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Microweiseinae is a quite recently established subfamily within ladybird beetles (Coccinellidae). According to recent analyses of morphological and molecular data, it has been divided into three tribes. Members of the subfamily are distributed mostly in tropical and subtropical regions of the world. Despite several recent taxonomical studies of this group, its diversity and distribution is still not fully understood. Recent field collecting on Madeira Island resulted in the discovery of interesting specimens belonging to a yet unknown taxon, described here as Madeirodula atlantica gen. et sp. nov. Phylogenetic analysis of morphological characters indicate that the new taxon form a distinct branch within the subfamily Microweiseinae, for which we propose a new tribe Madeirodulini trib. nov. Evolutionary trends within the subfamily are discussed, and an updated key to the tribes of Microweiseinae is provided.

African American sketch comedy uses satirical humor to decenter common white tropes of Blackness that are reinforced in media depictions through an intellectual and emotional approach that both frees satirists from traditional form and structure and that asks viewers—especially white ones—to question the root cause of their laughter and in turn their embrace of racist systems. Focusing on the harmfulness of racism and its intersection with sexism, this article argues that sketch comedy uses satirical humor to flip the script on commonly held stereotypes of Blackness, resist American racism, and in the end assert a claim for Black humanity in self-defined terms, offering humorous resistance as a modality that may get us closer to finding an “off switch” to racism.

During its first season, the hit television series Glee aired an episode named “Theatricality,” in which the talented glee club kids pay homage to Lady Gaga and Kiss.1 They wear homemade versions of the stars’ hyperextravagant costumes in their high school's hallways as well as on stage, using their wild (and wildly creative) outfits for defiant self-expression, braving harsh reactions from bullies and the school principal. Beyond the students’ personal flair, the title draws attention to the episode as exuberant performance rather than as a mimetic approximation of real life. Because “theatricality” denotes knowingness about the medium's effect, it is also defined negatively: “the quality of being exaggerated and excessively dramatic.” [...]in Charles Dickens's Oliver Twist (1837–9), the boys comically play at picking Fagin's pockets while Oliver watches and laughs.14 The theatricality of this scene—just a descriptive paragraph in the novel, without dialogue—manifests itself in performance in every significant adaptation since George Almar's in 1838.15 Such theatricality in Oliver Twist is part of its explicit melodramatic aesthetic.

Although the fifteenth-century English poet John Lydgate frequently references Chaucer as the model for his ornate aureate style, recent scholarship has argued that Lydgate’s poetic style is more ambivalent towards Chaucer and more innovative than was previously acknowledged. This paper examines Lydgate’s Life of Our Lady and Life of Saint Margaret , two poems in which Lydgate’s aureate discourse of poetic inspiration is centered upon the image of a sanctified female body that is simultaneously virginal and fecund, and upon the corresponding figurative language of liquid abundance and gems. Lydgate uses this paradoxical image to develop multiple registers of poetic and spiritual meaning around his aureate language, distancing himself from the patriarchal Chaucerian poetic model and emphasizing that his decorative poetic style is not merely ornamental but instead is integral to his poetic matter.

APRIL 1846 (pg. 212). APRIL 1848 (pg. 212). JULY 1848 (pg. 212). OCTOBER 1848 (pg. 212). NOVEMBER 1848 (pg. 212). DECEMBER 1848 (pg. 212-213). JANUARY (pg. 213-219). FEBRUARY (pg. 219-223). MARCH (pg. 223-230). APRIL (pg. 230-234). MAY (pg. 234-245). JUNE (pg. 245-250). JULY (pg. 251-257). AUGUST (pg. 257-265). SEPTEMBER (pg. 266-271). OCTOBER (pg. 272-281). NOVEMBER (pg. 281-289). DECEMBER (pg. 289-301).

In 2020, the Supreme Court of the United States ruled in Bostock v. Clayton County, Georgia that Title VII of the Civil Rights Act prohibits employment discrimination based on sexual orientation and gender identity. “Because I got signed so young — I got signed as a minor — when I got dropped I had zero job experience under my belt. Love Renaissance (LVRN), known for being home to Summer Walker among other R&B crooners, launched a mental health and wellness division to support its artists.

Childish Gambino won big at the 2019 Grammys, but he wasn't there to accept his awards. Here are the other highlights and memorable performances.