Log in

Relevant bibliographies by topics / Arcadia / Journal articles

To see the other types of publications on this topic, follow the link: Arcadia.

Journal articles on the topic 'Arcadia'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Arcadia.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Frenk, Joachim. "Happiness in Sir Philip Sidney’s Arcadia." Critical Survey 32, no. 3 (September 1, 2020): 59–69. http://dx.doi.org/10.3167/cs.2020.320306.

Full text

Abstract:

Sir Philip Sidney is not commonly associated with a search for happiness or the use he made of concepts of happiness in his works. Yet, as this article seeks to show, he employed a rhetoric of happiness throughout. In particular, Sidney’s Arcadias – the Old Arcadia, which he finished in 1581, and the New Arcadia, the substantial rewriting which remained unfinished – are markedly different in their representations of and their reflections on happiness. While happiness is associated with the Arcadian state as a – potentially fatal – aim in the Old Arcadia from its very beginning, it is subordinated to a sterner and more violent discourse in the New Arcadia, for which after Sidney’s death other writers wrote diverse happy endings. This different treatment of happiness in the Arcadias is also discussed with a view to different manuscripts and print editions as well as to the power play at the Elizabethan court.

APA, Harvard, Vancouver, ISO, and other styles

2

Mayer, Roland. "Aeneid 8.573 and Callimachus’ Hymn to Zeus." Classical Quarterly 38, no. 1 (January 1988): 260–61. http://dx.doi.org/10.1017/s0009838800031529.

Full text

Abstract:

In his final words to his son, Pallas, Evander interposes a prayer:‘At uos, o superi, et diuum tu maxime rectorIuppiter, Arcadii, quaeso, miserescite regis…’Of recent commentators, C. J. Fordyce alone is bothered by the reference to Evander's Arcadian origin; he reckons that it alludes to his exiled condition and so establishes a claim on Jupiter's mercy. That may be so, but it is worth suggesting that this is rather a piece of Virgil's Callimachean learning. For at the opening of his first Hymn Callimachus had rejected the story that Zeus was born on Crete in favour of Arcadia (6–7, 10). The Arcadian birth-place was known to Cicero (De natura deorum 3.21,53: principio Ioues tres numerant…ex quibus primum et secundum natos in Arcadia). Yet Cicero is less likely to be in Virgil's mind than Callimachus, from whom he derived so much learned detail. Evander then is appealing to Jupiter as a fellow Arcadian, docte.

APA, Harvard, Vancouver, ISO, and other styles

3

Versiani dos Anjos, Carlos. "A Arcádia Romana e a Arcádia Ultramarina: diálogos literários entre a Itália e o Brasil na segunda metade do século XVIII / The Roman Arcadia and the Arcadia Ultramarina: Literary Dialogues between Italy and Brazil in the Second Half of the Eighteenth Century." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (September 3, 2019): 83. http://dx.doi.org/10.17851/2358-9787.28.3.83-114.

Full text

Abstract:

Resumo: Este trabalho visa apresentar as relações literárias entre árcades brasileiros da segunda metade do século XVIII e a Arcádia Romana, a que alguns destes árcades eram filiados, ou a ela associados por intermédio da chamada Arcádia Ultramarina, academia criada no Brasil, na capitania de Minas Gerais, por Cláudio Manuel da Costa. O artigo analisa os primórdios da Arcádia Romana e seus teóricos precursores; o movimento dos poetas brasileiros na Europa e no Brasil, para a criação de uma colônia ultramarina daquela Academia; os esforços de Basílio da Gama, Seixas Brandão e Cláudio Manuel neste empreendimento; a participação do poeta Silva Alvarenga, também como crítico literário; e a recepção crítica sobre a existência e significado da Arcádia Ultramarina, nas suas relações com a Arcádia Romana, entre estudiosos contemporâneos da Itália e do Brasil.Palavras-chave: Arcádia Romana; Arcádia Ultramarina; século XVIII; Literatura Arcádica; História da Literatura.Abstract: We aim to present the literary relations between Brazilian arcadians in the second half of the eighteenth century and the Roman Arcadia, in which some of these arcadians were affiliated or associated to the so-called Arcadia Ultramarina, an academy created in Brazil, in the captaincy of Minas Gerais, by Cláudio Manuel da Costa. We analyze the beginning of the Roman Arcadia and its precursor theorists; the movement of Brazilian poets in Europe and Brazil, for the creation of an overseas colony of that Academy; the efforts of Basilio da Gama, Seixas Brandão and Cláudio Manuel in this venture; the participation of the poet Silva Alvarenga, also as a literary critic; and the critical reception on the existence and significance of the Arcadia Ultramarina in its relations with the Roman Arcadia among contemporary scholars from Italy and Brazil.Keywords: Roman Arcadia; Arcadia Ultramarina; XVIII Century; Arcadian Literature; History of Literature.

APA, Harvard, Vancouver, ISO, and other styles

4

SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.

Full text

Abstract:

ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.

APA, Harvard, Vancouver, ISO, and other styles

5

Dueck, Daniela. "A Lunar People: The Meaning of an Arcadian Epithet, or, Who is the Most Ancient of Them All?" Philologus 164, no. 1 (June 3, 2020): 133–47. http://dx.doi.org/10.1515/phil-2020-0101.

Full text

Abstract:

AbstractA brief scholion allusion to a “Selenite” community in Arcadia raises a question concerning this epithet and its meaning on the background of similar expressions denoting extreme antiquity. The better known term associated with the Arcadians is Proselēnoi, namely, pre-lunar, people who preceded the moon. This term is examined through several options of understanding. At the core of this analysis stands the Classical tendency to highly appreciate early periods of time and early peoples. This opens up a discussion of autochthony and the concept of extreme antiquity, particularly associated with Arcadia. The result is an etymologically based mythographic study centred on the Arcadians’ existence in relation to the first appearance of the moon. The conclusion offers a new interpretation of a neglected term.

APA, Harvard, Vancouver, ISO, and other styles

6

Dziedzic, Joanna. "Последний кинем взгляд на бывший наш эден! O motywach arkadyjskich w liryce Apollona Majkowa." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 53, no. 4 (December 23, 2021): 173–92. http://dx.doi.org/10.36770/bp.651.

Full text

Abstract:

The article is devoted to the discussion of Arcadian themes in the poetry of Apollon Maykov. It discusses the traditional idyllic depiction of Arcadia as the lost paradise of childhood, so yearned for by the poet. The presence of anti-idyllic motifs – escaping/leaving the earthly Eden – is also pointed out. Maykov’s Arcadian landscapes are also analysed in relation to the current of land poetry and the myth of the “nobleman’s nest”. The Arcadian nature has aesthetic (beauty and richness of nature) and ethical values for the poet (harmony, peace, goodness, naturalness and truthfulness).

APA, Harvard, Vancouver, ISO, and other styles

7

Clinton, Craig, and Tom Stoppard. "Arcadia." Theatre Journal 46, no. 2 (May 1994): 270. http://dx.doi.org/10.2307/3208459.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

McLarney, Rose. "Arcadia." Missouri Review 36, no. 3 (2013): 27–33. http://dx.doi.org/10.1353/mis.2013.0075.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Morgan, Catherine. "Arcadia." Archaeological Reports 54 (November 2008): 31–34. http://dx.doi.org/10.1017/s0570608400000582.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Morgan, Catherine. "Arcadia." Archaeological Reports 55 (November 2009): 26–29. http://dx.doi.org/10.1017/s0570608400001095.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Morgan, Catherine. "Arcadia." Archaeological Reports 56 (November 2010): 41. http://dx.doi.org/10.1017/s0570608410000116.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

V. L. Forsyth. "The Two Arcadias of Sidney’s Two Arcadias." SEL Studies in English Literature 1500-1900 49, no. 1 (2008): 1–15. http://dx.doi.org/10.1353/sel.0.0045.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Ward, Thomas. "Arcadian Ineloquence: Losing Voice in The Countess of Pembroke's Arcadia." Studies in Philology 115, no. 2 (2018): 286–311. http://dx.doi.org/10.1353/sip.2018.0011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Guaspari, David. "Stoppard's Arcadia." Antioch Review 54, no. 2 (1996): 222. http://dx.doi.org/10.2307/4613314.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

King, Bruce, and Ben Okri. "In Arcadia." World Literature Today 77, no. 1 (2003): 86. http://dx.doi.org/10.2307/40157815.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

VOYATZIS, MARY. "GEOMETRIC ARCADIA." Bulletin of the Institute of Classical Studies 40, Supplement_63 (January 1, 1995): 271–83. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02120.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Martin, Christopher, Philip Sidney, and Victor Skretkowicz. "The Countess of Pembroke's Arcadia (The New Arcadia)." Sixteenth Century Journal 20, no. 4 (1989): 717. http://dx.doi.org/10.2307/2541337.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Rhowbotham, Kevin. "Et in Arcadia ego, Et in Arcadia est." Architectural Design 83, no. 3 (April 4, 2013): 138–41. http://dx.doi.org/10.1002/ad.1603.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Eckerman, Chris. "THYRSIS’ ARCADIAN SHEPHERDS IN VIRGIL'S SEVENTH ECLOGUE." Classical Quarterly 65, no. 2 (August 12, 2015): 669–72. http://dx.doi.org/10.1017/s0009838815000142.

Full text

Abstract:

In Virgil's seventh Eclogue, Meliboeus relates a singing contest that Corydon and Thyrsis undertook. Upon beginning their songs, Corydon invokes the Libethrian nymphs (21), and Thyrsis invokes ‘Arcadian shepherds’ (25–6). Scholars have previously interpreted Thyrsis’ Arcadian shepherds as people, but here I suggest that they should be interpreted as divinities. In support of this assertion, I rely on the expectations of the capping style (which requires that Thyrsis ‘cap’ Corydon's invocation of Libethrian nymphs), Virgil's description of the setting and the characters present, an epigram by Erucius (an intertext for this poem), the Greek and Roman literary tradition that developed especially in relation to gods associated with Arcadia, and Thyrsis’ quatrains, which can be profitably interpreted if we assume that Arcadian gods have heard Thyrsis' prayer and are now inspiring his song.

APA, Harvard, Vancouver, ISO, and other styles

20

Grech, P. V., and I. A. Dyson. "AN INTEGRATED APPROACH TO THE STUDY OF THE EARLY TRIASSIC REWAN GROUP, BOWEN BASIN." APPEA Journal 37, no. 1 (1997): 192. http://dx.doi.org/10.1071/aj96011.

Full text

Abstract:

This study of the Early Triassic Rewan Group in the Bowen Basin was an integrated approach using seismic stratigraphic principles with outcrop, wireline log, bios- tratigraphy and core data. It resulted in a coherent and useable stratigraphic framework that assisted in defining facies and potential reservoirs below seismic resolution within the Rewan Group. The Rewan Group consists of the Sagittarius Sandstone and Arcadia Formation. Depositional systems of the Sagittarius Sandstone and Arcadia Formation were affected by major tectonic and climatic changes. Each formation is marked at its base by a third-order sequence boundary. The Sagittarius Sandstone is overall regressive and was deposited in a domi- nantly lacustrine environment. The base of the overlying Arcadia Formation is marked by the Brumby Sandstone Member. It was deposited in a fluvially dominated shoreface setting. Red beds of fluvial origin in the Arcadia Formation are characterised by overbank fines and lenticular channel sandstone. High-frequency incised valley fills occur in the uppermost Arcadia Formation. The Arcadia Formation is in turn erosively overlain by pebbly sandstone of the Clematis Group. Sandstone-filled incised valleys at the base of the Sagittarius Sandstone and in the upper Arcadia Formation offer the best reservoir potential in the Rewan Group.

APA, Harvard, Vancouver, ISO, and other styles

21

Goytía de Moisset, Noemí, Juan Manuel Bergallo, Myriam Almandoz, and Guillermo Ferrando. "Arcadia y utopías." Revista de Arquitectura 7, no. 7 (January 1, 1996): 6. http://dx.doi.org/10.5354/0719-5427.1996.30399.

Full text

Abstract:

Cuando la ciudad argentina de Córdoba no ha llegado a la degradación de otras ciudades latinoamericanas, se impone una reflexión sistemática y culta sobre su futuro, en la búsqueda de un equilibrio que amalgame las esencias históricas de la vida urbana con un porvenir que es posible y necesario prevenir.

APA, Harvard, Vancouver, ISO, and other styles

22

Hoffman, N. M. "Performance Review: Arcadia." Theatre Journal 48, no. 2 (1996): 215–16. http://dx.doi.org/10.1353/tj.1996.0041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Haxo, Paul. "Performance Review: Arcadia." Theatre Journal 48, no. 2 (1996): 216–18. http://dx.doi.org/10.1353/tj.1996.0042.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Malvern, Sue, and Eckart Marchand. "Sculpture in Arcadia." Studies in the History of Gardens & Designed Landscapes 29, no. 1-2 (January 2009): 1–12. http://dx.doi.org/10.1080/14601170701806908.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Pietropaolo, Domenico. "Alcina in Arcadia." University of Toronto Quarterly 72, no. 4 (October 2003): 858–69. http://dx.doi.org/10.3138/utq.72.4.858.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Jenkyns, Richard. "Virgil and Arcadia." Journal of Roman Studies 79 (November 1989): 26–39. http://dx.doi.org/10.2307/301178.

Full text

Abstract:

There is an obstacle to our natural appreciation of Virgil'sEclogueswhich looms as large in their case as in that of any poetry whatever. TheEcloguesform probably the most influential group of short poems ever written: though they themselves take Theocritus as a model, they were to become the fountainhead from which the vast and diverse tradition of pastoral in many European literatures was to spring. To use them as a model was in itself to distort their character: it is one of the greatest ironies of literary history that these elusive, various, eccentric poems should have become the pattern for hundreds of later writers. Moreover, the growth of the later pastoral tradition meant that many things were attributed to Virgil which are not in Virgil. Sometimes they were derived from interpretations which were put upon Virgil in late antiquity but which we now believe to be mistaken; sometimes they are misinterpretations of a much later date; sometimes they originated from new developments in pastoral literature which their inventors had not meant to seem Virgilian, but which in the course of time got foisted back on to Virgil nevertheless. It is hard, therefore, to approach theEcloguesopenly and without preconceptions about what they contain, and even scholars who have devoted much time and learning to them have sometimes continued to hold views about them for which there are upon a dispassionate observation no good grounds at all. No poems perhaps have become so encrusted by the barnacles of later tradition and interpretation as these, and we need to scrape these away if we are to see them in their true shape. My aim here is to do some of this scraping by examining the use of Arcadians and the name of Arcadia in Virgil's work.

APA, Harvard, Vancouver, ISO, and other styles

27

Moore, Michael Edward. "Passage to Arcadia." postmedieval: a journal of medieval cultural studies 1, no. 1-2 (March 2010): 132–41. http://dx.doi.org/10.1057/pmed.2010.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Glotzer, Paige. "Exclusion in Arcadia." Journal of Urban History 41, no. 3 (February 2, 2015): 479–94. http://dx.doi.org/10.1177/0096144214566964.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Green, David. "Arcadia for all." Land Use Policy 2, no. 3 (July 1985): 249–50. http://dx.doi.org/10.1016/0264-8377(85)90078-x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Marsh, David, and Carol Kidwell. "Sannazaro and Arcadia." Italica 72, no. 3 (1995): 387. http://dx.doi.org/10.2307/479729.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Dixon, Susan M. "Women in Arcadia." Eighteenth-Century Studies 32, no. 3 (1999): 371–75. http://dx.doi.org/10.1353/ecs.1999.0016.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Wojciechowska, Sylwia. "“Throw[ing] the Longest Shadows”: The Significance of the Bogus Quotation for "Arcadia" by Jim Crace." Text Matters, no. 2 (December 4, 2012): 180–91. http://dx.doi.org/10.2478/v10231-012-0063-6.

Full text

Abstract:

Preceding his Arcadia with a non-existing quotation, Jim Crace proves to be no Arcadian innocent: challenging the shrewdness of his readers, the contemporary novelist seems to take pleasure in inviting them to an intellectual game which begins before the novel unfolds. The highly evocative title and the bogus quotation are bound to evoke associations which become the subject of minute examination in the novel. Its result turns out to be as astounding as the uncommon aphoristic trap laid for the readers. This article examines the significance of the bogus quotation as a part of the novel’s message and a key to its interpretation.

APA, Harvard, Vancouver, ISO, and other styles

33

Berchet, Jean-Claude. "Et in Arcadia ego !" Romantisme 16, no. 51 (1986): 85–104. http://dx.doi.org/10.3406/roman.1986.4810.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Martin, Edgerton, and Christopher C. Faust. "Arcadia at the Edge." Design Quarterly, no. 156 (1992): 14. http://dx.doi.org/10.2307/4091304.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Charlesworth, Michael. "AN ENGLISH ARCADIA: SYMPOSIUM." Landscape Journal 11, no. 2 (1992): 202–3. http://dx.doi.org/10.3368/lj.11.2.202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Quennell, Nicholas. "Arcadia, by Tom Stoppard." Landscape Journal 15, no. 1 (1996): 65–67. http://dx.doi.org/10.3368/lj.15.1.65.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Von Harald, Tausch. "Et in Arcadia ego?" Jahrbuch für Internationale Germanistik 2008, no. 2 (January 1, 2008): 13–54. http://dx.doi.org/10.3726/82031_13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Anderson, Catherine E. "Pierre Bonnard: Painting Arcadia." Nineteenth Century Studies 27, no. 1 (January 1, 2013): 171–85. http://dx.doi.org/10.5325/ninecentstud.27.2013.0171.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Davies King, William. "Et in Arcadia E.G.O." Eugene O'Neill Review 37, no. 2 (September 2016): 180–84. http://dx.doi.org/10.5325/eugeoneirevi.37.2.180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Davies King. "Et in Arcadia E.G.O." Eugene O'Neill Review 37, no. 2 (2016): 180. http://dx.doi.org/10.5325/eugeoneirevi.37.2.0180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Peace, Adrian. "From Arcadia to Anomie." Critique of Anthropology 9, no. 1 (April 1989): 89–111. http://dx.doi.org/10.1177/0308275x8900900107.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Vecce, Carlo. "Arcadia at the Newberry." I Tatti Studies in the Italian Renaissance 17, no. 2 (September 2014): 283–302. http://dx.doi.org/10.1086/678253.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

DENNIS, JEFFERY P. "From Arcadia To Utopia." Journal of Contemporary Ethnography 29, no. 5 (October 2000): 618–40. http://dx.doi.org/10.1177/089124100129024025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Herring, Horace. "The Quest for Arcadia." Organization & Environment 15, no. 2 (June 2002): 202–8. http://dx.doi.org/10.1177/10826602015002007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Cairns, John. "Last days in Arcadia." Nature 401, no. 6748 (September 1999): 19. http://dx.doi.org/10.1038/43320.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Shinkle, Eugénie. "Between industry and arcadia." Lancet 356, no. 9232 (September 2000): 863. http://dx.doi.org/10.1016/s0140-6736(05)73450-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Sheridan, Gwenda. "Is arcadia under attack?" Australian Planner 41, no. 2 (January 2004): 55–60. http://dx.doi.org/10.1080/07293682.2004.9982354.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Tara Welch. "Horace's Journey Through Arcadia." Transactions of the American Philological Association 138, no. 1 (2008): 47–74. http://dx.doi.org/10.1353/apa.0.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Bond-Graham, Darwin. "Et in Arcadia, Oil!" Capitalism Nature Socialism 21, no. 3 (September 2010): 8–20. http://dx.doi.org/10.1080/10455752.2010.507050.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Berlinger, Nancy. "Et in Arcadia ego." Hastings Center Report 44, no. 1 (January 2014): inside front cover. http://dx.doi.org/10.1002/hast.240.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!