The close cultural and economic links that exist between the United Kingdom and Canada provide a number of opportunities post-Brexit for the investigation of how the two countries may be able to expand their existing trade relationship. According to Statistics Canada1, in 2017 the total trade between Canada and the United Kingdom amounted to approximately 27 billion Canadian dollars making the United Kingdom the 4th largest single trading partner for Canada, after the United States, China and Mexico. Future policies for expanding trade between both countries can benefit from the opportunity to consider a Circular Economy approach. A Circular Economy is an economic exchange that integrates social, economic and environmental sustainability. Instead of the traditional linear economy of extraction, production, distribution and consumption with significant waste generated in the process, a Circular Economy leads to energy savings and waste elimination by reducing, recycling, remanufacturing and upcycling production. Encouraging trade relationships designed to create a Circular Economy for both trading partners will contribute to their own sustainability goals. However, the measures required for such a transformation may challenge existing social, institutional, and technological norms. In this context, understanding the balance between costs and benefits becomes increasingly important to justify changes. Researching to find the gaps in our current knowledge of trading relationships and the impact of a Circular Economy approach will assist in determining what that balance might be and what future measures should be taken.

Mary II is arguably the least well-known of Britain's world-famous group of regnant queens-yet her situation is both interesting and unique, deserving of both greater academic research and public awareness. This project aims to explore Mary II's mutable and conflicted identity using documentary, visual and cultural evidence from her life, and through the study of key heritage sites connected with her, including Kensington and Hampton Court Palace (Historic Royal Palaces) and the Queen's House (Royal Museums Greenwich). The study of Mary's visual identity will include her extensive legacy in terms of painted portraits, reflecting her life's trajectory, which has never been assessed together or thoroughly evaluated (National Portrait Gallery). This study of Mary II will therefore bring together three heritage organisations under the REACH Consortium theme of 'Identities, Ideologies and Heritage Narratives'. Part of Mary's uniqueness stems from being part of Britain's only joint monarchy-yet that has also meant that being forever linked to her husband, as 'William and Mary', her own identity has been subsumed in her partnership and it has been assumed that her husband, as the 'front man' of the pair, was the only one who was engaged in significant (political) activity. Mary's unique path to the throne, by effectively usurping her father's crown, is also worthy of greater investigation-while narratives tend to focus on the political aspects of the Glorious Revolution, further scrutiny of the personal, familial and dynastic impact of this transition is needed. This again is deeply connected to issues of identity and ideology in terms of the way that Mary constructed her image, and was presented, as a Protestant heroine, despatched as bride to bolster the northern European Protestant alliance, before returning home to save Britain from the rule of her father and the fledgling Catholic dynasty he was creating with Mary of Modena. It will also be vital to investigate Mary's dynastic and national identities in order to understand how she represented herself as a foreign consort during her time in the Low Countries, and as native born queen regnant on her return to Britain, in order to avoid being alienated as foreign or 'other' during either period. While her time abroad exposed her to cultural Continental influences which can be seen in her architectural projects at Kensington, Hampton Court and Greenwich, and in her collections, it was important that she constructed her identity which would be perceived as that of a thoroughly Stuart and British regnant queen. This project will examine the construction of Mary's identity from her childhood onwards, looking at her early education and the expectation on her as a potential heiress. Her early years will also be explored with consideration of how her religious ideology was formed and how the impact of personal relationships, shaped her identity in the long term. By working with researchers at Het Loo, and the Royal Collection in The Netherlands the project will examine the formation of her identity as a foreign consort during her years in the Low Countries and assess the impact of Continental influences on her later cultural projects in Britain. The (re)construction and projection of her identity during her reign will be investigated using a wide range of material, from the output of the dynamic print culture of the period, to economic sources such as her privy purse accounts, to assessing her collections, her dress, and portraiture, as well as a consideration of her extensive architectural and garden projects at Kensington and Hampton Court, and the role she played in the shaping the royal palace site and gardens at Greenwich. By bringing together such a varied collection of sources, the project will be able to create a far clearer picture of Mary's life and reign, and her contribution to the new style monarchy of the late seventeenth century than has hitherto been achieved.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

The project employed critical concepts of presence, performance and display in an investigation of the previously often overlooked reception history of Shakespeare in the domestic and private setting. It sought to contribute to the study of Shakespeare's place and significance in cultural history, through increasing awareness of Shakespearian 'afterlives' in performance and reception outside the public, theatrical and national spheres. More broadly it sought to contribute to histories and theorisations of domesticity, and to key enquiries within Performance Studies into the relationships between performance, audience and location. The selected case studies were chosen to cast a light on different aspects of the expectance of Shakespeare in the home; (a) Shakespeare and the culture of childhood; (b) reception of Shakespeare in the home through media of radio, television and recordings; (c) the domestic performance of Shakespeare in the form of readings and recitations; (d) the display of Shakespeare - related objects in the home. In each case the nature of documented every day and private performances of Shakespeare was examined in order to trace some of the ways in which Shakespeare has been absorbed into the practices and physical environments of actual homes and families. In so doing special attention was paid to the role of women and children in these processes. The project also examined surviving evidence of the material culture connected with Shakespeare in the home, in the form of books, pictures, games, toys, clothes, decorative objects and interior and exterior decoration inspired in some way by Shakespeare's plays and poems, or his own life and supposed personality and appearance. The project gave rise, as envisaged to five essays, one published, one in press (at proof stage), and three on the point of submission for publication, together with a number of other completed of forthcoming outcomes such as conference papers, keynotes lectures and research seminars.

The purpose of the period of research leave requested from AHRC is to prepare for publication the findings of research on the uses of music in the early twenty-first century, which develops earlier work (see Blake and Jeffery 2001; and Blake 2004b; 2005a; and 2005b, in attached CV). The writing project will report on research carried out in and before the autumn of 2005. At least two conference papers, a chapter in a commissioned and contracted edited book (which will be delivered in December 2005), and a commissioned and contracted single-author monograph (due for delivery in September 2006) will disseminate the research findings. The project will open with a literature review. Recent books, journals, websites, and company information will be consulted. This will establish the ways in which policy makers such as the Department for Culture, Media and Sport (DCMS), companies such as EMI, Sony and Motorola and their advertisers, and the online members of user communities, have imagined shifts in the availability uses of music, and have, and/or are, actively providing for such shifts- for example through: The formation of cultural policy and revisions to copyright and intellectual property law (e.g. the Creative Industries Intellectual Property Forum which was launched by DCMS in 2004); MP3 download provision on laptop computers, MP3 players and mobile phones; The iTunes personal computer programme and online music sales facility, and its recently introduced Virgin and HMV rivals; The Garage band music composition programme which is currently delivered with new Apple computers*; Non-proprietary web forums which discuss the best use of these devices. The literature review will aid in the preparation of documentation for semi-structured interviews which will aim to test policy makers', producers' and users' attitudes to legal, ethical and personal issues arising from the uses of music through new portable technologies. Interviews will be held with representatives from government; from record and mobile phone companies and the advertisers who work for them; journalists who regularly evaluate these businesses' products; with the operators of non-proprietary websites dedicated to the users of mobile technologies such as the iPod; and at least four groups of 8-10 consumers from London and the South-East of England, selected by age (plus or minus 25), and gender-balanced. A schedule has been drawn up for these interviews, which will be held during the autumn of 2005. If necessary further Interviews with groups of users of mobile technologies will be scheduled for January 2006. There will be catch-up literature reviews in January, March and May 2006, and this may lead to further email correspondence or face-to-face contact with interviewees, if it is necessary either to clarify issues or there has been a significant change in, for example, product availability, or the legal position on the ownership and use of music. The Garage band programme is of particular interest because of the assumptions it makes about the ordinary computer user's attitude to composition through the provision of ready-made music. In composing a 'new' piece of music, the user is encouraged to use existing factory-made samples. This apparently conceptualises the composition of music as the juxtaposition of available material, which may in turn reinforce users' willingness to pay, or not to pay, for copyrighted music. The project will test such assumptions and the ways in which technologies confirm or deny users' beliefs and desires.