A portrait unseen: Neil Bartlett's queer theatrical adaptation of Wilde's Dorian Gray
Abstract Neil Bartlett's 2012 theatrical adaptation of The Picture of Dorian Gray presents a provocative reimagining of Wilde's novel, emphasizing its homoerotic and aesthetic dimensions while engaging with the historical and cultural anxieties surrounding queerness.
Younes Poorghorban
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Cultural big data: nineteenth to twenty-first century panoramic visualization. [PDF]
Chau TK +4 more
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'Some people talk about children as though they're completely different': hospital art, architecture and design for children in modern Britain. [PDF]
Bates V.
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From Everyman to Hamlet: A Distant Reading
Abstract The sixteenth century sees English drama move from Everyman to Hamlet: from religious to secular subject matter and from personified abstractions to characters bearing proper names. Most modern scholarship has explained this transformation in terms originating in the work of Jacob Burckhardt: concern with religion and a taste for ...
Vladimir Brljak
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A Victorian nature cure philosophy as a reconciliation of Romantic Naturalism and laboratory medicine: the case of E.W. Lane's (1823-89) hygienic medicine. [PDF]
Bae M.
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Abstract Due to their prolonged and multicultural nature, councils functioned historically as hubs for the exchange of ideas, discourse, diplomacy and rhetoric, reflecting broader cultural trends. In the Middle Ages, no international forums were comparable to ecumenical councils, where diverse and influential groups from various regions convened to ...
Federico Tavelli
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Taxonomic and nomenclatural history of <i>Neckera</i> (Bryophyta, Neckeraceae), including reinstatement of <i>Rhystophyllum</i>, the correct name for a segregate of this genus. [PDF]
Ochyra R, Plášek V, Brinda JC.
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‘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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