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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.

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).

As the father of the hardboiled detective genre, Dashiell Hammett had a huge influence on Hollywood. Yet, it is easy to forget how adaptable Hammett's work was, fitting into a variety of genres and inspiring generations of filmmakers. Dashiell Hammett and the Moviesoffers the first comprehensive look at Hammett's broad oeuvre and how it was adapted into films from the 1930s all the way into the 1990s. Film scholar William H. Mooney reveals the wide range of films crafted from the same Hammett novels, as whenThe Maltese Falconwas filmed first as a pre-Code sexploitation movie, then as a Bette Davis screwball comedy, and finally as the Humphrey Bogart classic. He also considers how Hammett rose to Hollywood fame not through the genre most associated with him, but through a much fizzier concoction, the witty murder mysteryThe Thin Man. To demonstrate the hold Hammett still has over contemporary filmmakers, the book culminates in an examination of the Coen brothers' pasticheMiller's Crossing. Mooney not only provides us with an in-depth analysis of Hammett adaptations, he also chronicles how Hollywood enabled the author's own rise to stardom, complete with a celebrity romance and a carefully crafted public persona. Giving us a behind-the-scenes look at the complex power relationships, cultural contexts, and production concerns involved in bringing Hammett's work from the page to the screen,Dashiell Hammett and the Moviesoffers a fresh take on a literary titan.

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.