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Modern economics often seems wilfully ignorant of the moral context its founder, Adam Smith, brought to the discipline. Smith fully understood the difference between a scientific theory and an investigation into human and societal behaviour. A science of man would always be different from a science of nature.

William Carleton at times conceived of his great narrative enterprise as a form of naive ethnography, asserting that his stories contained more “facts” about Ireland than any previously published work. His sources were multiple, his sea of story extending from refracted folktales, via Victorian melodrama, to the most commonplace clichés of commercial fiction and, indeed, improving tales. At its heart are the narratives and other oral forms of the pre-famine Irish countryside.

Dark-skinned people have lived in Britain for a very long time, according to some researchers from the Mesolithic era. Nevertheless, today’s black population remains disadvantaged and is not universally accepted. What is called ‘The Question’ – where are you from? – is never far away.

Wittgenstein’s talks in Cambridge in the 1930s were creative acts, works of art one might say, that came into existence in the process of their delivery. There were no notes, no script, but ‘he thought before the class. The impression was of a tremendous concentration.’

The word ‘science’, which originally meant knowledge or understanding in general, gradually became narrowed to mean only physical science. But perhaps the passion for truth that impels the scientist and the passion of spirit we call religion need to be reunited.

Samuel Neilson was a principal in the founding of the first, open society of the United Irishmen and an architect of the underground movement and the alliance with the Defenders. When the strategic initiative shifted from Belfast to Dublin, Neilson shifted with it.

The notion that large numbers of Irish immigrants were once slaves has been mobilised by the American alt-right to deflect from historical and contemporary racism while simultaneously promoting a white nationalist agenda based on claims of white victimhood.

The political battle in Britain was fought at a mythic level, and the image of the golden age, with its appeal to the restoration of national identity, triumphed. But only just. The Remainers foolishly failed to paint their vision in mythic oils, preferring the pointillism of practical details.

An exhibition at Trinity College Dublin shows the wonderful variety and vigour of writing about the visual arts in Ireland in the 1890s and the early years of the last century, a phenomenon which the prestige of more purely literary work tends to make us forget.

James Joyce and Walter Benjamin worked hard over decades to evolve idiosyncratic methods apt for the city-text they wanted to communicate. But Kenneth Goldsmith’s montage version of New York comes from a culture that no longer attaches value to work, only to product.