Results 51 to 60 of about 87,973 (229)

ATMOSFEAR: Horror of nature and the nature of horror in Algernon Blackwood

Orbis Litterarum, Volume 80, Issue 6, Page 553-577, December 2025.
Abstract The impact that the stories of Algernon Blackwood (1869–1951) have had on the literature of the uncanny can hardly be overestimated. However, there is almost no research on Blackwood's life and work. Against the background of a presentation of themes and motifs of Blackwood's narrative œuvre, this article develops a characteristic of his ...
Dominic Angeloch
wiley   +1 more source

Almodóvar’s Baroque Transitions in the Early Films (1980–1995)

Humanities
Spanish film director Pedro Almodóvar has been detected early on by film critics as a Baroque filmmaker, a qualification to which he has agreed in interviews.
Frederic Conrod
doaj   +1 more source

International exhibitions as an instrument of domestic cultural policy: how Baroque art came to be honoured in socialist Czechoslovakia [PDF]

Journal of Art Historiography, 2016
At the end of the 1960s the artistic tradition of the Baroque period in Bohemia had gained new acceptance and the established schema for interpreting its history had been revised. This essay asks how it came to this turn. It therefore pursues, on the one
Michaela Marek
doaj  

A Coherence Theory of Jurisprudence in the Spirit of Jhering: A Restatement, Update, and Defence of Jhering’s Early Methodology

Ratio Juris, Volume 38, Issue 3, Page 198-235, November 2025.
Abstract This essay revisits the early methodology of Rudolph von Jhering. It has often been dismissed due to its heavy metaphysics, unwieldy presentation, and alleged neglect of teleology. But a charitable reconstruction in contemporary terms reveals a coherence theory of jurisprudence that is in many ways superior to current coherence accounts.
Pascal Felix Meier
wiley   +1 more source

Boston University Baroque Orchestra with Boston Baroque, April 25, 2005 [PDF]

, 2005
This is the concert program of the Boston University Baroque Orchestra with Boston Baroque performance on Monday, April 25, 2005 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue. Works performed were Concerto grosso, Op. 3 No. 11 by Antonio Vivaldi,
School of Music, Boston University
core  

Zukunftspessimismus in der Frühen Neuzeit? Überlegungen zu frühneuzeitlichen Zukunftsvorstellungen am Beispiel des Vanitas-Motives zur Zeit des Barock

Historia.scribere, 2017
Future pessimism in the Early Modern era? Reflections on Early Modern future imaginations exemplified by the baroque Vanitas motif. The following bachelor thesis is about the future imaginations of the Early Modern time. The paper follows the question,
Lisa-Marie Gabriel
doaj   +1 more source

Boston University Baroque Orchestra, November 14, 2006 [PDF]

, 2006
This is the concert program of the Boston University Baroque Orchestra performance on Tuesday, November 14, 2006 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Symphony in B flat Major, op. 2, no. 1 by
School of Music, Boston University
core  

Cognitive Theories of Galant Music at the Margins of Experience

Music Analysis, Volume 44, Issue 3, Page 293-339, October 2025.
ABSTRACT Leading cognitive studies of galant music treat schematism as both a device and an ethos. The devices – whether called pre‐fabs, tiles or schemata – undergird a mechanistic and passive ethos of inventiveness. In vision and practice, this constellation of approaches directs inquiry away from a musical depth that one contemplates and towards a ...
Edmund J. Goehring
wiley   +1 more source

Boston University Symphony Orchestra, January 31, 2006 [PDF]

, 2006
This is the concert program of the Boston University Symphony Orchestra performance on Tuesday, January 31, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were "Night Flight," Op.
School of Music, Boston University
core