The Caustic Pen Is Mightiest: A Tradition of Female Satire in the Novels of Jane Austen, Ivy Compton-Burnett, and Muriel Spark

Female satirists have long been treated by critics as anomalies within an androcentric genre because of the reticence to acknowledge women's right to express aggression through their writing. In Pride and Prejudice (1813), A House and Its Head (1935), and The Girls of Slender Means (1963), Jane Austen (1775-1817), Ivy Compton-Burnett (1884-1969), and Muriel Spark (1918-2006) all combine elements of realism and satire within the vehicle of the domestic novel to target institutions of their patriarchal societies, including marriage and family dynamics, as well as the evolving conceptions of domesticity and femininity, with a subtle feminism. These female satirists illuminate the problems they have with society more through presentation than judgment in their satire, which places them on the fringes of a society they wish to educate, distinguishing their satire from that written by male satirists who are judging from a privileged height above the society they are attempting to correct. All three women create heroines and secondary female characters who find ways to survive, and occasionally thrive, within the confines of a polite society that has a streak of savagery running just beneath its polished surface.

Sights for Sounds: The Roles of Illuminated Initials in Italian Music Manuscripts

The scholarship on illuminated initials is substantial, yet there is a significant absence of information when discussing the initials found in music manuscripts specifically. In this paper, I endeavor to supplement the current scholarship by focusing my research on music manuscripts produced in Italy between 1250 and 1500 A.D. in order to provide examples of the relationships between image, music, and text in the context of use. I use mainly iconographic research methods, though a considerable amount of background information is reliant on the research of other authors in the field of medieval philosophy and theology. Through my research I have concluded that the use of illuminated initials in medieval Italian music manuscripts enhances the function of the manuscript by providing another layer of understanding which audience members could use to aid them in their meditation, prayer, and in the performance of the music.

Italian women in industry: a study of conditions in New York City

by Louise C. Odencrantz.

The Italian Merck Case. Research Papers in Law, 1/2007

From the Introduction. Regulation 1768/921 created supplementary protection certificates (hereinafter, ‘SPCs’) for medicinal products (hereinafter, “pharmaceuticals”) protected by patents. SPCs afford the same exclusive rights as those conferred by patents once these expire and may be granted for a maximum of five years.2 Italy enacted similar legislation in 1991, the most salient difference between both texts being that, pursuant to Law No. 349/91,3 holders of Italian patents for pharmaceuticals could be granted supplementary protection for a maximum period of 18 years after the expiration of the patent. Following the enactment of Regulation 1768/92, SPCs granted by the Italian authorities were brought in line with the period provided for in that text. However, pharmaceuticals for which supplementary protection was sought in the lapse between the adoption of Law No. 349/91 and Regulation 1768/92 (around 400 products) continued to enjoy the protection provided for in the former text.4 Several steps were taken by the Italian authorities to progressively reduce the length of protection granted to these products.