Republics and empires provides transnational perspectives
on the significance of Italy to American art and visual culture and
the impact of the United States on Italian art and popular culture.
...Covering the period from the Risorgimento to the Cold War,
it reveals the complexity of the visual discourses that bound two
relatively new nations together. It also gives substantial
attention to literary and critical texts that addressed the
evolving cultural relationship between Italy and the United States.
While American art history has tended to privilege French, British
and German ties, these chapters highlight a rich body of
contemporary research by Italian and American scholars that moves
beyond a discussion of influence as a one-way directive towards a
deeper understanding of cultural transactions that profoundly
affected the artistic expression of both nations.
Following the tremendous reception of our first volume on topological groups called "Topological Groups: Yesterday, Today, and Tomorrow", we now present our second volume. Like the first volume, this ...collection contains articles by some of the best scholars in the world on topological groups. A feature of the first volume was surveys, and we continue that tradition in this volume with three new surveys. These surveys are of interest not only to the expert but also to those who are less experienced. Particularly exciting to active researchers, especially young researchers, is the inclusion of over three dozen open questions. This volume consists of 11 papers containing many new and interesting results and examples across the spectrum of topological group theory and related topics. Well-known researchers who contributed to this volume include Taras Banakh, Michael Megrelishvili, Sidney A. Morris, Saharon Shelah, George A. Willis, O'lga V. Sipacheva, and Stephen Wagner.
Group problem solving Laughlin, Patrick R; Laughlin, Patrick R
2011., 20110124, 2011, 2011-01-24
eBook
Experimental research by social and cognitive psychologists has established that cooperative groups solve a wide range of problems better than individuals. Cooperative problem solving groups of ...scientific researchers, auditors, financial analysts, air crash investigators, and forensic art experts are increasingly important in our complex and interdependent society. This comprehensive textbook--the first of its kind in decades--presents important theories and experimental research about group problem solving. The book focuses on tasks that have demonstrably correct solutions within mathematical, logical, scientific, or verbal systems, including algebra problems, analogies, vocabulary, and logical reasoning problems.
To study the effects of vascular endothelial growth factor C small interfering RNA and endostatin on esophageal squamous cell carcinoma-related ring formation in vitro and proliferation of lymphatic ...endothelial cells.
KYSE150 cells were subjected to analysis of cell transfection and endostatin operation. The groups were as follows: negative group, blank group, negative plus endostatin group, endostatin group, SG1 group, SG2 group, SG1 plus endostatin group, and SG2 plus endostatin group. The esophageal cancer-related microlymphatic endothelial cells were three-dimensionally cultured. Cell Counting Kit-8 (CCK-8) assay was employed to detect cell proliferation.
The negative group's three-dimensional culture result was the highest, followed by the blank group, negative plus endostatin group, endostatin group, SG2 group, SG1 group, SG1 plus endostatin group, and SG2 plus endostatin group. The quantity of living cells in the blank group was the highest, followed by the negative control, endostatin, SG2, SG1, negative plus endostatin, SG1 plus endostatin, and SG2 plus endostatin groups.
Both vascular endothelial growth factor C small interfering RNA and endostatin could inhibit ring formation in esophageal squamous cell carcinoma and proliferation of lymphatic endothelial cells.
Peeking into the home through the eyes of artists and image-makers, this book unveils the untold story of Italian domestic experiences from the 1940s to the 1970s. Torn between the trauma of World ...War II and the frenzied optimism of the postwar decades, and haunted by the echoes of fascism, the domestic realm embodied contrasting and often contradictory meanings: care and violence, oppression and emotional fulfillment, nourishment and privation. Silvia Bottinelli casts a fresh light on domestic experiences that are easily overlooked and taken for granted, finding new expressions of home - as an idea, an emotion, a space, and a set of habits - in a variety of cultural and artistic movements, including new realism, visual poetry, pop art, arte povera, and radical architecture, among others. Double-Edged Comforts finds nuance by viewing artistic interpretations of domestic life in dialogue with contemporaneous visual culture: the advertisements, commercials, illustrations, and popular magazines that influenced and informed art, even materially, and often triggered the critical reactions of artists. Bottinelli pays particular attention to women's perspectives, discussing artworks that have fallen through the cracks of established art historical narratives and giving specific consideration to women artists: Carla Accardi, Marisa Merz, Maria Lai, Ketty La Rocca, Lucia Marcucci, and others who were often marginalized by the Italian art system in this period. From sleeping and bathing, chores, and making and eating food to the arrival of television, Double-Edged Comforts provides a fresh account of modern domesticity relevant to anyone interested in understanding how we make sense of the places we live and what we do there, showing how art complicates the familiar comforts and meanings of home.
Only Connect Shearman, John K.G
08/2019, Letnik:
5578
eBook
John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is ...the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works areMannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in teh Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore). The A.W. Mellon Lectures in the Fine Arts, 1988 Bollingen Series XXXV: 37
Originally Publsihed in 1992
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to ...a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation.
This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes ...commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.
Livio Odescalchi (1652–1713), nephew of Innocent XI, paid the price in his youth for the pope’s anti-nepotism policy, who chose to deny him any official position. During the same period, Livio had to ...submit to the oppressive control of his uncle, his testamentary guardian – an unhappy situation that, at the time, caused him to be considered a symbol of misfortune. In spite of this, the young man was able to lay the foundations for a strategy of economic and social ascent that would later bear fruit. After the death of Innocent XI, a period of compensation began, built on the accumulation of honours and possessions, financial investments, commissions and art trades, patronage, social celebrations, and international networks. This book, based on Roberto Fiorentini’s doctoral thesis (Aprilia 1987 – Washington 2019), examines both phases of Livio Odescalchi’s life, analysing them in the light of a considerable quantity of archival documents, some of which are completely unpublished.
Livio Odescalchi (1652–1713), nipote di Innocenzo XI, pagò in gioventù il prezzo della politica antinepotista del pontefice, il quale scelse di negargli ogni incarico ufficiale. Negli stessi anni, Livio dovette oltretutto sottostare al controllo opprimente dello zio, suo tutore testamentario – una condizione infelice al punto che, nella cultura del tempo, la sua figura venne notoriamente associata a simbolo di sventura. Nonostante ciò, il giovane seppe gettare le basi per una strategia di ascesa economico-sociale che avrebbe dato i suoi frutti in seguito. Morto Innocenzo XI, ebbe inizio infatti un periodo di riscatto, costruito sull’accumulo di onorificenze e possedimenti, investimenti finanziari, committenze e commerci d’arte, mecenatismo, feste mondane e reti internazionali. Il volume, frutto della tesi di dottorato di Roberto Fiorentini (Aprilia 1987–Washington 2019), prende in esame ambedue le fasi della vita di Livio Odescalchi, analizzandole alla luce di una notevole quantità di documenti d’archivio, una parte dei quali completamente inediti.
Livio Odescalchi (1652–1713), Neffe Innozenz’ XI., zahlte in seiner Jugend den Preis für die antinepotistische Politik des Papstes, der ihm jegliches offizielle Amt verweigerte. In denselben Jahren musste sich Livio der übermächtigen Kontrolle seines Onkels, der sein testamentarischer Vormund war, unterwerfen – eine so missliche Stellung, dass seine Person in der damaligen Kultur zu einem weitverbreiteten Symbol des Unglücks wurde. Trotzdem gelang es ihm, in jungen Jahren den Grundstein für eine Strategie des wirtschaftlichen und sozialen Aufstiegs zu legen, die später Früchte tragen sollte. Nach dem Tod Innozenz’ XI. begann eine Zeit der Kompensation durch die Anhäufung von Ehrungen und Besitztümern, finanzielle Investitionen, Aufträge und Kunsthandel, Mäzenatentum, Feste und internationale Netzwerke. Das Buch, das aus der Doktorarbeit von Roberto Fiorentini (Aprilia 1987 – Washington 2019) hervorgegangen ist, untersucht beide Lebensphasen Livio Odescalchis und analysiert sie anhand einer großen Anzahl von zum Teil noch unveröffentlichten Archivdokumenten.
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