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Peter Armour

Biographic Data

ID5655495
NAMEPeter Armour
GIVEN NAMESPeter
FAMILY NAMEArmour
SIGNATUREARMOUR P
VERIFIEDNo
TOTAL WORKS27
TOTAL CITATIONS2
AUTHOR COUNT27
EDITOR COUNT0
FIRST PUBLICATION YEAR1979
LATEST PUBLICATION YEAR2000
H-INDEX1
  • Dante's Contrapasso: Context and Texts

    Peter Armour•ARTICLE•Italian Studies•2000

    For Francesco Mazzoni ‘Così s'osserva in me lo contrapasso.’ With these words Bertran de Born, in the bolgia of the sowers of discord, explains that his brain-pan (‘cerebro’) has been divided from its source in his trunk (‘troncone’) because, in life, he split apart people as closely joined together as a father and son (Inf. XXVIII. 136–42). The use of osservare means either that the causal relationship between his sin and his punishment is now e…

  • Dante's Contrapasso: Context and Texts

    Peter Armour•ARTICLE•Italian Studies•2000

  • "Sole nuovo, luce nuova": Saggi sul rinnovamento culturale in Dante (review)

    Peter Armour•ARTICLE•Modern Language Notes•1998

    Reviewed by: «Sole nuovo, luce nuova»: Saggi sul rinnovamento culturale in Dante Peter Armour Zygmunt G. Baranski, «Sole nuovo, luce nuova»: Saggi sul rinnovamento culturale in Dante (Gli Alambicchi, VI). Turin: Scriptorium, 1996. 319 pp. This volume contains a series of studies written between 1981 and 1993, here presented in revised versions in Italian, seven having been excellently translated from English by Marco Pustianaz. The title is taken…

  • The Twelve Ambassadors and Ugolino's Jubilee Inscription: Dante's Florence and the Tartars in 1300

    Peter Armour•ARTICLE•Italian Studies•1997

  • The Twelve Ambassadors and Ugolino's Jubilee Inscription: Dante's Florence and the Tartars in 1300

    Peter Armour•ARTICLE•Italian Studies•1997

    Questi non ciberà terra né peltro, ma sapïenza, amore e virtute, e sua nazion sarà tra feltro e feltro. With these words, in the first canto of the Comedy, Dante's Virgil predicts the future arrival of the Veltro who, by driving the she-wolf back into Hell, will be the salvation of ‘quella umile Italia’ where Aeneas founded his state, the divinely willed origin of Rome and its world-wide Empire. The enigmatic sign by which this poor, wise, loving…

  • Letture classensi: Lettura del Fiore

    Santa Casciani, Zygmunt G Baranski et al.•ARTICLE•Italica•1996

  • The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives

    Kate Lowe, Cecil H Clough et al.•ARTICLE•Italian Studies•1995

    (1995). The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives. Italian Studies: Vol. 50, No. 1, pp. 154-181

  • The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives

    Kate Lowe, Cecil H Clough et al.•ARTICLE•Italian Studies•1995

  • Language and Literature

    Jane E Everson, Peter Armour et al.•ARTICLE•Italian Studies•1994

  • Language and Literature

    Jane E Everson, Peter Armour et al.•ARTICLE•Italian Studies•1994

  • The Prisoner and the Veil: The Symbolism of Michelangelo's Tomb of Julius Ii

    Peter Armour•ARTICLE•Italian Studies•1994

    The complicated history of Michelangelo's projects for the tomb of Pope Julius II — from the first plans of 1505 and 1513 to the reduced version which now stands in the church of S. Pietro in Vincoli in Rome — has been the subject of many careful studies, and the outline and details of the various contracts, alterations, and setbacks in the protracted ‘tragedy of the tomb’ are by now reasonably well established. However, the precise iconographica…

  • Language and Literature

    Diego Zancani, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1993

  • Michelangelo's Moses: A Text in Stone

    Peter Armour•ARTICLE•Italian Studies•1993

    As a statue, a larger-than-lifesize, three-dimensional block of marble shaped in a particular, indeed unique, way into a human form, Michelangelo's MOSES is, of course, an entirely visual statement. The artist's hand, however, was obeying his intellect when it released his concept from the stone, and the purpose of this study is to attempt to illustrate how this image offered to the eye can be read in a similar way to a passage in Dante's Comedy,…

  • Michelangelo's Moses: A Text in Stone

    Peter Armour•ARTICLE•Italian Studies•1993

  • Language and Literature

    Diego Zancani, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1993

  • Dante and the Medieval Other World

    Peter Armour, John C Barnes et al.•ARTICLE•Italian Studies•1992

  • Dante and the Medieval Other World

    Peter Armour, John C Barnes et al.•ARTICLE•Italian Studies•1992

  • Dante's Griffin and the History of the World: A Study of the Earthly Paradise (‘Purgatorio’, cantos xxix–xxxiii)

    John C Barnes, Steven Botterill et al.•ARTICLE•Italian Studies•1991

  • Dante's Griffin and the History of the World: A Study of the Earthly Paradise (‘Purgatorio’, cantos xxix–xxxiii)

    John C Barnes, Steven Botterill et al.•ARTICLE•Italian Studies•1991

  • The World's Major Languages

    T Gwynfor Griffith, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1989

  • The World's Major Languages

    T Gwynfor Griffith, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1989

  • The Door of Purgatory: A Study of Multiple Symbolism in Dante's

    Teodolinda Barolini, Peter Armour•ARTICLE•Italica•1986

  • Dante's Brunetto: The Paternal Paterine

    Peter Armour•ARTICLE•Italian Studies•1983

    Un amen non saria possuto dirsi tosto COSí com' e' fuoro spariti. (Inferno, XVI. 88–89) With this simile of the unspoken 'Amen' Dante concludes the central episode in his treatment of those who sinned by violence against God or nature, and appears to confirm its judgements and lessons and accept his ensuing destiny and duties. He has met souls from two groups running on the burning sand under the falling flakes of fire, and this episode is framed…

  • Dante's Brunetto: The Paternal Paterine

    Peter Armour•ARTICLE•Italian Studies•1983

    Un amen non saria possuto dirsi tosto COSí com' e' fuoro spariti. (Inferno, XVI. 88–89) With this simile of the unspoken ‘Amen’ Dante concludes the central episode in his treatment of those who sinned by violence against God or nature, and appears to confirm its judgements and lessons and accept his ensuing destiny and duties. He has met souls from two groups running on the burning sand under the falling flakes of fire, and this episode is framed…

  • Matelda in Eden: The Teacher and the Apple

    Peter Armour•ARTICLE•Italian Studies•1979

    As a poetic creation, Dante's Matelda is a wonderfully realized lady of natural beauty, shining love, and spontaneous joy; in terms of concept and interpretation, she poses a series of apparently insuperable problems. For six cantos she remains as a constant and integral element in Dante's presentation of the final stages of purification in the garden of original innocence, and yet to us she seems indeed to resemble both types of nymph to which s…

Next
  • What Parents Think About Child Rearing

    Open Access•Peter Armour, Marilyn Rob et al.•ARTICLE•Australian Journal of Social Issues•1979•Cited by: 2•References: 4

    In a survey of current attitudes of parents towards child rearing, 386 parents of 4th grade children completed questionnaires containing Hereford's Parent Attitude Scale. Results indicated that parents with the highest education and occupational status were: more confident in themselves as parents; more inclined to believe that they could influence their child's behaviour; more accepting of the child as an individual; shared ideas and feelings mo…

  • Matelda in Eden: The Teacher and the Apple

    Peter Armour•ARTICLE•Italian Studies•1979

    As a poetic creation, Dante's Matelda is a wonderfully realized lady of natural beauty, shining love, and spontaneous joy; in terms of concept and interpretation, she poses a series of apparently insuperable problems. For six cantos she remains as a constant and integral element in Dante's presentation of the final stages of purification in the garden of original innocence, and yet to us she seems indeed to resemble both types of nymph to which s…

  • Matelda in Eden: The Teacher and the Apple

    Peter Armour•ARTICLE•Italian Studies•1979

    As a poetic creation, Dante's Matelda is a wonderfully realized lady of natural beauty, shining love, and spontaneous joy; in terms of concept and interpretation, she poses a series of apparently insuperable problems. For six cantos she remains as a constant and integral element in Dante's presentation of the final stages of purification in the garden of original innocence, and yet to us she seems indeed to resemble both types of nymph to which s…

  • What Parents Think About Child Rearing

    Open Access•Peter Armour, Marilyn Rob et al.•ARTICLE•Australian Journal of Social Issues•1979•Cited by: 2•References: 4

    In a survey of current attitudes of parents towards child rearing, 386 parents of 4th grade children completed questionnaires containing Hereford's Parent Attitude Scale. Results indicated that parents with the highest education and occupational status were: more confident in themselves as parents; more inclined to believe that they could influence their child's behaviour; more accepting of the child as an individual; shared ideas and feelings mo…

  • Dante's Brunetto: The Paternal Paterine

    Peter Armour•ARTICLE•Italian Studies•1983

    Un amen non saria possuto dirsi tosto COSí com' e' fuoro spariti. (Inferno, XVI. 88–89) With this simile of the unspoken 'Amen' Dante concludes the central episode in his treatment of those who sinned by violence against God or nature, and appears to confirm its judgements and lessons and accept his ensuing destiny and duties. He has met souls from two groups running on the burning sand under the falling flakes of fire, and this episode is framed…

  • Dante's Brunetto: The Paternal Paterine

    Peter Armour•ARTICLE•Italian Studies•1983

    Un amen non saria possuto dirsi tosto COSí com' e' fuoro spariti. (Inferno, XVI. 88–89) With this simile of the unspoken ‘Amen’ Dante concludes the central episode in his treatment of those who sinned by violence against God or nature, and appears to confirm its judgements and lessons and accept his ensuing destiny and duties. He has met souls from two groups running on the burning sand under the falling flakes of fire, and this episode is framed…

  • The Door of Purgatory: A Study of Multiple Symbolism in Dante's

    Teodolinda Barolini, Peter Armour•ARTICLE•Italica•1986

  • The World's Major Languages

    T Gwynfor Griffith, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1989

  • The World's Major Languages

    T Gwynfor Griffith, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1989

  • Dante's Griffin and the History of the World: A Study of the Earthly Paradise (‘Purgatorio’, cantos xxix–xxxiii)

    John C Barnes, Steven Botterill et al.•ARTICLE•Italian Studies•1991

  • Dante's Griffin and the History of the World: A Study of the Earthly Paradise (‘Purgatorio’, cantos xxix–xxxiii)

    John C Barnes, Steven Botterill et al.•ARTICLE•Italian Studies•1991

  • Dante and the Medieval Other World

    Peter Armour, John C Barnes et al.•ARTICLE•Italian Studies•1992

  • Dante and the Medieval Other World

    Peter Armour, John C Barnes et al.•ARTICLE•Italian Studies•1992

  • Language and Literature

    Diego Zancani, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1993

  • Michelangelo's Moses: A Text in Stone

    Peter Armour•ARTICLE•Italian Studies•1993

    As a statue, a larger-than-lifesize, three-dimensional block of marble shaped in a particular, indeed unique, way into a human form, Michelangelo's MOSES is, of course, an entirely visual statement. The artist's hand, however, was obeying his intellect when it released his concept from the stone, and the purpose of this study is to attempt to illustrate how this image offered to the eye can be read in a similar way to a passage in Dante's Comedy,…

  • Michelangelo's Moses: A Text in Stone

    Peter Armour•ARTICLE•Italian Studies•1993

  • Language and Literature

    Diego Zancani, Zygmunt G Baranski et al.•ARTICLE•Italian Studies•1993

  • Language and Literature

    Jane E Everson, Peter Armour et al.•ARTICLE•Italian Studies•1994

  • Language and Literature

    Jane E Everson, Peter Armour et al.•ARTICLE•Italian Studies•1994

  • The Prisoner and the Veil: The Symbolism of Michelangelo's Tomb of Julius Ii

    Peter Armour•ARTICLE•Italian Studies•1994

    The complicated history of Michelangelo's projects for the tomb of Pope Julius II — from the first plans of 1505 and 1513 to the reduced version which now stands in the church of S. Pietro in Vincoli in Rome — has been the subject of many careful studies, and the outline and details of the various contracts, alterations, and setbacks in the protracted ‘tragedy of the tomb’ are by now reasonably well established. However, the precise iconographica…

  • The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives

    Kate Lowe, Cecil H Clough et al.•ARTICLE•Italian Studies•1995

    (1995). The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives. Italian Studies: Vol. 50, No. 1, pp. 154-181

  • The Evolution of Women's Asylums since 1500: From Refuges for Ex-Prostitutes to Shelters for Battered Wives

    Kate Lowe, Cecil H Clough et al.•ARTICLE•Italian Studies•1995

  • Letture classensi: Lettura del Fiore

    Santa Casciani, Zygmunt G Baranski et al.•ARTICLE•Italica•1996

  • The Twelve Ambassadors and Ugolino's Jubilee Inscription: Dante's Florence and the Tartars in 1300

    Peter Armour•ARTICLE•Italian Studies•1997

  • The Twelve Ambassadors and Ugolino's Jubilee Inscription: Dante's Florence and the Tartars in 1300

    Peter Armour•ARTICLE•Italian Studies•1997

    Questi non ciberà terra né peltro, ma sapïenza, amore e virtute, e sua nazion sarà tra feltro e feltro. With these words, in the first canto of the Comedy, Dante's Virgil predicts the future arrival of the Veltro who, by driving the she-wolf back into Hell, will be the salvation of ‘quella umile Italia’ where Aeneas founded his state, the divinely willed origin of Rome and its world-wide Empire. The enigmatic sign by which this poor, wise, loving…

  • "Sole nuovo, luce nuova": Saggi sul rinnovamento culturale in Dante (review)

    Peter Armour•ARTICLE•Modern Language Notes•1998

    Reviewed by: «Sole nuovo, luce nuova»: Saggi sul rinnovamento culturale in Dante Peter Armour Zygmunt G. Baranski, «Sole nuovo, luce nuova»: Saggi sul rinnovamento culturale in Dante (Gli Alambicchi, VI). Turin: Scriptorium, 1996. 319 pp. This volume contains a series of studies written between 1981 and 1993, here presented in revised versions in Italian, seven having been excellently translated from English by Marco Pustianaz. The title is taken…

Art (22 works) · History (17 works) · History (17 works) · Philosophy (13 works) · Literature (12 works) · Renaissance and Early Modern Studies (12 works) · Philosophy (11 works) · Psychology (9 works) · Linguistics (8 works) · Art history (7 works)

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