Gendered night, or the nocturnal brightness of the early modern English stage
In French, critics speak of the night using feminine terms, but the term is grammatically neutral in English. Despite this neutrality, night may be gendered. In Romeo and Juliet, virgins hide their shame from their lovers by hiding in the dark. If night is consecrated…[Read more]

For poets like Sir Philip Sidney, the numerous incongruities found in Elizabethan drama fly in the face of Aristotelian theory. London audiences in 1580-1600 would have been hard pressed to recognize the time and place of the action represented on stage from one scene to the next. By comparing Greek theory and Elizabethan practice, this paper…[Read more]

What might strike some as Arden of Faversham’s faulty construction may perhaps be ascribed to the fact that Arden’s murderers, as well as the play’s audience, had to learn how to “temper poison” (i.229). Poison is not simply a means to commit murder, its use also requires great dexterity, one which must be interpreted within a historical and metat…[Read more]

Examines evangelical encounters with the arts as: consumer and performer in the ‘neutral’ sphere of the home; as users of the arts in public worship; as evangelists; and as moralists and reformers of the pursuits of others. It deals mainly with music, literature, the visual arts and drama, and its examples are drawn chiefly from Britain and the…[Read more]

On scholarly traditions, quantitative assessments, and academic malpractices in Italy – and how someone disagreed (Isis, Vol. 110, n. S1, pp. 15-17 https://www.journals.uchicago.edu/doi/pdfplus/10.1086/707594)

This real-life memoir chronicles the journey of Arousiag Magarian over a four year period as she struggles to survive during the Armenian Genocide (1915-1919). Originally written in a small notebook in Armenian, the authors (Arpi Poladian and Troy E. Spier) have translated and prepared for the reader a version in literary English that hopes to…[Read more]

In this essay, I examine two widely divergent instances of what I understand to be a compulsive and racialized-sexualized violence against women whose bodies have been figured as “foreign”/Eastern (and even, as animal and barbaric) threats within collective national bodies: the real case of a massacre in the modern state of Gujarat in southwestern…[Read more]

Kinds of unity, modes of union—why bother? Does Leibniz ever focus on “union”, anyway? It is not before 1713 that Leibniz gets rid of certain metaphysical concerns which, although secondary for him, were present to his mind since the time of his 1708 answer to Tournemine, who had bespoken a “real union” between the soul and the body (GP VI, 595-9…[Read more]

The genealogy of board games in Britain is also an expression of its imperial past. Built on colonialist and orientalist tropes that reinforce a hierarchy of race, their legacy is still discernible in the worlds created for the games played today.

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An updated version of my Portolan piece from 2018.

Completed in early 1944, Robert Desnos’s militant series of 25 poems in Contrée evokes memories of a lost peace and calls for the defeat of the German occupiers. Suggesting the desecration of the human body by the occupiers, Picasso cut his cubist–surrealist frontispiece etching of Dora Marr to produce severed heads and dismembered body part…[Read more]

This study of Leibniz’s philosophical views on mathematics starts from the rank he assigned to them in the encyclopedia of knowledge. Mathematics, in many Leibnitian writings, is proposed to other disciplines as an example to follow: they are an essential component of the new, at the same time encyclopaedic and demonstrative knowledge he is…[Read more]

Leibniz was undoubtedly a many-sided man, and a polymathic mind, if ever there was one. The concept of analysis is notoriously, for its part, a polycephalous monster, and nearly all its meanings are spread through Leibniz’s works, in juridical, scientific, mathematical, or philosophical contexts, under different conditions and with different p…[Read more]

In Historians of Brazil, Francisco Iglésias reviews some of the great names in Brazilian historiography as divided by him into three distinct moments: up to 1838, from 1838 to 1931, and from 1931 onwards. This article shall focus on the third of these moments, which has traditionally been considered the moment of the “modern Brazilian hi…[Read more]

In post-conflict reconstruction there are many tasks that need to be accomplished. Immediate,
medium‐term, and long-term priorities need addressed by multiple national and international
stakeholders, all wanting their interests satisfied. This situation poses a question “what are the
most urgent priorities in post-conflict rec…[Read more]

The very recent past has seen an upswing of scholarly interest not so much in the Internet and Web themselves but in the terms in which they have been discussed and understood. This article examines a remarkable effusion of writing in the 1990s that addressed the spiritual and ethical implications of “cyberspace”. Christian critics reacted in dif…[Read more]

In Castile, where the purity of blood supposedly did not allow the merchants access to the privileged, we found an extremely powerful and rich group, the Cargadores a Indias. This group was made up of international merchants, almost all from humble origins, in many cases converso, who rose socially in a vertiginous way. For this, they were…[Read more]

On 16 November 1436, Enea Silvio Piccolomini delivered the oration Audivi to the fathers of the Council of Basel, concerning the venue for the Union Council between the Latin Church and the Greek Church. He argued for the City of Pavia in the territory of the Duke of Milan. The oration reflected the tensions between conciliarism and the Papacy,…[Read more]

In addition to the enigmatic The Codomas, Henri Matisse distinguished three other images with a name, Icarus, Monsieur Loyal and Pierrot’s Funeral for his landmark livre d’artiste Jazz. While the characters Loyal, Pierrot and Icarus were readily identifiable and the images could be interpreted within the context of the difficulties of the Ger…[Read more]

Henri Matisse’s images in Jazz, created during the disruption of the German Occupation of France, were embedded with symbols of cultural resistance, while his text, which he composed after the defeat of the Germans, reflected the transition to a post-Liberation France. The wartime symbols and allusions camouflaged within these images are readily r…[Read more]