Results 151 to 160 of about 1,153 (248)

‘I'm Dead!’: Action, Homicide and Denied Catharsis in Early Modern Spanish Drama

Renaissance Studies, EarlyView.
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
wiley   +1 more source

Mobilization against forced domestic work in Peru. [PDF]

Front Sociol
Schalkowski N.
europepmc   +1 more source

What Does Intarsia Say? Materiality and Spirituality in the Urbino Studiolo☆

Renaissance Studies, EarlyView.
Abstract Upon entering the Urbino studiolo of Federico da Montefeltro, the visitor is struck by a material‐charged environment. Surprisingly, only a few scholars have addressed one prominent aspect of the decorative scheme, namely, the feature of intarsia as a medium. Even so, it remains on the sidelines of the discussion.
Matan Aviel
wiley   +1 more source

‘Who is the Gael who Would Not Weep?’: The Book of the O’Conor Don, Fearghal Óg Mac an Bhaird, and Late Bardic Poetry of Exile

Renaissance Studies, EarlyView.
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
wiley   +1 more source

Risk factors of genito-pelvic pain/penetration disorder among Black women in the United States: A conceptual review. [PDF]

Health Psychol
Thorpe S.
europepmc   +1 more source

Obesity and the Politics of Taddeo di Bartolo's Inferno

Renaissance Studies, EarlyView.
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
wiley   +1 more source

Thoroughness of philosophy and return to religion in Tanabe Hajime. [PDF]

F1000Res
Doi H.
europepmc   +1 more source