised, sometimes subject to violence and other abuse, but also recognized clearly for their contribution to the economy. If immigrants were sometimes seen as a potentially disruptive presence, they were also understood to be a natural and permanent part of the social order.

In her 1899 pedagogy manual Touch: Piano Instruction on the Basis of Physiology, the composer and pianist Marie Jaëll (1846–1925) describes pianistic touch as a ‘polyphony of sensations’, a synthesis of vibrations that is both physical and psychical. This article examines Jaëll's recourse to nineteenth-century experimental science, specifically experimental psychology, to develop a theory of pianistic touch. Touch, Jaëll contends, necessitates a pianist's attention to haptic and aural impulses in an elusive, ‘simultaneous and successive’ process that collates the pianist's tangible sensation of the keyboard and the ineffable mental impressions conjured by sound. This braided sense of musical touch can be cultivated in performers and transmitted to listeners. Jaëll makes this assertion using a novel kind of visual evidence: fingerprints. Fingerprinting her students before and after the execution of selected piano études and treating the prints as diagnostic documents, Jaëll posits that isolating and attending to minute variations in touch is akin to attuning to the aesthetic content of a musical work. Jaëll crystallized her methodology in a vibrant collaboration with Charles Féré (1852–1907), a criminologist and one-time student of Jean-Martin Charcot. More broadly, Jaëll's treatise is a striking exponent of the era's ‘graphical method’, pioneered by Étienne-Jules Marey, which sought to supplant scientific rhetoric with ‘objective’ truth, depicted as machine-generated wave forms. The ethos that motivated the creation of such representations, propagated by an array of influential scientists including Ernst Heinrich Weber and Hermann von Helmholtz, underscores a tendency to intertwine physiology and psychology in an enterprise that quantified sensation as a fact of mechanistic causes. Jaëll's emphasis on attention – how thought modifies touch and sound – sets her theory apart from experimental psychology's more determinist premises. In Jaëll's experimental apparatus, fingerprints are not objective; rather, they index the variable haptic and sonic sensations experienced by the pianist. As a nascent theory of embodied cognition, Jaëll's pedagogy bespeaks a fluid relationship between mind and body at the dawn of the twentieth century.

In this article we present the fragments of a crucible and a possible tuyère that provide evidence of early copper metallurgy in Scandinavia at least 1500 years earlier than previously thought. The technical ceramics were found in a cultural layer containing Early Neolithic Funnel Beaker pottery dating to around 3800–3500 bc beneath a long barrow dating to 3300–3100 bc. The presence of a copper alloy in the crucible is confirmed by three independent X-ray fluorescence analyses using both a hand-held and a stationary instrument, SEM-EDS analysis of a cross-section, as well as a Bruker Tornado μ-X-Ray-fluorescence scanner (μ-XRF). The transmission of metallurgy to southern Scandinavia coincided with the introduction of long barrows, causewayed enclosures, two-aisled houses, and certain types of artefacts. Thus, metallurgy seems to be part of the new networks that enabled the establishment of a fully Neolithic society.