Results for ' Comic, The'

980 found
Order:
  1.  11
    A total write-off. Aristophanes, Cratinus, and the rhetoric of comic competition.I. Comic Intertextualities - 2002 - Classical Quarterly 52:138-163.
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  2.  48
    The comic, the tragic, and the cynical: Some notes on their ethical dimensions.Israel Knox - 1951 - Ethics 62 (3):210-214.
  3.  10
    The Masks of Comedy: A General Theory Applied to Wiliam Shakespeare's A Midsummer Night's Dream.Vincent Francavilla & Comic Incongruities - 2009 - In Leslie Anne Boldt-Irons, Corrado Federici & Ernesto Virgulti (eds.), Disguise, Deception, Trompe-L'oeil: Interdisciplinary Perspectives. Peter Lang. pp. 99--73.
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  4.  25
    The multimodal construction of acceptability: Marvel's Civil War comic books and the PATRIOT Act.Francisco Veloso & John Bateman - 2013 - Critical Discourse Studies 10 (4):427-443.
    The 9/11 attacks in the USA had profound political consequences at both domestic and international levels. Specific and controversial policy developments were pursued requiring substantial legitimation to find acceptance. A prime example was the USA PATRIOT Act, which was passed in the immediate aftermath of 9/11 and subsequently received considerable critique due to the sweeping nature of its redefinition of what was acceptable in the cause of ‘fighting terror’. The media, and their construal of events and policies, played a significant (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  5.  10
    Existentialist comics: bande dessinée and the art of ethics.Elizabeth Benjamin - 2021 - New York: Peter Lang.
    Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  6.  13
    The development of comic theory in Germany during the eighteenth century.Paul Mallory Haberland - 1971 - Göppingen,: A. Kümmerle.
    Direct download  
     
    Export citation  
     
    Bookmark  
  7. The Philosophy of Comics.Aaron Meskin - 2011 - Philosophy Compass 6 (12):854-864.
    Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  8.  14
    The absolute comic.Edith Kern - 1980 - New York: Columbia University Press.
    Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  9.  23
    The Concept of the Comic in Esthetics.T. B. Liubimova - 1980 - Russian Studies in Philosophy 19 (3):70-94.
    The comic is one of the principal esthetic categories; it unites the multifaceted experience of the social mind as it assimilates and cognizes the world, particularly the social world, on the basis of axioms of common sense, or even of public opinion about these axioms. Boldly violating the laws of logic and the verisimilitude of images, of normal connections and notions, and playing upon these violations, the comic nonetheless remains firmly on the side of common sense. The comic is inexhaustible (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  10. The Comic and the Serious in Religious Literature of the Middle Ages.Aron I. Gourevitch & Susanna Contini - 1975 - Diogenes 23 (90):56-77.
    A history of the comic has not yet been written. According to historians, the comic had very different, and sometimes even opposite causes, in relation to different ages and cultures. What provoked laughter in one civilization could be taken quite seriously in another. The comic has always had a particular function and its nature, its internal composition, has not been immutable. It could be kept within the limits of a single sphere that was assigned to it in particular (the comic, (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  11.  22
    The New Rhetoric Project Laughs: Lucie Olbrechts-Tyteca, Dissociation, and the Comic.Amy K. Anderson - 2020 - Philosophy and Rhetoric 53 (4):450-465.
    ABSTRACT Lucie Olbrechts-Tyteca's 1974 chapter on dissociation in the comic furthers our understanding of the rhetorical possibilities of dissociation, revealing how the concept can dismantle old worldviews and create new ones through laughter. Thanks to issues with translation and the chapter's obscure examples, however, this text has been largely overlooked by scholars. This article grounds the chapter's theories in examples with more contemporary resonance as a necessary first step toward understanding the full scope of Olbrechts-Tyteca's contributions to the concept of (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  12. 'The proper treatment of events' in comics.Tim Fernando - unknown
    ‘The proper treatment of events’ is the title of a recent book [LH04] by M. van Lambalgen and F. Hamm, applying the event calculus from [Sha97] to natural language semantics. Some basic ideas behind that treatment are presented in a technically different form below, shaped by a concrete formulation of events as strings of sets of fluents ([Fer04]). These strings can be read as comic strips that are (I think) easy to grasp and work with, providing a friendly (if not (...)
     
    Export citation  
     
    Bookmark  
  13.  42
    Comic-Book Superheroes and Prosocial Agency: A Large-Scale Quantitative Analysis of the Effects of Cognitive Factors on Popular Representations.James Carney & Pádraig Mac Carron - 2017 - Journal of Cognition and Culture 17 (3-4):306-330.
    We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...)
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  14.  25
    The Immortal Comedy: The Comic Phenomenon in Art, Literature, and Life.Agnes Heller - 2005 - Lexington Books.
    This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.
    Direct download  
     
    Export citation  
     
    Bookmark   10 citations  
  15.  20
    Winning the Heart and Shaping the Mind with “Serious Play”: The Efficacy of Social Entrepreneurship Comics as Ethical Business Pedagogy.Yanto Chandra & Qian Jin - 2023 - Journal of Business Ethics 188 (3):441-465.
    Social entrepreneurship (SE) is gaining increasing legitimacy as a form of ethical business practice and a solution to various societal challenges. Despite the burgeoning interest in SE in the realms of ethical business scholarship and business ethics education, new pedagogical developments have been limited. To advance SE pedagogy, we produced a new multimedia-based tool consisting of two SE-focused comics and evaluated their efficacy in “winning the hearts and shaping the minds” of learners in an experimental setting. We tested the effects (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  16.  74
    The Comic Vision of Life.John Morreall - 2014 - British Journal of Aesthetics 54 (2):125-140.
    Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  17.  92
    Comic Normativity and the Ethics of Humour.Philip Percival - 2005 - The Monist 88 (1):93-120.
    Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various moral properties (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  18. The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images.[author unknown] - 2013
    No categories
     
    Export citation  
     
    Bookmark   35 citations  
  19. Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art.Ted Nannicelli - 2014 - Journal of Aesthetics and Art Criticism 72 (2):169-179.
    According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   14 citations  
  20.  17
    The Ontology of Comics.Aaron Meskin - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 31–46.
    This chapter contains sections titled: Introduction Multiplicity How Are Instances of Comics Created? Autographic and Allographic Conclusion Notes References.
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  21.  61
    So Long as They Grow Out of It: Comics, The Discourse of Developmental Normalcy, and Disability. [REVIEW]Susan M. Squier - 2008 - Journal of Medical Humanities 29 (2):71-88.
    This essay draws on two emerging fields—the study of comics or graphic fiction, and disability studies—to demonstrate how graphic fictions articulate the embodied, ethical, and sociopolitical experiences of impairment and disability. Examining David B’s Epileptic and Paul Karasik and Judy Karasik’s The Ride Together, I argue that these graphic novels unsettle conventional notions of normalcy and disability. In so doing, they also challenge our assumed dimensions and possibilities of the comics genre and medium, demonstrating the great potential comics hold for (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  22. The Salacious and the Satirical: In Defense of Symmetric Comic Moralism.Aaron Smuts - 2013 - Journal of Aesthetic Education 47 (4):45-62.
    A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely regarded (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  23.  30
    The triumph of wit: a study of Victorian comic theory.Robert Bernard Martin - 1974 - Oxford: Clarendon Press.
    Direct download  
     
    Export citation  
     
    Bookmark  
  24.  35
    The comic nature of Ecce Homo.Matthew Meyer - 2012 - Journal of Nietzsche Studies 43 (1):32-43.
    This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  25.  19
    Comic technique and the fourth actor.C. W. Marshall - 1997 - Classical Quarterly 47 (01):77-.
    A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson , who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limit the number of actors. The final paragraphs, however, express considerable (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  26.  84
    The Art of Comics: A Philosophical Approach.Aaron Meskin, Roy T. Cook & Warren Ellis (eds.) - 2011 - Wiley-Blackwell.
    _The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...)
    Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  27.  68
    The prehistory of the superhero comics in India (1976–1986).Nandini Chandra - 2012 - Thesis Eleven 113 (1):57-77.
    The world of the Hindi heroes of the 1970s, while decked in battle gear, largely belonged to the official state apparatus, either as members of vigilante self-defence squads – of which Bahadur was a pioneer – or bonafide members of the police force, like Inspector Vikram. The costumed superhero only emerged at the end of the Nehruvian period, gradually coming to defy its signature science and rationality. My article seeks to explore questions of the political economy of the superhero genre (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  28.  68
    The Comic Character of Confucius.Katrin Froese - 2014 - Asian Philosophy 24 (4):295-312.
    This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...)
    Direct download (8 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  29.  17
    The Report Versus the Transparency Models of Appreciation: The Case of Comics.Bradford Skow - forthcoming - Canadian Journal of Philosophy:1-11.
    On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  30.  26
    Trash, Art, and the Comics.John Dyck - forthcoming - Canadian Journal of Philosophy:1-9.
    Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  31.  37
    Introduction: Comics and The Anarchist Imagination.Frederik Byrn Køhlert & Ole Birk Laursen - 2017 - Substance 46 (2):3-10.
    This special issue brings together an interdisciplinary group of scholars to reflect on comics and the anarchist imagination. The curators of the 2014 British Library exhibition, "Comics Unmasked: Art and Anarchy in the UK," noted that "there has always been a certain anarchic streak" in comics. Indeed, since Ralph Chaplin's Black Cat appeared alongside the work of Ernest Riebe and Ern Hanson in the IWW's Industrial Worker in the early twentieth century, comics and cartoons have been prominent fixtures in anarchist (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  32.  10
    Crushing the Imperial(ist) Eagles: Nationalism, Ideological Instruction, and Adventure in the Bulgarian Comics about Spartacus – the 1980s and Beyond.Miryana Dimitrova - 2022 - Clotho 4 (2):101-124.
    Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  33.  34
    The tragic and the comic Tereus.Gregory Dobrov - 1993 - American Journal of Philology 114 (2):189-234.
    Direct download  
     
    Export citation  
     
    Bookmark  
  34.  30
    The Comic in the Midst of Tragedy's Grief with Tig Notaro, Hannah Gadsby, and Others.Cynthia Willett & Julie Willett - 2020 - Journal of Aesthetics and Art Criticism 78 (4):535-546.
    ABSTRACT The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  35.  25
    Transhumanism: the friendly face of the overhuman and the comic book Superman.Jakub Chavalka - 2023 - Semiotica 2023 (254):81-106.
    The core of the study is a critical comparison of Nietzsche’s notion ofÜbermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this way, (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  36.  38
    The Aesthetics of Comics.David Carrier & Michael A. Oliker - 2001 - Journal of Aesthetic Education 35 (4):119.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   8 citations  
  37.  25
    The comic as illustrating the summation-irradiation theory of pleasure-pain.H. Heath Bawden - 1910 - Psychological Review 17 (5):336-346.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  38.  24
    The Birth of Comedy: Texts, Documents, and Art from Athenian Comic Competitions, 486-280 ed. by Jeffrey Rusten (review).S. Douglas Olson - 2013 - Classical World: A Quarterly Journal on Antiquity 106 (3):538-539.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  39.  22
    The Comic Costume Controversy.J. F. Killeen - 1971 - Classical Quarterly 21 (01):51-.
    As to the wearing of a leather phallus by fifth-century comic actors, Pickard- Cambridge wrote: ‘Aristophanes’ resolution to avoid such indecencies does not seem to have lasted long.’ One year would not have beenlong; and Beare, who resumed Thiele's position, and Webster, who supported that of Körte, carried on a controversy on the matter without reference to what I believe is a relevant, if misunderstood, text.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  40.  20
    Comic Illusion and Illusion in Comedy: The Discourse of Emotional Freedom.Walter Pape - 1990 - In Frederick Burwick & Walter Pape (eds.), Aesthetic illusion: theoretical and historical approaches. New York: W. de Gruyter. pp. 229--249.
    Direct download  
     
    Export citation  
     
    Bookmark  
  41.  15
    The Comic Side of Gender Trouble and Bert Williams’ Signature Act.Michelle Ann Stephens - 2008 - Feminist Review 90 (1):128-146.
    Using the turn of the century blackface performer Bert Williams as a case study, this essay explores how we might think about black male performativity in the New World as a historical formation, one that extends both over the time of modernity and across the space of diaspora. I draw from contemporary theories of circum-atlantic performance and black feminist studies of the impact of slavery on black racial and gendered identities, to argue that performance affords a unique window into how (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  42.  67
    The idea of the comic.A. MacC Armstrong - 1985 - British Journal of Aesthetics 25 (3):232-238.
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  43. When the Comic Strip Meets Solidarity Finance.Amelie Artis - 2009 - Hermès: La Revue Cognition, communication, politique 54 (2):163 - +.
     
    Export citation  
     
    Bookmark  
  44.  18
    The Routledge Companion to Comics.Frank Bramlett, Roy T. Cook & Aaron Meskin (eds.) - 2016 - Routledge.
    This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field.
    Direct download  
     
    Export citation  
     
    Bookmark  
  45. The Rise of the Comic Book Movie.Gary James Jason - 2008 - Liberty (October):46-47.
    In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from the (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  46.  38
    The Later Comic Chorus.K. J. Maidment - 1935 - Classical Quarterly 29 (01):1-.
    The history of Attic comedy after the fifth century is not simple. The comic fragments are obscure, because they are fragments: and the ancient interpreters, because they are determined to interpret. But the subject still remains interesting and important, especially in so far as it is concerned with Middle Comedy, which filled the gap between Aristophanes and Menander. Formally and materially, Menander was a modern, while Aristophanes was not: and it was during the fourth century that the ground was being (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  47.  39
    The Comic Mimesis.Mladen Dolar - 2017 - Critical Inquiry 43 (2):570-589.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  48.  39
    The comic as nonsense, sadism, or incongruity.Marie C. Swabey - 1958 - Journal of Philosophy 55 (19):819-833.
  49.  15
    From Wodehouse to the White House: A Corpus-Assisted Study of Play, Fantasy and Dramatic Incongruity in Comic Writing and Laughter-Talk.Alan Partington - 2008 - Lodz Papers in Pragmatics 4 (2):189-213.
    From Wodehouse to the White House: A Corpus-Assisted Study of Play, Fantasy and Dramatic Incongruity in Comic Writing and Laughter-Talk In this paper I consider two discourse types, one written and literary, the other spoken and semi-conversational, in an attempt to discover if there are any similarities in the ways in which humour is generated in such apparently diverse forms of communication. The first part of the paper is concerned with the explicitly comic prose of P. G. Wodehouse, whilst in (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  50.  27
    Comic treatment : Molière and the farce of medicine.Paisley Nathan Livingston - unknown
    When Comedy, Music and Ballet step forward at the end of L'Amour medecin, the audience learns that in Moliere's theater the farcical passage from sickness to health is much more than a theme. Claiming to have a real therapeutic value, the three arts ask to be recognized as the grands medecins, and present themselves as an alternative to a dubious and rather mercenary medical profession.
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
1 — 50 / 980