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Littell's Living Age
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Owning a Body + Moving a Body = Me?
The conscious experience of the bodily self is a cornerstone of human nature, which allows us to delineate the boundaries between the surrounding environment and us. A plethora of clinical and experimental investigations has clearly demonstrated that bodily self-consciousness draws on different neuro-cognitive mechanisms with distinct anatomo-functional underpinnings. Among these, the sense of body ownership (i.e., my body belongs to me), and the sense of agency (i.e., I am the author of my actions) have attracted increasing interest in recent years. The former seems to be strongly rooted in afferent sensory signals, whereas the latter appears to be rooted in efferent motor signals and/or th...
Miscellaneous Reports. Cases Decided in the Courts of Record of the State of New York Other Than the Court of Appeals and the Appellate Division of the Supreme Court
"Cases decided in the courts of record of the state of New York, other than the Court of Appeals and the Appellate Division of the Supreme Court, including the Appellate Term of the Supreme Court for the hearing of appeals from the City Court of the city of New York and the Municipal Court of the city of New York; special terms and trial terms of the Supreme Court, City Court of the city of New York, the Court of general sessions of the peace in and for the city and county of New York, county courts, and the Surrogates' Courts." (varies slightly)
Macmillan's Magazine
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MacMillan's Magazine
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The Kentish Garland
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The Marriage between Perfume and the Lyric Stage
“But what is this scent of balmy air? What this ray of light in my tomb? I seem to see an angel, amid a scent of roses” sings Florestan in Fidelio, Beethoven’s only opera. The role of scents, smells, fragrances, and odours in opera has long been neglected, just as how much opera and its stars have influenced the world of perfumery from the nineteenth century to the present day. In the first book-length study on the topic, Professor Mary May Robertson explores the relationship between opera, perfumes, and their respective protagonists in order to map out the previously undiscussed connection between the two. Through compelling close readings of librettos and rigorous research through thousands of bottles of perfume, the reader will come to appreciate and recognise the influences and exchanges between operas and perfumes and their ultimate marriage in the previously unrecognised genre of Operatic Perfumes, which is to say, perfumes named after operas, composers, and their divas.
