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R. M. Cleminson

The article describes copies of three early-printed books at the Manchester Grammar School, which have not previously been noted in the bibliographies. These are the Missale Romanum (Venice, 1494), De Re Militari (Rome, 1494), and Aquinas, Summa contra Gentiles (Cologne, 1501). Two of the books have Hungarian connections, as is shown by inscriptions in them. They appear to have been at the grammar school since the late nineteenth or early twentieth century, but their detailed provenance remains obscure.

Bulletin of the John Rylands Library
Open Access (free)
Duncan Sayer

Introduction: mortuary grammar and community identity Cemeteries were spaces in which to dispose of the dead, to remove social and physical pollution by partitioning the dangerous decomposing body away from living space; and so prevent exposure to noxious odours. But disposal alone is too simplistic and perfunctory to explain the role of a burial ground because cemetery spaces hosted funerals, which were temporal events that recreated social bonds, allowing them to be forged anew following loss (Metcalf and Huntington, 1991 ). As a consequence, cemeteries

in Early Anglo-Saxon cemeteries
Andrew Balmer
Anne Murcott

mood is conjured and how the character’s train of thought in the second is helped by sentences so long that anyone reading it aloud has to make good use of the commas to take a breath. Contrast that with the way the first extract paints a vivid, realistic picture of movement, noise, smells and heat (among many other things), helped by short, punchy sentences. Keep these contrasting quotations in mind as you continue reading about grammar and punctuation in this third part of the book. The purpose of Part III We have written this part primarily to

in The craft of writing in sociology
Keith Dowding

The grammar of rights and freedoms 13 Social choice and the grammar of rights and freedoms The tools of social choice and game theory are being marshalled in order to get a new handle on old concepts in political philosophy. There is a large literature on the nature of equality as a value and what we should expect to be equalized (see, for example, Roemer 1996, 1998). There is a growing literature on the nature of liberty, its potential measurability (for example, Jones and Sugden 1982; Sen 1988, 1989, 1990a, 1990b, 1990c, 1991b, 1992, 1997, 1999; Bossert et al

in Power, luck and freedom
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Anna Siebach Larsen

11 The humanist grammar of sanctity in the early Lives of Thomas More Anna Siebach Larsen In the dedicatory epistle of his Life of Sir Thomas More, Nicholas Harpsfield refers to his text as ‘a garlande decked and adorned with pretious pearles and stones’, fashioned from the ‘pleasaunt, sweete nosegaye of most sweete and odoriferous flowers’ of William Roper’s own, earlier Lyfe of Sir Thomas Moore.1 Collapsing temporal and technological boundaries, Harpsfield’s description encompasses his subject, his style, and – in its evocation of the verdant borders of the

in Sanctity as literature in late medieval Britain
Chiao-I Tseng

The recent uses of digital technology in war films have sparked a wave of discussions about new visual aesthetics in the genre. Drawing on the approach of film discourse analysis, this article critically examines recent claims about new visual grammar in the war film and investigates to what extent the insertion of different media channels has affected the persuasive function of the genre. Through a detailed analysis of Redacted (2007), which constitutes an extreme case of a fiction filmmaking use of a variety of digital channels, this article demonstrates that the multimedia format works within systems of classical film discourse while also generating new patterns of persuasion tied to new visual technology.

Film Studies
Open Access (free)
Écorchés, moulages and anatomical preparations – the cadaver in the teaching of artistic anatomy at the Accademia di Belle Arti di Brera
Greta Plaitano

Since the sixteenth century, artistic anatomy – a branch of medical science subordinated to the Fine Arts – has understood itself as a comparative investigation halfway between forensic dissection and the analysis of classical art and live bodies. Its teaching was first instituted in Italy by the 1802 curriculum of the national Fine Arts academies, but underwent a drastic transformation at the turn of the century, as the rise of photography brought about both a new aesthetics of vision and an increase in the precision of iconographic documentation. In this article I will attempt to provide a history of the teaching of this discipline at the close of the nineteenth century within the Accademia di Belle Arti di Brera in Milan, with a focus on its ties to contemporary French practices. Drawing on archival materials including lesson plans, letters and notes from the classes of the three medical doctors who subsequently held the chair (Gaetano Strambio, Alessandro Lanzillotti-Buonsanti and Carlo Biaggi), I will argue that the deep connections between their teaching of the discipline and their work at the city hospital reveal a hybrid approach, with the modern drive towards live-body study unable to wholly supplant the central role still granted to corpses in the grammar of the visual arts.

Human Remains and Violence: An Interdisciplinary Journal
Open Access (free)
James Baldwin’s Search for a New Film Form
Hayley O’Malley

James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently penned scenes of filmgoing in which he could, in effect, direct his own movies. Secondly, I show that starting in the 1960s, Baldwin took a more direct route to making movies, as he composed screenplays, formed several production companies, and attempted to work in both Hollywood and the independent film scene in Europe. Finally, I explore how Baldwin sought to change cinema as a performer himself, in particular during his collaboration on Dick Fontaine and Pat Hartley’s documentary I Heard It Through the Grapevine (1982). This little-known film follows Baldwin as he revisits key sites from the civil rights movement and reconnects with activist friends as he endeavors to construct a revisionist history of race in America and to develop a media practice capable of honoring Black communities.

James Baldwin Review