This article attempts to develop a more systematic theoretical framework for investigating the international dissemination of devotional books in early modern times. In terms of the concept of cultural translation, the devotional genre offered fertile ground for the dynamics of selection, appropriation, decontextualization, and recontextualization. In this study, a case is made around one particular bestseller: The Practice of Piety, written by the Welsh clergyman Lewis Bayly (c.1575–1631). By studying this book's various editions and translations, we are able to consider more clearly the circumstances under which a devotional book and its textual content were governed by these dynamics. We are also able to gain greater understanding and insight into some of the actors involved: how, by whom, through which channels, and for which audiences. The primary analysis focuses on the language area of the source text: the English-speaking world. It also looks at some of the areas that, first, differ from the original context in terms of the confessional communities in which Bayly's book was translated, printed, and read; and second, for which the production, distribution, and reception of Bayly's text has been sufficiently studied, namely the Dutch- and German-language areas. The result is a premise that offers a springboard for further investigation into the dynamics at play in the international circulation of devotional books—especially in terms of text, illustration, and reading behavior.

This article challenge scholars of religion in the early Soviet Union specifically, and scholars of early Soviet history more generally, to reconsider the ways in which we have conceived of religiosity and Soviet identity in the early years of the USSR. It argues that there was a significant subset of people who considered themselves to be both religious and Soviet in these years, in which what it meant to be both was still not clearly defined. The article draws on archival interrogation records and trial testimonies from the 1922 “Trial of the Fifty-Four” in which thirty-two laymen were charged with counterrevolutionary activity. We have the unique opportunity of hearing the voices of believers from various educational, social, and class backgrounds as they describe what they think it means to be religious and Soviet. The sources thus not only contribute to our understanding of early-Soviet religiosity, but also of early-Soviet identity in general.

This paper proposes an approach to the representation of mental musical space, understood here as a mental ‘hologram’ of a musical structure created while composing or listening to a piece of music. Composers claim to ‘hear’ music in their mind and ‘see’ it in their spatial imagination; normally we see music graphically represented on two-dimensional staves, but we could mentally decode it in a three- or multi-dimensional space, and I argue that Violeta Dinescu's musical vision occupies a non-Euclidean imaginary musical space rather than the Western classical-music template. Dinescu's graphical design suggests a hyperbolic space, distorting the musical parameters accordingly. Two of her works are discussed: Gehen wir zu Grúschenka, for cello with voice ad libitum, and Herzriss – Aus deinem Herzen kannst du die Liebe nicht ausreißen, an opera for solo voice(s), percussion and cello. The first views the behaviour of musical parameters as if in an imaginary hyperbolic space; the latter exemplifies intertextuality in a cultural hyperbolic space. Both are metaphors of the woman's soul.

The Enabling Act 1919 provided for a new National Church Assembly able to make Measures with the same force and effect as an Act of Parliament. The 1919 Act was without question a constitutional moment with far-reaching effects; and it was about law, not morals: legalists triumphed over moralists. However, it was just one stage in a much longer trajectory of thinking about the constitution of the Church of England. This article, which started life as a lecture to the Ecclesiastical Law Society's day conference on 2 April 2022, takes the story further back – and widens it. It presents the key elements of thinking about the constitution – accidents, continuity, change – in the works of English ecclesiastical lawyers – civilians, common lawyers and clerical jurists – from the Reformation to the Act of 1919. To what extent, if at all, in their understandings of the church constitution, were our historic ecclesiastical lawyers legalists, or moralists, or both? Was the ecclesiastical constitution itself simply a legal category, or did it, and its basics, also have a moral quality? This article explores these questions in relation to: (1) the nature, sources, and purposes of the constitution of the Church of England; (2) legislative, administrative and judicial power; and (3) the rights of the individual enforceable against the decisions of ecclesiastical government. This article is based on a paper delivered to the Ecclesiastical Law Society's 2022 day conference.

Dobbs appears more extreme when juxtaposed against Roe’s hidden history. Justice Blackmun was the author of Roe, but the opinion was the product of a remarkable collaboration that incorporated the suggestions of many Justices. Thus, Roe’s medical framing embodied the vision of the Court as a whole, not one individual.

An increasing number of studies are describing the diversity of lichen phycobionts, which is leading to a better understanding of how lichen communities are assembled at different taxonomic, evolutionary and geographical scales. The present study explores the identity and genetic diversity of the microalgal partners of Punctelia borreri and P. subrudecta, two tropical and temperate parmelioid lichen fungi that often grow in temperate and Mediterranean forest ecosystems in Europe. Based on a specimen sampling distributed in two climatically divergent regions in the Iberian Peninsula, we found that these mycobionts are associated with Trebouxia gelatinosa, whose identity was also confirmed by an ultrastructural study of the pyrenoid. The bipartite network analysis indicated that each Punctelia species was associated with a different set of low frequency T. gelatinosa infraspecific lineages, whereas the two most abundant phycobiont lineages were shared between both mycobionts. Based on the current sampling, these two algal lineages occur exclusively in one of the two studied regions, which might point towards climate-driven, fine-tuned fungal-algal interactions. Finally, we documented visible symptoms of injury on the thalli in areas likely to have been impacted by air pollution.

This article is an exploration of how individuals in the Warsaw Ghetto discussed and remembered wartime suicide, as well as the ways in which these events were translated into legend by subsequent generations. First-person sources show how witnesses understood and evaluated suicide as one of the few choices available to Jews under Nazi occupation; Their reactions ranged from admiration or yearning to disapproval, disgust, and indifference. Although death and violence became part of daily life, suicide was not: in fact, the suicide rate in the ghetto was over a third lower than what it was in prewar Warsaw (Lindenthal, 2014). The goal of this study is not to condemn, glorify, or even understand events of suicide in the Warsaw Ghetto. Rather, the study of suicide in the context of the Holocaust presents an opportunity to rigorously question preconceived notions of agency, survivorship, and testimony. The Warsaw Ghetto existed in the physical space of the city for just three years, but its legacy of violence has endured for decades. This research builds not only on the historiography of the Holocaust in Poland, but also adds to the broader fields of the history of psychology and memory in the midst of genocide.

In the Dirty Southern vernacular medium of the twerk video, performances of eroticized Black femininity by digital performance artist BeTTy BuTT and others knead into traumas of ecological dispossession, sexual vulnerability, and patriarchal violence. As an aesthetic survival strategy forged in the Black sexual economies of the contemporary Dirty South, being-in-blackfeminineflesh occasions a critical reappraisal of the performative labors of contemporary Black feminine figures, how our bodyminds witness them, and how we write about them.