Search

centuries, led by the scribe, Paul Antonio, focusing upon examples from the composite music manuscript, the Montpellier Codex (Montpellier, Bibliothèque de Médecine, H 196).

Marco Dorigatti traces Antonio Panizzi’s meteoric rise from political refugee to Principal Librarian of the British Museum (and an eventual knighthood).

By applying the theories of Antonio Gramsci, Pierre Bourdieu, and Pascale Casanova to readings of these authors’ contexts and the content of their texts, Malachi McIntosh reveals how World War-era

Panthino advises Antonio to let his son ‘spend his time no more at home’, and Antonio agrees:. ... While this is less the teleological march towards perfection which Antonio desires for his son, it is instead a messily generative story of

PROTEUS May’t please […]. ANTONIO  I like thy counsel. Well hast thou advised. ... PANTINO  ’Twas of his nephew Proteus, your son. ANTONIO Why, what of him?

Drawing Letter Forms and Lines. This is a series of meetings organized by Sachiko Kusukawa and Alexander Marr in conversation with Paul Antonio. ... Meeting 2: Tuesday 21st November, 2-5pm, CRASSH. Study Day with Paul Antonio.

disavowal. Although the play’s central characters, Shylock, Antonio, and Bassanio, continuously use coinage to articulate what they desire, they insist that the things they are using currency to express are

By applying the theories of Antonio Gramsci, Pierre Bourdieu, and Pascale Casanova to readings of these authors’ contexts and the content of their texts, Malachi McIntosh reveals how World War-era

one accounts for the long tradition of the prodigal son archetype, Shakespeare’s manipulation of it, and the queer energies of the play (Bassanio is certainly not unappealing to Antonio).

He embarks by proposing an analysis of four sixteenth- and seventeenth-century texts: Castiglione’s Il Cortegiano, Mario Equicola’s De natura d’amore, Giovanni Antonio Tagliente’s Opera amorosa, and