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Series:

Julian Meyrick

performative expression? Is it a dig at authority’s inability to tame a world it believes it can manipulate with its categorical logic? Brack’s later paintings are divided between hope and despair, between belief that growth and development are possible and a sense that humanity just goes round and round. The

Series:

Julian Meyrick

-up practitioners who would otherwise have to go abroad to learn their craft. McGuire and Kardoss echoed Aldous’s belief that there is one kind of theatre, expressed in commercial production, whose practices were the necessary, if not sufficient, guarantee of the sector’s operation and worth. Rees, while having

Series:

Julian Meyrick

social transformation (‘the personal is political’). Garry Wotherspoon describes the factors informing the new gay identity: First, there was a belief in the absolute validity of one’s sexual orientation. This … implied an outright rejection of social definitions of homosexuality as an illness, a crime

Series:

Julian Meyrick

Brian Sweeney, explained was, … to increase an understanding of the position that has been reached by the larger non-profit companies in statistical terms. [The report] is offered in the belief that it can and will be used constructively both within and outside the profession, to encourage an even more

Series:

Julian Meyrick

early 1994 came a final gush of resignations: Alan Dredge, Mario Agostinoni, Suzanne Chaundy, and the company’s last administrator, Chris Dupé. This was the cost of ant ’s signal failure to adapt to changed circumstances, and of Mignon’s belief in his own infallibility that made sense a decade before

Series:

Julian Meyrick

the government belief that a particular kind of small theatre was no longer viable in a reduced funding scenario. This presumption preceded the chronic problems of its final years and, if it did not determine events, it decisively shaped them. No other explanation for ant ’s 1989 loss of funding is

Series:

Mika Natif

Safavids reflected core beliefs, identities and social order: “Whereas the sacred essence of the Mughals had entitled them to dominion over all mankind, the Safavids’ self-redefinition as mere Imami supporters [believing in a succession to Muhammad of divinely inspired imams] restricted their sovereignty

Series:

Mika Natif

groups and the practitioners of all religions have a place within the spacious circle of God’s mercy, in accordance with the dictum that a shadow must follow its source, in my father’s realm, which ended at the salty sea, there was room for practitioners of various sects and beliefs, both true and

Series:

Mika Natif

( Quintet ) by Nizami, 1593–95, Lahore, Mughal India. Ink, opaque watercolor and gold on paper. Approx. 30.0 × 19.5 cm. British Library Or. 12208, fol. 325v. © The British Library Board, Or. 12208, f. 325v The colophon composition is perhaps a clue that, contrary to common belief, the artist was working

Series:

H. Rodney Nevitt Jr.

, such paintings reflected beliefs in female hysteria and the ‘wandering womb’ that was thought to present such a danger to young women who were sexually mature but unmarried, or not having sufficient sex with their husbands. 12 Such women were overheated in humoral terms, yet their symptoms included