Results 101 to 110 of about 2,981 (245)
Theodor Steinbüchel's Great Figures of Christian Humanism
Modern Theology, EarlyView.Abstract Theodor Steinbüchel (1888–1949) offers a study of eight figures in Western history who may be regarded as gestalts of Christian Humanism. He argued that none of these eight figures will ever return in the same way, but since there was an eternal conception of Christianity to which their ethos gave human form, each of these gestalts can be ...
Tracey Rowland
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James Lyman Merrick's Aborted “Mission to the Mohammedans of Persia”
The Muslim World, EarlyView.Abstract James Lyman Merrick (1803‐1866) served as a missionary of the American Board of Commissioners for Foreign Missions (ABCFM) in Persia between 1835 and 1845. He was America's first missionary to the Muslim world. Based on his field research on the Persians’ religious beliefs, he correctly predicted that the conversion of Persia's Muslims into ...
Hooman Estelami
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Radical dystopia: The comic modernism of George Orwell's Nineteen Eighty‐Four
Orbis Litterarum, EarlyView.Abstract The present essay turns the received view of George Orwell's Nineteen Eighty‐Four on its head, arguing that Orwell's dystopian classic mobilizes the modernist techniques of T. S. Eliot's The Waste Land to lampoon the ideological fatalism of Eliot and other cultural conservatives.
Magnus Ullén
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Philosophy and Phenomenological Research, EarlyView.ABSTRACT Philosophers often characterize perception as image‐like. There is little agreement, however, about what constitutes an imagistic or iconic representation. This article identifies five signature properties of iconic representations endorsed in the philosophical and scientific literature: item‐richness, feature‐richness, spatiotemporal ...
Jake Quilty‐Dunn
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‘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
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The Painterly Materiality of Clouds in Antony and Cleopatra and Hamlet
Renaissance Studies, EarlyView.Abstract This article examines the cloud‐gazing scenes in Antony and Cleopatra and Hamlet through the lens of early modern artistic theory and material practices, particularly the art of limning. Building upon existing philosophical and poetic interpretations of Shakespearean clouds as metaphors for ephemerality and memory, the essay argues that the ...
Anne‐Valérie Dulac
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Renaissance Studies, EarlyView.Abstract In the late fifteenth century, the Hungarian royal court at Buda was home to a cosmopolitan community of humanists. In early modern historiography, this cultural milieu has often been interpreted as one of the new, emergent ‘centres’ of the Renaissance in East Central Europe.
Eva Plesnik
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An EEG Dataset on Aesthetic and Creative Judgments of Brief Structured Poetry. [PDF]
Sci DataChaudhuri S, Bhattacharya J.
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