Julian Huxley and Gustavo Gutierrez: An Analysis of When and How Liberation Theology Can Embrace Transhumanism. [PDF]
Olen-Thomas C.
europepmc +1 more source
‘I'm Dead!’: Action, Homicide and Denied Catharsis in Early Modern Spanish Drama
Abstract In early modern Spanish drama, the expression ‘¡Muerto soy!’ (‘I'm dead!’) is commonly used to indicate a literal death or to figuratively express a character's extreme fear or passion. Recent studies, even one collection published under the title of ‘¡Muerto soy!’, have paid scant attention to the phrase in context, a serious omission when ...
Ted Bergman
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Mobilising Zionist and philo-Semitic sentiments through melodrama: Brazilian biblical telenovelas in the production of a neo-Pentecostal political culture. [PDF]
Carpenedo M.
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Abstract This article examines how late bardic poetry transforms the condition of exile into a literary mode that reimagines community and tradition. I argue that poetry of lament, blessing and devotion articulates a broader literary consciousness that anticipates modern notions of a national consciousness. The compilation of bardic verse in manuscript
Daniel T. McClurkin
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Christian perspectives on palliative sedation: a literature study. [PDF]
Lambaerts J, Broeckaert B.
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Stem Cell Research, Cloning And Catholic Moral Theology [PDF]
Fabbro, Ronald
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‘There Has Been a Scandal’: Cultural Performers and the Strangers’ Churches of London
ABSTRACT Despite what one might assume to have been a rigid line between London's refugee community—with its strict brand of Protestantism—and the city's performance cultures—often the target of strict Protestants' ire—historical records reveal a number of overlaps between those domains.
Matteo Pangallo
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"Praying in or preying on my skin": a narrative study of transgender and gender non-conforming individuals' experiences with religion and gender identity in India. [PDF]
Ashok S, Saranya TS.
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Obesity and the Politics of Taddeo di Bartolo's Inferno
ABSTRACT This paper examines Taddeo di Bartolo's depiction of Hell in the Collegiata di Santa Maria Assunta, the mother church of San Gimignano. In a striking departure from similar scenes of the period, the fresco, painted in the early fifteenth century, emphasizes the obesity of the sinners—suggesting a deliberate visual critique.
Stefania Roccas Gandal
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Revisiting the Response to the 1977 Book <i>The Myth of God Incarnate</i>. [PDF]
Revington R.
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