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RESUMEN En torno al año 60 d.C. tuvo lugar una importante rebelión en la provincia romana de Britania, que había sido conquistada apenas unos años antes. La líder de esta revuelta fue la reina Boudica de los icenos, cuyo marido había dejado el reino al emperador romano y a sus hijas en herencia tras su muerte. Pero los romanos no lo respetaron y violaron a sus hijas y azotaron a Boudica delante de su pueblo. Esto desembocó en una rebelión con el saqueo de tres ciudades romanas hasta que los rebeldes fueron vencidos por el gobernador Suetonio Paulino en lo que hoy se llama “la batalla de Watling Street”. Contamos con dos relatos de estos acontecimientos, los de los historiadores Tácito y Dion Casio, que constituyen el objeto central de estudio de este trabajo. Utilizaremos también las fuentes arqueológicas, que no son muy abundantes, pero se ha conservado el rastro de la destrucción de las ciudades. Todo ello permite reconstruir un relato rico en matices de este episodio histórico, que adquiere mayor relevancia al ser protagonizado por una mujer. La imagen de Boudica ha sido muy inspiradora en los ámbitos literarios y artísticos y ha contribuido a ensalzar el nacionalismo británico. En este trabajo analizamos los hechos y sus consecuencias en el imaginario británico. ABSTRACT Circa the year 60 AD a crucial rebellion took place in the Roman province of Britannia, which had been conquered only a few years earlier. The leader of this revolt was the Queen Boudica of the Iceni, whose husband had left the kingdom to the Roman emperor and to his daughters as an inheritance after his death. But the Romans did not respect this, abused his daughters and whipped Boudica in front of her people. This led to a rebellion in which three Roman cities were sacked, until the rebels were defeated by the governor, Suetonius Paulinus, at what is now known as “The battle of Watling Street”. We rely on two accounts of these events, written by the historians Tacitus and Cassius Dio. These texts are the main focus of this essay. We shall study the archeological record as well. It is scarce, but the cities retain traces of destruction. These documents allow us to recreate the account of this historic event, rich in nuances, which becomes even more significant due to its protagonist being a woman. The image of Boudica has been very inspiring in literature and the arts, contributing to enhancing British nationalism. In this essay we study these events and their impact in the British imaginary Grado en Historia

The thesis comprises an original, book-length sequence of poems, Boudica, and a film-poem of the same name. Boudica engages in a topographical mediation on East Anglia, specifically the landscapes of Norfolk and north Suffolk. The subject of the sequence is Boudica, a young woman trapped within a stifling suburban upbringing and her dead-end job at the pub in her village. Structured in four parts, the poem explores her adolescent ennui, her ambivalence towards place and her small acts of existential rebellion against this condition. The verse itself is constructed of images from cinema and after cinema, images bound to the physicality of cinema. Poet and narrator are allowed access to the viewfinder: lines, images, and stanzas attempt to frame themselves within the logic of cinematography, a logic which asks that the poet’s eye becomes the camera lens, exploiting cinema and ekphrasis by projecting meaning without making it explicit. The film is composed of images which have been suggested by the lyrics, the cinematic sequencing of these images has then dictated the order in which the lyrics appear in the collection. The thematic and structural links between the film and the sequence of poems are the subject of the supporting reflective essay. This paper explores my practice-led methodology and approach to the making of Boudica, offering key definitions with regards to ekphrasis and the hybrid film-poem form. It explores dynamic points of intersection between film and poetry in Boudica as well as case studies in recent writing and practice on ekphrasis, poetry and cinema.

What’s in a name ? Or rather, what’s in a no-name ? Such is one of the enigmas raised by Shakespeare’s play, Cymbeline, in which the queen is never named. As a consequence of this we do not know who she is ; we do not know her lineage, her nationality or her ethnic origins. She has no individual identity and instead plays a number of stereotypical roles ; that of wicked queen, wicked step-mother, ambitious mother and scheming witch. However, to this we can add that Cymbeline’s queen may have been inspired by one of a number of historical figures from British and Roman history. These include Boudica, Cartimandua, Livia and Agrippina.Furthermore, placing Shakespeare’s play within the historical context of the Jacobean court, Cymbeline’s queen plays the foil onto which the political debate to unite England, Wales and Scotland into Great Britain can be projected. She represents the political opposition to James’s project and as such she is seen as the enemy, the outsider to Britain, the ‘Italian’ within, and the foreign savage whose education under the civilising influence of the Roman coloniser has clearly been a failure. What is more, with no name she has no place in history and shows the nation’s future path to historical anonymity if its island members do not accept the ‘progress’ and empire promised by union., Que recouvre un nom ? Ou plutôt que représente l’absence de nom ? Telle est une des énigmes mises en lumière par la pièce de Shakespeare, Cymbeline, dans laquelle la reine n’est jamais nommée. Nous ne savons donc pas qui elle est ; nous ne connaissons pas son lignage, sa nationalité ni ses origines ethniques. Elle n’a aucune identité individuelle, et, à la place, joue une variété de rôles stéréotypés : reine ou méchante belle-mère, mère ambitieuse ou sorcière intrigante. Cependant, on peut supposer que dans Cymbeline le rôle de la reine s’inspire d’un certain nombre de personnages tirés de l’histoire britannique et romaine : Boudica, Cartimandua, Livia et Agrippine.En outre, en replaçant la pièce de Shakespeare dans le contexte historique de la cour jacobéenne, la reine de Cymbeline fait ressortir le débat politique sur l’unification de l’Angleterre, du pays de Galles et de l’Écosse pour constituer la Grande Bretagne. Elle représente l’opposition politique au projet de James I et, en tant que telle, elle est perçue comme l’ennemie, l’étrangère, « l’Italienne » et la sauvage pour laquelle l’influence civilisatrice du colonisateur romain a été clairement un échec. De plus, en l’absence de nom, elle n’a pas de place dans l’histoire, montrant ainsi la voie vers l’anonymat historique de la nation si les membres de son île n’acceptent pas le « progrès » promis par l’union.

International audience; Diversely claimed as English, Welsh and Scottish, with Irish affiliations, represented as both victim and avenging mother Boudica would finally emerge from the pages of history as a national heroine who would unite the British under an English leadership. The English hegemony within Britain also included the ‘dissolution’ of Wales and imperial aspirations Westward into Ireland. Boudica is the most famous warrior queen of British Roman history. She defied Roman rule in 60AD and inspired female empowerment, ‘British’ identity and British imperial ambitions from the 16th century onwards, but who exactly was she? This paper tries to answer this question by reviewing the many historiographical references to her rebellion written under the Tudors in England and Wales, and the Stuarts in Scotland in the Early Modern period. This talk will briefly refer to the dichotomy in Boudica’s national origins in the works of Hector Boëce, Polydore Vergil, Humphrey Llwyd, Raphael Holinshed and William Camden in order to trace her place in the nation’s voice.

This, the third essay on the attempt to find the site of Boudica's last battle, improves on previous techniques. A terrain model of the southern UK was searched, by use of a template matching algorithm, to find all the topographic depressions of width approximately 500 to 2000 m and depth 15 m or greater (other attributes were applied) that matched Tacitus' description of the battle-site. After some initial editing of the original sites (2700) to remove those with selection errors and the most obvious of faults, the candidate battle-site list was reduced to 862. These were then subjected to a weighting and ranking process via the application of ten attributes. A crucial step was to examine the choice of routes available to the Roman commander, Suetonius Paulinus, as he considered withdrawal from London after Boudica's destruction of Colchester and the rout of the 9th Legion. The pros and cons for each route are described, discussed and the results compared. The findings were: that Suetonius did not march north-east towards Boudica; that the London to Lewes road to the southern coast would not have been chosen as all the prospective battle-sites are less than one day's march from London; that taking Watling Street to the Kent ports would have been a strategic and tactical error; that marching further north than St. Albans along Watling Street could have led to conflict with flanking and rearward attacking rebel forces; that turning west at St. Albans to follow Akeman Street was a superior choice but one limited to prospective battle-sites (3, 5, 7, 8, 10, 11 etc.) in the Bulbourne river valley, south-east of Tring, if the absence of burning and destruction at Alchester Roman fortress is correct; that the other southern route from London via Stane Street was strategically sound, and that tactically the prospective battle-sites at Dorking (1 and 2) were outstanding; and finally, that taking the Portway directly west out of London was strategically the most suitable of routes and one Suetonius would probably have viewed most favourably. A simple combination of the ranked sites and the most likely choice of route from London would logically indicate that the actual battle took place in the west at Ogbourne St. George (4), Donhead St. Andrew (6), or Shalbourne (9). However, in acknowledging that not all events, dispositions, circumstances etc. were known, it was concluded that the next investigative phase will be best served by examining not only the western Portway locations but also those along Stane Street at Dorking, and the higher ranking sites within the Bulbourne river valley along Akeman Street.

International audience; This diachronic study serves as a sourcebook of references to Boudica in the early modern period and gives a general overview of the ways in which her story was interpreted, presented and fragmented by various history writers and literary figures. It also examines the apparatus of state ideology which processed the social, religious and political representations of Boudica for public absorption and added to the myth we have today of Boudica in popular culture.

International audience; Fletcher’s Bonduca is quite explicit in dealing with the patriarchal objective of domesticating the rebellious woman. Bonduca and her two daughters do not conform and so are sanctioned. They are portrayed as wild animals and marginal figures that have to be tamed, broken in through violence and rape in order to be re-integrated into the nation. When they refuse to be domesticated, their only option is suicide. However, this also stands as an allegory for taming the wild heart of England’s colonial spaces.

First, take Tacitus’ description of the battle site - a defile facing an open plain - and as objectively as possible search the terrain of southern Britain for matching sites. Second, compute the river flows across Britain in August; calculate the water requirements for the protagonists; use both to identify rivers capable of supplying sufficient water to the Romans and Britons. Third, calculate topographical and hydrological descriptors for 374 known Roman marching camps in Britain and use these data to predict the location of possible marching camps. Combining the three steps eliminates large areas unsuitable for a marching Roman army or battle ground, and identifies 110 possible battle sites. Apply a statistical weighting to the 110 sites and then rank them. Combining the ranked battle sites with an examination of Tacitus’ account and a consideration of political and military logic, strongly suggests Suetonius, the Roman commander, marched west after leaving an indefensible London., Poster and presentation given at 'ON BOUDICA'S TRAIL': A one-day conference, June 29th 2013, held at Warwick University

Searching for the location of Boudica's last battle using terrain analysis, hydrology, Roman marching camp data and the logistical strengths and weaknesses of the British tribal forces and the Roman legions.

A study of known Roman marching camps throughout Britain and the use of the resulting data to predict the locations of unknown marching camp locations. Marching camp data are integrated into a study of hydrology, thereby refining the predictive method.

International audience

International audience

International audience; One of the most under-investigated aspects of Raphael Holinshed’s Chronicles must be the study of the visual representations of British history that we find in the first edition of 1577. This article focuses on the woodcuts used in Holinshed’s Chronicles to illustrate the representation of warrior queens in England and surprisingly we find only two - Cordeilla and Boudica - from Britain’s prehistory and ancient history. It describes and analyses these images in order to demonstrate the historiographical and political objective of such works. This article also reviews the information known about the artist and tries to understand why these pictures were removed from the second edition of 1587.; Un des aspects les plus négligés des Chronicles de Raphael Holinshed est certainement l’étude des représentations visuelles de l’histoire britannique que nous trouvons dans la première édition de 1577. Cet article porte principalement sur les gravures sur bois utilisées dans les Chronicles de Holinshed afin d’illustrer la représentation des reine-guerrières en Angleterre. Etrangement nous en trouvons seulement deux : Cordeilla et Boudica, toutes les deux vivant dans la préhistoire britannique et l’antiquité. Il décrit et analyse ces images dans le but de démontrer l’objectif historiographique et politique de telles œuvres. Cet article examine également l’information connue sur l’artiste et tente de comprendre la suppression de ces images dans la deuxième édition des Chronicles en 1587.

"We have few details of the native response to the Roman invasion of Britain in AD43, but one episode entered folklore: the rebellion of an East Anglian queen. Steve Kaye thinks he knows how to narrow down the search for the elusive site of Boudica's last stand." Article published in Published in British Archaeology, Issue 114, Sept / Oct 2010., Scanned copy of the original paper article.

Archaeologists, historians and other interested parties have sought the location of Boudica’s last battle in AD60 or 61 using the sparse archaeological evidence, the accounts of Cornelius Tacitus and Cassius Dio and, to a greater or lesser extent, various insights or specialised knowledge, frequently military. This article is a description of an attempt to find likely battle sites using terrain analysis techniques. The aim of this study was to marry the primary written account, that of the Annals written by Tacitus in 109 AD, with satellite-derived elevation data and to use the result within a computer program designed for geographical and terrain analysis to find likely battle sites across the southern UK. The elevation data are the Shuttle Radar Topography Mission (SRTM) at 90 metre resolution which, when manipulated within SAGA, the computer program, allows the display of terrain features such as rivers, slope, ridges, the concavity or convexity of slopes, aspect and, particularly important for this study, river valley bottoms and plains. Other information loaded to SAGA, and used to aid the investigation, included Roman towns, forts and roads. Having built a terrain model the next step was to match Tacitus’ account with the terrain features.