DOCSLIB.ORG

Shakespeare and the Italian Renaissance Appropriation, Transformation, Opposition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shakespeare and the Italian Renaissance Appropriation, Transformation, Opposition Shakespeare and the Italian Renaissance Appropriation, Transformation, Opposition Edited by MICHELE MARRAPODI University of Palermo, Italy ASHGATE Contents List of Figures vii Notes on Contributors ix Acknowledgments xiii Introduction: Shakespearean Subversions 1 Michele Marrapodi PART I APPROPRIATIONS OF POETRY AND PROSE 1 Sprezzatura and Embarrassment in The Merchant of Venice 21 Harry Berger, Jr. 2 A Niggle of Doubt: Courtliness and Chastity in Shakespeare and Castiglione 39 John Roe 3 Dramatic Appropriations of Italian Courtliness 57 Thomas Kullmann 4 Disowning the Bond: Coriolanus's Forgetful Humanism 73 Maria Del Sapio Garbero 5 Matteo Bandello's Social Authorship and Paulina as Patroness in The Winter s Tale 93 Melissa Walter 6 Tracing a Villain: Typological Intertextuality in the Works of Painter, Webster, Cinthio, and Shakespeare 107 Karen Zyck Galbraith PART II TRANSFORMATIONS OF TOPOI AND THEATREGRAMS 7 "Wanton pictures": The Baffling of Christopher Sly and the Visual-Verbal Intercourse of Early Modern Erotic Arts 123 Keir Elam 8 Shylock's Venice and the Grammar of the Modern City 147 Sergio Costola and Michael Saenger vi Shakespeare and the Italian Renaissance 9 Helen, the Italianate Theatrical Wayfarer of All's Well That Ends Well 163 Eric Nicholson 10 "These Times of Woe": The Contraction and Dislocation of Time in Shakespeare's Romeo and Juliet 181 Bruce W. Young 11 "Dark is Light" - From Italy to England: Challenging Tradition through Colours 199 Camilla Caporicci 12 The Italian Commedia and the Fashioning of the Shakespearean Fool 215 Iuliana Tanase PART III OPPOSITIONS OF IDEOLOGIES AND CULTURES 13 The Aretinean Intertext and the Heterodoxy of The Taming of the Shrew 235 Michele Marrapodi 14 Shakespeare Italianate: Sceptical Crises in Three Kinds of Play 257 Lawrence F. Rhu 15 The Jew and the Justice of Venice 275 Hanna Scolnicov 16 Hamlet, Ortensio Lando, or "To Be or Not To Be" Paradoxically Explained 291 Rocco Coronato 17 Much Ado about Italians in Renaissance London 305 Duncan Salkeld 18 Shakespeare, Italian Music-Drama, and Contemporary Performance: Space, Time, and the Acoustic Worlds of Romeo and Juliet and The Tempest 317 Anthony R. Guneratne Bibliography 333 Index 359 List of Figures 7.1 Robert Smirke, Taming of the Shrew - Induction, Scene II, a Room in the Lord's House, engraved by Robert Thew for Boydell's Shakespeare Gallery and Folio, 1794. By permission of the Folger Shakespeare Library. 124 7.2 Fragments of Marcantonio Raimondi's I modi. © The Trustee of the British Museum. 129 7.3 Aretino, Sonetti lussuriosi, Sonnet 11. By courtesy of the Library of the University of Bologna. 137 8.1 John Florio, Firste Fruites, 1578 (London, 1578), p. 156r~v. Reproduced by kind permission of the Huntington Library, San Marino, California. 158 15.1 Statue of Justice on the south front of the Palazzo Ducale. Shutterstock image. 278 15.2 Palazzo Ducale, west front. Shutterstock image. 279 15.3 Jacobello del Fiore, Justice flanked by archangels Michael and Gabriel, 1421. Web Gallery of Art. 282 15.4 Palazzo Ducale, west and south fronts. Shutterstock image. 283 15.5 Palazzo Ducale, Porta della Carta. Shutterstock image. 284 15.6 Filippo Calendario (?), Venecia (c. 1345), Palazzo Ducale, west front. Shutterstock image. 285 15.7 II Dottore, Anon., 18th Century. Last accessed (May 2014) at http://c0mm0ns.wikimedia.0rg/wiki/File:Arlequin_-_ Pantalone - II Dottore -commedia dell'arte.JPG. 288 .
Load more

Recommended publications
  • VENICE Grant Allen's Historical Guides
    GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St.
    [Show full text]
  • Appendices and Illustrations
    APPENDICES AND ILLUSTRATIONS 223 APPENDIX I Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana dell’edizione 1771 224 225 226 227 228 229 230 Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana * dell’edizione 1771 Codice Cicogna Ms 3042/40, Biblioteca Correr, Venice. Pag 4. lin. 9 Fu lavata barbaramente per rimader- nar l’altare. Vidi alcuni pezzi in giro maltrattati in quest’anno 1802. Pag. 6. lin. 20 Vi sono altre opera di pittura in Venezia In questi tempi ed anche prima. Nel capitolo de Frari nel sepolcro di Francesco Dandol vi è una pittura in tavola con la Ver- gine, puttino, ed il Ritratto del Doge, e del- la moglie con li santi del loro nome; L’opera è conservata, ed è dipinta cioè il 1328 o poco dipoi. Nella stessa Chiesa in un Deposito d’un Beato di detta Religio- ne si vede dipinta l’Annunziata, opera pure di questi giorni. Pag 8 lin 5 anche il Marchese Maffei possedeva un quadro di questo Lorenzo. Vedi la Verona illustrata. pag 9 lin. 14 Il Ridolfi comincia la Storia de’ Pittori veneti da Guariento. Ma la verità è che vi furono più antichi pittori di lui a Venezia. Pag. stessa lin 33 Non so veramente se resti più niente di Guariento sotto il Paradiso di Tinto- retto dopo tanti incendi del Palazzo Du- cale, e dopo essere restate incenerite 231 le opere degli autori più moderni. quando si sono accomodati li schenali della sala, si sono veduti delle traccie del Paradiso di Guariento (circa a 1847) Pag.
    [Show full text]
  • Home of the Humanities at a Serene Harvard Outpost, Scholars find Fertile Ground for Byzantine, Pre-Columbian, and Landscape Studies
    Home of the Humanities At a serene Harvard outpost, scholars find fertile ground for Byzantine, pre-Columbian, and landscape studies. by ELIZABETH GUDRAIS On a wintry Wednesday evening, Maria Mavroudi is delivering a lecture on Byzantine science. Using ev- idence from texts and artifacts, she sketches an alter- nate history, one that competes with the common ac- count that the Byzantine empire’s inhabitants were less advanced than their contemporaries in their use and understanding of the sciences. Mavroudi reports that Ptolemy’s Geography, which was produced in Roman Egypt in the second century A.D. and describes a system of coordinates similar to modern latitude and longitude, survives in 54 Greek manuscripts. She argues that the typical explanation of why the text was reproduced—merely to preserve it for Ofuture generations—is wrong, and makes a case that the real purpose was to produce a manual for contem- porary use. She cites texts that describe the richness of Constantinople’s libraries, and others that mention wooden astrolabes; time and the elements, she says, may have erased the evidence of Byzantium’s use of scientific in- Byzantine studies, per se, from Harvard; four di≠erent depart- struments made from this perishable material. Byzantine science, ments—history, classics, art history, and Near Eastern studies— she says, has gone unacknowledged not because it did not exist, were involved. And the setting for her lecture is the world’s fore- but because studying it requires such diverse expertise: knowledge most center of Byzantine scholarship: Dumbarton Oaks, an estate of languages, of Byzantine history, of the history of science.
    [Show full text]
  • Msc Thesis 2010
    An Historical and Critical Examination of the Notion of Human-Divine Paradox as Typified in Two Images from Late Quattrocento Italy By John G. Pickles MSc by Research The University of Edinburgh 2010 A thesis submitted in fulfilment of the requirements for the research degree of Masters of Science in Theology and History 1 Table of Contents Introduction ………………….…………………………………………………….5 Aim – Method – Purpose – Outline – Part 1 – Part 2 – Conclusion – Appendix 1 – Appendix 2 General History and Terms ……………………………………….……………....12 Historical Context – The Trinity – The Human-Divine Paradox – Suffering and Signification Part 1 – Carlo Crivelli – Coronation with Pietá (1493) §I - History and Context ………………………………………..............................20 Biography – Style – Commission of the Piece – Description – Description: Pietá – Description: Coronation - History: Pietá – History: Coronation §II – Suffering ………………………………………..…….………………………32 Father - Introduction –Anthropomorphism –Absence from the Pietá – Jesus Introduction – Pietá: Body –Pietá: Injury and Age – Coronation: Age – Coronation: Position – Coronation: Gaze – Coronation: Relationships – Holy Spirit – significance – Others – Mary – Saints – Environment 2 §III – Signification ……………………………………..……………………….…42 Father – Introduction and Anthropomorphism – Christ – Pietá: Halo – Coronation: Physicality – Coronation: Gaze – Coronation: Crowning – Comparison – Holy Spirit – Size and Aureole – Non Anatomical – Crowning – Others – Pietá: Mary, John and Magdalene – Coronation: Mary – Angels – Coronation:
    [Show full text]
  • Summer Program in Venice Summer 2018 Art in Venice – AHIS O4430
    Columbia University – Summer Program in Venice Summer 2018 Art in Venice – AHIS O4430 Venice's unique geographical location in the reflective waters of the Adriatic and at the crossroads between East and West has had a profound impact on all aspects of Venetian life and culture. This course will investigate the artistic production of the Lagoon City between the fourteenth and eighteenth centuries. The compelling works of Venetian artists, such as Carpaccio, Bellini, Giorgione and Titian, Tintoretto and Veronese, as well as the great civic and religious monuments, including the Palazzo Ducale, the great mendicant churches, and the Basilica di San Marco, will be considered in light of the sophisticated political and social systems of the Venetian Republic. Issues such as the development of the distinctive urban fabric, the invention of a civic iconography, the role of the artist, and the Venetian workshop practices, as well as the impact of the Islamic world, and private and corporate patronage, will be examined. INSTRUCTORS Caroline A. Wamsler and Johanna Fassl COURSE DURATION, MEETING TIMES AND MEETING LOCATIONS Between June 10 and July 19, 2019 Tuesdays: 9:00am – ca. 3:30pm (break included)? TBC Thursdays: 9:00 – 11:00am? TBC Location – Each session listed below identifies the meeting location. NOTE: Please review the exact time and location information included in this syllabus carefully and stay posted for changes as we might need to make adjustments. Please arrive on time, as we will often move to another location shortly after gathering. COURSE REQUIREMENTS, GRADING, AND CLASS AND UNIVERSITY POLICIES Attendance: The success of this course will depend on the participants’ presence and active participation.
    [Show full text]
  • IL POLITTICO CON LE STORIE F I Il DEI SANTI PIETRO E PAOLO ! !
    9-. a,l 1.' ! 'a , ..j. F+:' GIACOMO MARANESI 5::. ,-.*,:: F el gtiI- i t r. ,! ? I :: i' ; r IL POLITTICO CON LE STORIE F i iL DEI SANTI PIETRO E PAOLO ! ! I a. NUOW RICERCHE SULL'OPERA PROVENIENTE DALLA F L PIETRO IN PENNA A FERMO t: CHIESADIS. i- ;: È i Fù ÉilF} F F E ? i *: É Estat: da dell'Archivío storico arcivescovile di Fermo I Quaderní i : FERMO 20t3 IL POLITTICO CON LE STORIE DEI SANTI PIETRO E PAOLO Nuove ricerche sull'opera proveniente dalla chiesa di San Pietro in Penna a Fermo. di Giacomo Maranesi Parole chiave: Abbazia, Alberici, allievo, altare maggiore, Antonio petrelli, Archivio storico Arcivescovile, arcipresbitero, Benedettini, "Berrettanti", bottega, cattedrale, chanenko, chiesa, collezione privata, commissione, crocifissione, de zoti, Denver, dipinto, documenti, dossale, Jacobello del Fiore, Ercole del Fiore, Kiev, Fermo, Filippo De Angelis, figlio adottivo, Filippo Massetti, Gaspare di Giovanni, Girfarco, rgnazio Cantalamessa, Imago Pietatis, Italia, "macchina d'altare", Milano, Museo di Arte orientale e occidentale, New York, paliotto, parroco, pittore, polittico, sagrestia, San Giovanni, san Paolo, San Pietro, san Pietro in cattedra, san pietro in penna, santa Lucia, San Salvatore Maggiore, Stati Uniti, Storie dei Santi Pietro e Paolo, Storie di santa Lucia, San Zenone, tavole, The Denver Art Museum, ucraina, venezia, vescovo, Federico Zeri, Introduzione. Il polittico con le storie dei Santi Pietro e Paolo, attribuito al pittore veneziano Jacobello del Fiore, è uno dei tanti capolavori della pittura tardogotica italiana che oggi non si trova più nel luogo d'origine. Esso proviene dalla città di Fermo, dipinto per la chiesa di San pietro in penna, ed è considerato il "fratello minore" del più celebre poliuico con le storie di santa Lucia, proveniente dall'omonima chiesa e custodito oggi nella Pinacoteca Comunale di Fermo.
    [Show full text]
  • Where Cerebellum Meets Antebellum
    Where Cerebellum Meets Antebellum FEATURED CURIOUSER ARTISTS’ PROJECTS MISSTEPS is a curatorial project in which found digital imagery has been INTRODUCTION organized through the lens of Darwin’s theory of evolution and Dawkin’s theory of memetics. Specifically, found proliferative images (digital memes), are arranged as though they have evolved visually. The project begins with Welcome to the SECAC/MACAA conference, hosted this year by the School of the Arts at Virginia Commonwealth two bookends, an image of isopods, creatures whose fossil record dates University. These sister organizations cover wide-ranging territory both geographically and intellectually. By joining forces, back 300 million years, and an image of Richard Dawkins, the evolutionary SECAC and MACAA have formed a “super-group” to showcase the late breaking research of artists, scholars and students. biologist who introduced the concept of memes. These images were then connected through a kind of visual tracing back, in which visually similar By nature, this conference is eclectic. Staged in Richmond, Virginia, a scrappy and charming city with a past, it quickly found images act as stand-ins for the logical evolutionary steps that would earned the name Curiouser–Where Antebellum Meets Cerebellum. Think of this conference as a wunderkammer, a cabinet otherwise connect Dawkins with 300 million year old forms of life. of curiosities that takes place in real time, housing an eccentric collection of people, papers, presentations and events. We leave it to you to draw connections between sessions and events, but we offer VCU, the city of Richmond, and our Ben Jurgensen, MFA 2010, VCUarts community as the backdrop to ponder these curiosities.
    [Show full text]
  • Andrea De Marchi
    ©Ministero per beni e le attività culturali-Bollettino d'Arte ANDREA DE MARCHI PER UN RIESAi\1E DELLA PITTURA T ARDOGOTICA A VENEZIA: NICOLÒ DI PIETRO E IL SCO CONTESTO ADRIATICO 1. - Venezia 1394 puramente vegetante, che fa il fascino universale delle espressioni del " gotico tardo ". Il disegno più Non lascia di sorprendere la vivacità e la si.ngolarità acuto e le ombre più vere non bastano a rendere vita del mondo figurativo con cui ci si rivela il pittore alle " filze di Santi smunti e tristoni " (Longhi) di veneziano Nicolò di Pietro nell'ancona commessagli Jaoobello di Bonomo,6J che è pure il più intelligente nel 1394 da Vulciano Belgarzone, cittadino zaratino della lezione di Lorenzo, menrre per ritrovare una - civis yadriutSis- ma verosimilmente destinata a interpretazione meno sussiegosa e più domestica di qualche chiesa di Venezia stessa (fig. t).•l Qui infatti, questo indirizzo sostanzialmente conservatore non a quella data, la media della produzione pittorica nmane che rivolgersi, come gii avvertiva il Longhi, rimane fedele a quell'atteggiamento tradiuonalista ad un personaggio della " provincia " ma di singolare che vi aveva già caratterizzato per tanti versi un po' carattere, come il " Maestro di Sant'Elsino ". Questi, tutto il secolo, o se assimila movenze più gotiche o probabilmente un dalmata, come suggerisce la pre· accenti di mag~ior verità espressiva lo fa con metodi­ senza di numerose sue opere tra Zara e Sebenìco, e cità tanto estenore da svuotarli di ogni forza, evitando forse identi.ficabile con Biagio di Luca da Zara (fig. 2), cosi un confronto più coinvolgente colle parlate lai­ lavora pure per l'opposta sponda dell'Adriatico, sicu· che e naturalistiche, e meno sacramentah, che pre· ramente per Fermo, dove rimane un suo polittico me vano da più parti dell'entroterra padano.
    [Show full text]
  • Studies in Iconography 38
    Studies in Iconography 38 Copyright 2017 by the Board of Trustees of Western Michigan University Studies in Iconography is supported and administered by the Index of Christian Art, Princeton University. For further details see <http://ica.princeton.edu/>. ISSN 0148-1029 Composed by Kathy Bond Borie Cover photo: Fall of the rebel angels. Très riches heures, before 1416; Chantilly, Musée Condé, MS 65, fol. 64v. (Photo: Art Resource, NY, © RMN-Grand Palais.) The Stone and the Dream: On Piero della Francesca’s Resurrection Cyril Gerbron iero della FRANCESCA’S RESURRECTION can be seen in Sansepolcro’s Museo Civico, a building that formerly was the city’s Palazzo dei Conservatori (Fig. 1).1 After the Tuscan city was Ppurchased by the Republic of Florence in 1441, it fell under the authority of a Florentine capitano, but its old municipal institutions were retained. In 1456, the government, led by a council of four conservatori elected for two months,2 reinstalled itself in the communal palace. It immediately set out to renovate the building, especially through the addition of two long rooms on the piano nobile, where the city councils would gather.3 Piero della Francesca’s Resurrection today appears in the first of these rooms, on the wall separating it from its neighbor, but it is uncertain whether it was intended for this location: the current restoration, whose results should soon be published, seems to show that the fresco was originally painted on another wall of the same room, or perhaps in another room of the Palazzo. Borgo Sansepolcro (as it was known in Piero’s time) was a city not quite like any other.
    [Show full text]
  • VILLA I TAT TI Via Di Vincigliata 26, 50135 Florence, Italy
    The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy Volume 28 E-mail: [email protected] / Web: http://www.itatti.it D D D Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2008 an Giovanni, with its bells and fi re- Letter from Florence in May, when he introduced his talk in Sworks, fi nds me on the Berenson Hungarian, made headlines there. With bench in the garden, thinking over an- Robert Gaston he has helped to shape other rich year at I Tatti. Six mother a long-term research project on the ba- tongues were represented in the com- silica of San Lorenzo, involving contri- munity in addition to three dialects of butions from over thirty authors, which English. The topics Fellows and Visiting will bear fruit in a symposium next Professors worked on were as varied spring and a monograph in the typically as ever: on music in everyday life and interdisciplinary style of I Tatti in 2011. music in the princely chapel, on sketch- The Fellows’ trips in fall and spring books and on refl ections, on convents have by now become a pleasant tradi- and on queens, on Machiavelli, Valla, and tion, helping create community. Thanks Bembo. They explored the fi ner side of to the hospitality of Maureen and James Renaissance life, represented by the re- Joseph & Françoise Connors. Banker (VIT’93) we enjoyed the morn- vival of antiquity and the humanist villa, the Sephardic diaspora by Patrizia Bovi ing mists of an Indian summer in Borgo and the harder realities of the age, such as and Begona Olavide in the Big Library, San Sepolcro, birthplace of Piero della heresy, rage, magnate strife, and warfare.
    [Show full text]
  • Indice Dei Luoghi E Delle Opere – Lavori in Valpadana
    Indice dei luoghi e delle opere – Lavori in Valpadana ALBA San Giovanni. Barnaba da Modena: Madonna (1377), 82. ANCONA Pinacoteca. Andrea de' Bartoli: Circoncisione di Cristo, 58, 113. - - Morte della Vergine, 58, 159. ANGERS Museo Episcopale. Bataille Nicolas: Arazzi dell'Apocalisse, 131. AREZZO Pieve. Lorenzetti Pietro: Madonna col Bambino (centro di polittico), 13. ASCOLI Pinacoteca. Pittore riminese del Trecento: Polittico con Storie di Cristo, 70. ASSISI Santa Chiara. Maestro umbro con influenze settentrionali: Affreschi, 27. San Francesco: facciata, 9. - Andrea de' Bartoli: Storie di Santa Caterina, 47, 53, 56-58, 113, 132. - Giotto: Affreschi, 67. - Martini Simone: Affreschi, 12. - Miniatore francese del Duecento: miniature di un 'Messale', 16-18, 20. ATHENS University of Georgia. Giusto di Padova: I Santi Paolo e Agostino (dalla Kress Collection), 85. AUXERRE Cattedrale. Scultore gotico francese del Duecento: 'Caino e Abele', 15. AVIGNONE Palazzo dei Papi. Anonimo pittore del Trecento: Affreschi di caccia, 211. BASSANO Museo. Guariento: Crocefisso, 84. BAYONNE Museo (coll. Bonnat). Pisanello: Studi di moda, 151. BERGAMO Accademia Carrara. Bembo Bonifacio: Carte di tarocchi lombardi, 140, 141. - Pisanello: Ritratto di Lionello d'Este, 150. Biblioteca Civica. Giovannino de' Grassi: Libro di disegni, 95, 135, 136. BERLINO ColI. Bottenwieser (già). Vitale: Madonna col Bambino, 26, 212 (ora a Petts Wood). ColI. Kaufmann (già). Maestro di Santa Maria in Porto Fuori: Primo bagno di Gesù, 72 (ora a Wiesbaden, coll. Henkel). Coll. privata. Alberti Antonio: Madonna con Bambino, 111 . Gabinetto delle Stampe. Belbello da Pavia: San Giorgio e la principessa, 142. - Niccolò di Giacomo: Giudizio finale e Inferno (miniature), 43, 57. Museo (già). Barnaba da Modena: Madonna col Bambino (1369), 82.
    [Show full text]
  • RSA 2015 Annual Meeting, Berlin, Germany, 26–28 March
    BERLIN 26–28 March 2015 RSA 2015 Annual Meeting, Berlin, Germany, 26–28 March Annual Meeting, Berlin, Germany, The Renaissance Society of America Annual Meeting The Renaissance Society of America Annual Meeting Program Berlin, Germany 26–28 March 2015 Schaffhausen, Glasfenster mit Szenen der Münzherstellung (Schaffhausen, Stained glass window depicting the minting of coins), 1565. Photo credit: Münzkabinett, Staatliche Museen zu Berlin. Contents RSA Executive Board .......................................................................5 Acknowledgments ............................................................................. 6 Registration and Book Exhibition ...................................................12 Business Meetings........................................................................... 14 Plenaries, Awards, and Special Events .............................................15 Program Summary Thursday ................................................................................. 18 Friday ..................................................................................... 38 Saturday ................................................................................. 59 Full Program Thursday 8:30–10:00....................................................................... 76 10:15–11:45 .................................................................... 99 1:15–2:45 ...................................................................... 126 3:00–4:30 .....................................................................
    [Show full text]