Relevant bibliographies by topics / Madonna, 1958-

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Madonna, 1958-'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Madonna, 1958-"

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Häger, Andreas. "Like a Prophet - On Christian Interpretations of a Madonna Video." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 151–74. http://dx.doi.org/10.30674/scripta.67227.

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Throughout the history of Christianity, its relationship to art has been a complicated one, concerning the use of art in worship as well as the views on "secular" art. This article deals with a current example of the latter. More specifically, the article examines some examples of Christian views on popular music. The best-known reactions to pop and rock music' by Christians are likely to be negative ones, probably because these are usually the most loudly declared. But there is also another aspect to the Christian discourse on popular music. Some Christians try to emphasise what is perceived as a positive message in "secular" rock music. This part of the debate is the main concern in this paper.The examples used deal with one of the most controversial pop artists, Madonna, and one of her most discussed works, the video `Like a Prayer'. Madonna Louise Ciccone, born 1958, has been one of the most successful, most imitated and certainly most talked about popular artists of the past decade. She has — at least to a certain degree quite consciously — stirred up controversy with several of her videos. Raised a Catholic, her use of religious themes and images is one aspect that has caught special attention.
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Asciuto, Nicoletta. "Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema." Space and Culture 23, no. 4 (February 24, 2019): 394–408. http://dx.doi.org/10.1177/1206331219830324.

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This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Monicelli’s I soliti ignoti ( Big Deal on Madonna Street, 1958) and Michelangelo Antonioni’s L’avventura ( The Adventure, 1960), through Una giornata particolare ( A Special Day, 1977) and La terrazza ( The Terrace, 1980) by Ettore Scola, to Paolo Sorrentino’s very contemporary La grande bellezza ( The Great Beauty, 2013), a film clearly indebted to the aesthetics of its ground-breaking predecessors.
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Whaley, Susannah. "Rita Angus: A New Madonna 1942–1951." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 21–41. http://dx.doi.org/10.24135/backstory.vi6.43.

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This article explores the ‘New Madonna’ in Rita Angus’s artwork in the 1940s and early 1950s. The New Madonna combines female independence and celibacy with sexualityand motherhood. She develops from Angus’s position as a woman painter who lived and worked alone, and is expressed in three nudes and a number of goddess portraits which are discussed. The origins of the term ‘New Madonna’ and the interpretative possibilities it affords to Angus’s art are examined. These works allow Angus to inscribe herself with a value derived from being female. In order to offer insight into these portraits, Angus’s letters to the composer Douglas Gordon Lilburn are considered.
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Haug, Steven. "A Discussion on Heidegger’s “Über die Sixtina”." Philosophy Today 64, no. 3 (2020): 781–91. http://dx.doi.org/10.5840/philtoday2020109359.

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In 1955, Raphael’s Sistine Madonna was returned to Germany following its removal from Dresden in anticipation of the city being bombed. That same year Heidegger wrote a short paper titled “Über die Sixtina,” likely to commemorate the painting’s return. The goal of this article is to bring the largely overlooked “Über die Sixtina” into discussions about Heidegger’s philosophy of art. While brief, Heidegger’s paper makes clear that the Sistine Madonna is an important work to consider when deliberating about his philosophy of art in general. This article elaborates on the topics Heidegger discusses in “Über die Sixtina,” particularly the image-being of the Sistine Madonna, the image as a window painting, and the place of the painting.
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Zimniak, Stanisław. "„Zwycięstwo Maryi”. Próba zdefiniowania znaczenia „proroctwa Augusta kard. Hlonda o zwycięstwie Maryi w kontekście posługi apostolskiej prymasa tysiąclecia Stefana kard. Wyszyńskiego." Seminare. Poszukiwania naukowe 24 (March 9, 2023): 157–76. http://dx.doi.org/10.21852/sem.2007.24.14.

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W 2006 roku polski Kościół katolicki przypomniał dwa wydarzenia historyczne o ogromnym znaczeniu dla życia wiernych w powojennej Polsce wyzwolonej od nazizmu, ale znajdującej się wówczas pod rządami komunistów, nieodwracalnie zdeterminowany, by wprowadzić tam marksistowską wizję społeczeństwa, niszcząc w ten sposób chrześcijańską obecność. Był to Akt Zawierzenia Niepokalanemu Sercu Maryi Narodu Polskiego (8 września 1946 r.), dokonany przez Prymasa, Sługę Bożego kard. Augusto Hlond, a śluby wieczyste Czarnej Madonnie z Jasnej Góry (26 sierpnia 1956 r.) złożył sługa Boży kard. Stefana Wyszyńskiego. Te dwie rocznice są okazją do przyjrzenia się doniosłości wizji Zwycięstwa Maryi nad ateistycznym komunistycznym systemem politycznym, której świadkiem był kard. Hlonda przed śmiercią (22 października 1948). Aby lepiej to zrozumieć, zbadamy rodzaj pobożności maryjnej, jaką miał Hlond; społeczno-polityczne okoliczności narodzin tej wizji; jej niezwykły wpływ na działalność duszpasterską kard. Wyszyński i polska hierarchia. Wyszyński dostrzegał bowiem niezwykłą moc twórczą wizji Maryi Zwycięskiej w planowaniu i realizacji niezwykle skutecznego programu duszpasterskiego odnowy moralnej i ewangelizacji społeczeństwa polskiego, zwłaszcza w perspektywie przygotowania Narodu Polskiego do Tysiąclecia swojego Chrztu (1966), poprzez Wielką Nowennę do Madonny. Ten maryjny styl działalności duszpasterskiej – który wbrew krytyce był całkowicie skoncentrowany na Chrystusie – przyczynił się zdecydowanie, nawet w opinii niekatolików, do obrony wolności obywateli polskich, co spotkało się z pozytywnym odzewem poza granicami kraju. Ponadto odniesiono się do postrzegania tej maryjnej wizji w posłudze Piotrowej Jana Pawła II, który nierzadko mówił o tej zwycięskiej wizji Maryi przez kard. Hlond. Choć nie jest to wprost wspomniane, to jednak można dostrzec istnienie wątku łączącego Hlonda, Wyszyńskiego i Jana Pawła II: szczególny maryjny wymiar ich działalności duszpasterskiej.
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Avrutina, A. S., and A. S. Ryzhenkov. "Emigration to Germany in Turkish literature of the XX–XXI centuries." Minbar. Islamic Studies 12, no. 2 (July 8, 2019): 601–13. http://dx.doi.org/10.31162/2618-9569-2019-12-2-601-613.

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The article deals with the history of Turkish emigration to Germany in the 20th-21st Cent. This is in a way a novelty both in the modern Turkish literature as well as in the studies, which analyze the reflection of this process in modern Turkish literature. For the first time, this topic was raised in the 1940s, in the novel by Sabahattin Ali (1907–1948), who had been studying in pre-war Germany for some time/ Based on his personal impressions and recollections he wrote a love/political novel “Madonna clade in a fur coat” (1943). Subsequently this topic was also raised in the works by Füruzan (born 1932) and the Turkish Nobel Prize winner Orhan Pamuk (born 1952). The present article discusses the phenomenon of transformation of either personal or somebody else’s experience as reflected by a number of Turkish authors. This fact has ultimately shaped the acute problems as discussed in the Turkish literature and was instrumental for the formation of a whole trend in the modern Turkish literature, i.e. the Turkish émigré literature (Emine Sevgi Özdamar, (born 1946)). The aim of the article is to show the trends in the modern Turkish literature, which preceded the making of the literature of the Turkish diaspora abroad.
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GARDINI, GIULIO. "The Italian species of the Chthonius ischnocheles group (Arachnida, Pseudoscorpiones, Chthoniidae), with reference to neighbouring countries1." Zootaxa 4987, no. 1 (June 17, 2021): 1–131. http://dx.doi.org/10.11646/zootaxa.4987.1.1.

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A taxonomic revision and a key to the Chthonius C.L. Koch, 1843 species of the ischnocheles group from Italy, with records from neighbouring countries, are provided. The following new species are described: Chthonius gallettii n. sp. (♂, locus typicus: Sicily, Ragusa Province, Ragusa, Grotta delle Lame 6009 Si/RG), Chthonius gentianae n. sp. (♂, Veneto, Treviso Province, Fregona, Pian del Cansiglio, Bus della Genziana 1000 V/TV), Chthonius herminii n. sp. (♂♀, Veneto, Treviso Province, Cavaso del Tomba, Costalunga, Speoncia del Diaol 1811 V/TV); Chthonius inguscioi n. sp. (♂♀, Apulia, Lecce Province, Presicce, Grotta Madonna della Rutta 533 Pu/LE), Chthonius lanai n. sp. (♂♀, Piedmont, Cuneo Province, Bernezzo, Pertus d’la Kassetta 1323 Pi/CN), Chthonius marciai n. sp. (♂, Sardinia, Nuoro Province, Dorgali, Grotta del Bue Marino 12 Sa/NU) and Chthonius nicolosii n. sp. (♂♀, Sicily, Catania Province, Nicolosi, Grotta Lunga 1029 Si/CT). The following new subjective synonymies are proposed: Chthonius malatestai Callaini, 1980 n. syn. of C. agazzii Beier, 1966; Chthonius ruffoi Caporiacco, 1951 n. syn. of C. densedentatus Beier, 1938; Chthonius mingazzinii Callaini, 1991 n. syn. of C. euganeus Gardini, 1991; Obisium megachelum Amary, 1840 n. syn. of C. ischnocheles (Hermann, 1804); Chthonius dalmatinus Hadži, 1930 n. syn. of C. ischnocheles (Hermann, 1804); Chthonius litoralis Hadži, 1933 n. syn. of C. ischnocheles (Hermann, 1804); Chthonius rhodochelatus Hadži, 1937 of C. ischnocheles (Hermann, 1804) (rest. syn.). Chthonius horridus Beier, 1934 (n. stat.) is upgraded from subspecies of C. doderoi Beier, 1930 and Chthonius reductus Beier, 1939 (n. stat.) from subspecies of C. ischnocheles (Hermann, 1804). A lectotype is designated for Chthonius rayi L. Koch, 1873. Twenty-eight species of Chthonius of the ischnocheles group are known at present from Italy, of which three are endemic to Sicily and two to Sardinia. New country records are established for Chthonius alpicola Beier, 1951 (Croatia and Slovenia); Chthonius guglielmii Callaini, 1986 (mainland France), Chthonius halberti Kew, 1916 and Chthonius ilvensis Beier, 1963 (Corsica); Chthonius pygmaeus Beier, 1934 (Switzerland), and Chthonius densedentatus Beier, 1938 (France, Italy, Switzerland, Slovenia, Croatia, Albania and Greece).
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Juliani, Richard N., and Robert Anthony Orsi. "The Madonna of 115th Street: Faith and Community in Italian Harlem, 1880- 1950." International Migration Review 21, no. 1 (1987): 177. http://dx.doi.org/10.2307/2546147.

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Briggs, John W., and Robert Anthony Orsi. "The Madonna of 115th Street: Faith and Community in Italian Harlem, 1880-1950." American Historical Review 91, no. 5 (December 1986): 1277. http://dx.doi.org/10.2307/1864543.

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Williams, Melvin D., and Robert Anthony Orsi. "The Madonna of 115th Street: Faith and Community in Italian Harlem, 1880-1950." Journal of American History 73, no. 2 (September 1986): 487. http://dx.doi.org/10.2307/1908286.

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Dissertations / Theses on the topic "Madonna, 1958-"

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Bramadat, Paul A. "Popular hermeneutics : a comparison of Roman Catholic and secular responses to sexual imagery in popular culture." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56958.

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This thesis explores Roman Catholic and secular responses to sexual imagery in popular culture. The Catholic and socio-philosophical responses may be subdivided according to specific ideal types to elucidate the major ideological and ethical movements operative within these two hermeneutical traditions. I use the media luminary Madonna as a case study to illustrate the inadequacy of much that Catholic and secular cultural critics have written about religiously ambiguous and sexually provocative popular culture phenomena. Typically, secular critics neglect the religious implications of such phenomena, while Catholic critics overlook their ideological implications. I shall demonstrate both that hermeneutical exclusivity weakens the two major approaches and that only methodologies which take seriously both Catholic and secular insights are appropriate for analyzing this aspect of popular culture.
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Guilbert, Georges-Claude. "Madonna : un mythe postmoderne." Paris 10, 1998. http://www.theses.fr/1998PA100117.

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Sécardin, Olivier. "Sémiocritique de l'hybridité : du moderne au postmoderne." Paris 4, 2009. http://www.theses.fr/2009PA040300.

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L’hybridité ici envisagée est un mode de production des textes. En caractérisant à la fois les objets produits – de Diderot à Madonna – et les protocoles interprétatifs, elle s’interprète elle-même comme un hybride. Au moment de se résumer, elle se désigne donc elle-même comme une thèse réflexive : une hybridité au sujet de l’hybridité. Mais sans innocence : elle joue à fond le jeu de l’interprétation et du langage. Elle capitalise tant que possible son présupposé puisque tout aussi bien, l’hybridité est la propriété d’un système interprétatif dans les limites duquel le texte est continuellement établi. Ainsi, l’hybridité est ce qui arrive quand vous lisez. Et comme toujours avec l’interprétation, seul le fait de prêter un certain type d’attention à ce sujet conduit à l’émergence de qualités hybrides. Mais alors comment reconnaître un hybride ? Le plus simplement du monde : en toute conviction. On ne reconnaît pas un hybride quand on en voit un, on reconnait un hybride quand on croit en voir un. Est-ce que cela constitue une thèse ? Plutôt une topique, au même titre par exemple que les topiques freudiennes : l’hybridité peut certes servir de cadre de description, mais ne saurait constituer une « théorie » au sens strict. La théorie n’est pas la force de l’hybridité mais, dans l’exercice de son pouvoir, l’hybridité peut se servir du discours théorique, au moins pour savoir comment produire ce dont on peut dire, après coup, qu’il est là. Une sémiocritique de l’hybridité n’est ni une sémiotique, ni même une théorie, mais bien plutôt une performance critique, une rhétorique et, parce que nous vivons dans un monde rhétorique, elle vise le sens commun dans tous les sens du terme
Hybridity is considered here as a text production mode. Characterizing both the objects produced – from Diderot to Madonna – and the interpretative protocols, it is itself interpreted as a hybrid. When summed up, it points itself out as a reflexive thesis: a hybridity about hybridity. But without innocence: it plays all the way down the game of interpretation and language. It capitalizes as much as possible on its presupposition insofar as hybridity is just as well the property of an interpretative system within the limits of which text is continuously created. Thus, hybridity will be what will happen when you read. And, as always with interpretation, only paying a certain kind of attention to this topic will make hybrid qualities emerge. But then how to recognize a hybrid? Most simply: in all conviction. One does not recognize a hybrid when one sees one, but when one thinks seeing one. Does this constitute a thesis? Rather a topic, just as there are Freudian topics: hybridity can be a descriptive framework but does not constitute a “theory” stricto sensu. Theory is not the strongest aspect of hybridity but, when exercising its power, hybridity can use theoretical discourse, at least to know how to produce it, thus making it possible to say, afterwards, that it is there. A semiocriticism of hybridity is neither a semiotics, nor a theory, but rather a critical performance, a rhetoric and, as we live in a rhetorical world, it aims at common sense in all the meanings of the word
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Driskill, Richard T. "Madonna, maiden and martyr : models of femininity in some early works of André Gide and D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14828.

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This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".
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Agar, Bruno. "La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna, Truth or Dare, 1991 ; I'm Going to Tell You a Secret, 2005 ; I Am Because We Are, 2008." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE060/document.

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La thèse « La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna : Truth or Dare, 1991, I’m Going to Tell You a Secret, 2005, I Am Because We Are, 2008 » s'intéresse à la façon dont la culture populaire contemporaine utilise des concepts et des outils originaires des domaines du religieux et du politique pour s'exprimer et exercer son influence dans la société. La longévité de la carrière de la chanteuse Madonna fait de son corpus de travail un lieu privilégié pour saisir et analyser l'emploi de tels concepts depuis les années 1990, et offre ainsi l'occasion de mieux comprendre les formes du contemporain et les enjeux de la culture populaire
This dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture
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Patrón, Panana Paola Alexandra. "Construyendo y deconstruyendo a las Magical Girls: un estudio sobre la representación de roles de género y orientación sexual en los animes Magical Girl “CardCaptor Sakura” (1998) y “Puella Magi Madoka Magica” (2011)." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/17411.

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La presente investigación pretende analizar la representación de roles de género y orientación sexual de los personajes principales y secundarios en los animes Magical Girl. Para esto, se seleccionó dos animes, CardCaptor Sakura (1998) y Puella Magi Madoka Magica (2011), para poder realizar una comparación en varios puntos. Se utilizó una metodología mixta que combina lo cuantitativo con lo cualitativo. Primero, se analizó la representación de roles de género, utilizando matrices para evaluar la presencia de atributos femeninos en los personajes principales de ambos animes. A continuación, se tomó las características básicas del género Magical Girl y se realizó una comparación, que evaluó la manera en que estas características son presentadas en ambos animes. Luego, se analizó la representación de orientaciones sexuales, centrando la investigación en la representación de personajes queer, contabilizando la presencia de instancias que muestren identidades no heteronormativas y la manera cómo son presentadas explícitamente en el texto. Como complemento, se contabilizó la cantidad de personajes queer presentes en los animes. Los hallazgos obtenidos se complementaron con el análisis de una selección de escenas en ambos animes, para profundizar en las acciones y relaciones de los personajes. Como conclusión encontramos que la representación de género sigue siendo diversa pero que el intento de deconstruir el género Magical Girl ocasiona que se castigue la feminidad que caracterizaba a estos animes. A la vez, la representación de orientaciones sexuales ha dejado de ser explícita y los animes han pasado a mostrar subtextos, sin llegar a evidenciar la representación en el texto mismo
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Books on the topic "Madonna, 1958-"

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Clerk, Carol. Madonna style. London: Omnibus, 2012.

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1938-, Lagerfeld Karl, ed. Madonna, superstar: Photographs. New York; London: Norton, 1986.

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Kamin, Philip. Madonna. Wauwatosa, Wis: Robus Books, 1985.

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O'Brien, Lucy. Madonna. New York: HarperCollins, 2007.

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Madonna confessions. Brooklyn, NY: PowerHouse Books, 2008.

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King, Norman. Madonna: The book. New York: Quill, 1991.

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King, Norman. Madonna: The book. New York: W. Morrow, 1991.

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Taraborrelli, J. Randy. Madonna: An intimate biography. London: Sidgwick & Jackson, 2001.

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Greenberg, Keith Elliot. Madonna. Minneapolis, MN: Lerner, 1986.

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Madonna! New York: Pinnacle Books, 1985.

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Book chapters on the topic "Madonna, 1958-"

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Di Carmine, Roberta. "Comedy “Italian Style” andI soliti ignoti(Big Deal on Madonna Street, 1958)." In A Companion to Film Comedy, 454–73. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118327821.ch21.

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Daw, Sarah. "Conclusion: ‘Know that the earth will madonna the Bomb’." In Writing Nature in Cold War American Literature, 205–11. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.003.0007.

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The book’s concluding chapter begins with an ecocritical reading Gregory Corso’s 1958 poem ‘Bomb’. The conclusion then reflects on the book’s contributions to the fields of Cold War literary criticism and ecocriticism. As part of the book’s re-evaluation of the significance of the Cold War period to contemporary ecocritical debate, this chapter also develops the book’s argument that Rachel Carson’s seminal work Silent Spring (1962) should be viewed as one of a growing number of American texts written after 1945 that present an interdependent, ecological vision of the human’s relationship to its environment.
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"Madonna dell’Orto." In Städtische Wohnquartiere in Venedig (1918–1939), 70–78. De Gruyter, 2022. http://dx.doi.org/10.1515/9783868597974-013.

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Kapp, V. "Marcello Fagiolo / Maria Luisa Madonna (Hrsg.) — Barocco romano e barocco italiano." In 1988, 222–24. De Gruyter, 1989. http://dx.doi.org/10.1515/9783112418369-040.

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Atkins, Joseph B. "Harry Dean the Punk Icon." In Harry Dean Stanton, 148–70. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0011.

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Repo Man and Paris, Texas firmly established Harry Dean Stanton as what one writer called "the patron saint of the edgy set." In his sixties now, he hung out with the so-called "Brat Pack"--Sean Penn, Madonna, Johnny Depp. He was partying with Robert De Niro at the Chateau Marmond the night comedian John Belushi died of a drug overdose there. Dan Tana's in West Hollywood was his favorite hangout, however, and he held court there with pals like actors Ed Begley Jr. and Dabney Coleman. The lead roles he'd expected after Paris, Texas never came, but important supporting roles did. He rejoined Sam Shepard in Fool for Love in 1985, and he widened his following with his performances in Pretty in Pink in 1986 and Martin Scorsese's The Last Temptation in 1988. More important, however, was his work with director David Lynch, including four Lynch projects in the 1990s and several more after the turn of the century. The weirdness of the Lynchian world even seemed to touch his personal life with an armed robbery at his home in 1996 and the embezzlement of his personal finances by his financial manager a few years later.
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Paul, Joanna. "‘Madonna and Whore’: The Many Faces of Penelope in Ulisse (1954)." In Ancient Greek Women in Film, 139–61. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199678921.003.0007.

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Cook, Nicholas. "Credit Where It’s Due: Madonna’s ‘Material Girl’." In Analysing Musical Multimedia, 147–73. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0006.

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Abstract Dating from 1985 and directed by Mary Lambert.Madonna’s video ‘Material Girl’ quickly became something of a critical cause celebreOn the one hand, it was instrumental in establishing Madonna’s media image as the representative of a new kind of feminism-one that combined the most traditional of feminine charms with a quite untraditional kind of independence. On the other, it played a major role in establishing Madonna’s reputation in the academic world as the representative of an equally new kind of post-modernism; she was seen as an artist who composed with images and identities in almost the way that traditional musicians composed with tunes and harmonies. The result is that ‘Material Girl’ has become one of the most highly theorized of all music videos.
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Millgate, Michael. "Tea at Max Gate." In Thomas Hardy, A Biography Revisited, 484–502. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780199275656.003.0028.

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Abstract Hard ‘S fame and popularity, reinforced by the lure of Wessex itself, brought an ever-increasing stream of visitors to Max Gate, and it was at teatime that Hardy routinely made himself available to each day ‘s intake. As early as 1918 Florence could write in her diary: ‘No-one to tea—blessed relief. ‘ John Cowper Powys, during the following summer, found Hardy ready to talk ‘gaily and cheerfully ‘ about ‘all manner of little things ‘, from a punctured bicycle tyre to ‘the names in the cemetery near Portland Bill ‘. Recounting the visit to his brother Llewelyn, Powys described Florence as looking like ‘a grave ascetic art student or a Chelsea socialist, follower of William Morris ‘, with ‘her hair parted Madonna-wise and a very responsible air ‘.¹ Clement Shorter, though dignified in Florence ‘s eyes by the recent loss of his wife, forfeited her good opinion and confirmed himself in Hardy ‘s low one by arriving uninvited at Max Gate on its owner ‘s seventy-eighth birthday and behaving badly throughout his visit. When the literary journalist Arthur Compton Rickett came to tea, Hardy suspected him of biographical designs and delayed coming downstairs from his study for more than an hour.²
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"7 Kuzma Petrov-Vodkin’s 1918 in Petrograd (The Petrograd Madonna) and the Meaning of Mary in 1920." In Framing Mary, 163–86. Cornell University Press, 2020. http://dx.doi.org/10.1515/9781501757006-011.

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Lowe, Gill. "The Malicious Gene: An Evolutionary Games Strategy? Woolf’s Hawkish Inheritance." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0037.

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‘There is no possibility of being witty withot a little ill-nature; the malice of a good thing is the barb that makes it stick,’ Lady Sneerwell in Sheridan’s The School for Scandal (1777). The malicious gene: nature or nurture? On 4th May 1928 Virginia Woolf reported in her diary that she had enjoyed Elizabeth Robins’ recollection of Julia Stephen: ‘she would suddenly say something so unexpected, from that Madonna face, one thought it vicious’ (Woolf, 1980, p.183). Leslie Stephen too was renowned for his intermittent acerbic criticism. Occasionally Woolf’s apparently calm demeanour was similarly disturbed by startling sharp verbal attacks. Woolf’s mordant written statements seem calculated and controlled, carefully constructed as in a performance, often aimed at individuals and groups for which she felt a specific animus. A word that recurs to describe Woolf is ‘malicious’. Contemporaries, critics and Woolf herself recognised her judgemental predisposition. Leonard Woolf observed that ‘a monolithic humour’ was shared with family members, ‘All male Stephens—and many of the females—whom I have known have had one marked characteristic which I always think Stephenesque....It consisted in a way of thinking and even more in a way of thinking and expressing their thoughts which one associates pre-eminently with Dr Johnson’ (Sowing, 1960, p. 184). Genes may be seen to affect the social behaviour of their bearers. Analysing some specific examples of Woolf’s caustic observations, this paper will adapt the metaphor of ‘the selfish gene’ to explore her tendency to maliciousness. It will consider whether this might have been inherited behaviour; learned from family attitudes; influenced by the writers she most appreciated and/or evolved as a species-preserving survival strategy, adopted in response to her cultural environment.
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