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Automating Finance
Explains how stock markets became automated through the work of invisible technologists, redefining the fabric of finance for the twenty-first century.
Our Dogs, Our Selves
This volume brings together fifteen essays that examine the appearance, meaning, and significance of dogs in painting, sculpture, manuscripts, literature, and legal records of the period, reaching beyond Europe to include cultural material from medieval Japan and Islam.
Visualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Spanish Americas
A trans-cultural collection of studies on early modern imagery of the phenomena of pain and suffering and viewers’ potential responses. Authors variously consider pain and suffering as somatic, emotional, and psychological experiences.
Visible Exports / Imports
This interdisciplinary publication brings together new research on medieval and renaissance art, culture and the critical history by established scholars, early career academics and postgraduate students from the University of Glasgow, Queen’s University Belfast, University College Cork, the University of Aberdeen and the University of Warwick. The majority of the articles featured are based on papers given at Gloss, a postgraduate conference on medieval and renaissance art and culture, held at the University of Glasgow, 29 June 2007, organised by Emily Jane Anderson with Sandra Cardarelli and Joanne Anderson; and/or at the International Medieval Congress, University of Leeds, 9–12 July ...
Who's who in Italy
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New York 1955
Fotografisk billedværk.
Careers in Crime
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Raphael’s Ostrich
Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidit...
