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Fears language degrees at risk as Erasmus replacement focuses on UK trade agenda

Last modified on Fri 19 Feb 2021 07.02 EST The dramatic fall in students taking language degrees in the UK could accelerate if the government fails to fund the year abroad in Europe after next year, universities are warning. Students of modern languages have to spend their third year studying or working abroad in order to pass their degree, and academics say this is the main attraction of many courses. Now, with the UK no longer taking part in the EU Erasmus scheme, there are fears for the future of the traditional European year abroad and for many language courses, with 2020 admissions already down 38% on 10 years ago.

Bloodstock listing - LONHRO FILLY - FROM HUGE EUROPEAN FAMILY - TRAINED BY RICHARD FREEDMAN

This FILLY was bred by GERRY HARVEY ADAM WATT from DYNAMIC SYNDICATIONS and our Vet Dr TIM ROBERTS had inspected this filly and liked her. She was a middle-distance 3YO Type - clean of wind and limb. Tim read her X-Rays and they were crystal clear and the Videoscope of her airway was Grade 1 (perfect). At the Magic Millions we had intended to buy a LONHRO Filly to join our team. This filly was one of two fillies qualified after inspections - Lot 700 was on our list, as was Lot 168. Early on Day 1, we purchased Lot 168 for $170,000 + GST. Therefore, as we had purchased our LONHRO Filly, so we felt we didn t need to pursue Lot 700 - GERRY HARVEY S LONHRO x REMIND ME (GB) Filly, as we were content to take the one Lonhro filly home.

Professor Adam Watt discusses his motivation and approach to editing The Cambridge History of the Novel in French | FifteenEightyFour

  The breadth and variety of works that can be gathered together under the heading of ‘the novel in French’ is nothing short of breathtaking. Of course France is a major source for these works, but so too are Canada, Haiti, Martinique and Guadeloupe, Senegal, Cameroon and Rwanda, Algeria, Tunisia and Morocco… The novel in French is a global phenomenon, inextricably connected with histories of imperialism, colonialism and their still continuing aftermath. In bringing together the contributions that make up The Cambridge History of the Novel in French I wanted to produce a volume that reflected this exceptional diversity while at the same time exploring and illuminating the echoes, interconnections and borrowings that are discernible between authors and texts, from the late middle ages up to the twenty-first century.

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