This essay does not strive to give a comprehensive review of literature on Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies. ...The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on the German origins, Vandenbroeck attributed it to an inflow of provincial artists. Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the attempt to fuse them with ‘realism’ of the Flemish Primitives seemed a revolutionary breakthrough following the pictorial crisis of the 1480s. Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of the intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism. The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough essay showed that the changes in iconography (such as reinvention of the well-known subject) could mark shifts in identity. By no means they are merely ‘anecdotic’ as Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there any secular subjects? How did the iconography of Antwerp art reflect the intersection of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the Antwerp Mannerists? Finding an answer to these and similar questions can provide a rich context for further studies on this ‘contrived’ but unique style.
Through a new analysis of the letter that opens Svevo’s first novel, Una vita, addressed by the protagonist Alfonso Nitti to his mother, this article aims to investigate the subterranean intertextual ...strategy adopted by the author to provide an initial psychological portrait of his character, surfacing in transparency behind the official presentation entrusted to Alfonso’s voice. In particular, the analysis of a short narrative segment generally traced by critics to a distant bucolic-Virgilian influence, reveals the closest and most significant presence, behind the prologue of Una vita, of Romantic literature, and specifically of Goethe’s Werther, a model revisited problematically by Svevo and assumed in the terms not of an inert acquiescence, but of a manifest impossibility of recovery.
The short biography in Giorgio Vasari’ Vite represents the starting point for all the studies which aim to investigate the artist Giulio Mazzoni. Born in Piacenza between 1518 and 1519, he trained ...with Vasari himself and then with Daniele da Volterra. After a long and successful career in Rome, he came back to his hometown where he died in 1590. Apart from sporadic mentions in the periegetic literature and a brief essay by Arturo Pettorelli published in 1921, it is Teresa Pugliatti’s "Giulio Mazzoni e la decorazione a Roma nella cerchia di Daniele da Volterra" (1984) that tried to offer an art-historical analysis of the Emilian artist. Nevertheless, in her deeply analytic reconstruction of the Roman artistic enhttps://www.officinalibraria.net/libro/9788833671741vironment in the mid sixteenth century, Giulio struggled to clearly distinguish himself from the many other artists examined there. Differently, this book focuses closely on Mazzoni, highlighting his life trajectory and his artistic activity. For the first time, one can find here a complete picture of his activity as a painter, sculptor and stuccoworker. In fact, despite the scarce survival of entirely autographed artworks, the results gathered here demonstrate that this versatile artist was able to conquer a significant position in the Roman artistic milieu – often working together with some of the greatest protagonists of the manneristic sixteenth-century season – gaining huge appreciation in Rome and in the Farnese Duchy of Parma and Piacenza as well. This book offers a fresh image of Mazzoni based on new archival research, on-site examinations of the artworks, and deep investigations on the historical contexts. It takes the information gathered by the restoration campaigns into consideration and deals with all the updates that in the last decades have affected our knowledge and perception of Manneristic art. This book presents unpublished archival documents that change in a substantial way the previous reconstructions of Mazzoni’s career and enrich the catalogue of his artworks. For instance, thanks to new archival acquisitions and new photographic campaigns, his activity as a sculptor – which was almost absent in previous literature – is brought into full focus and receives specific attention. The attribution of new drawings increases our knowledge of his graphic oeuvre, which would otherwise be witnessed by a single sheet only. Information on the relationship with Giorgio Vasari are highly updated: their common stay in Naples in 1544-1545 is accurately reconstructed and the long-lasting friendly bond that tied them until the biographer’s death in 1574 is highlighted for the first time. Similarly, compared to the previous critical interpretation, this book describes a brand-new connections between Mazzoni and Perino del Vaga – Raphael’s Roman heir – and Daniele da Volterra, better justifying the role that Mazzoni played in several prestigious private and papal commissions. For example, the case of the most important decorative campaign carried out by Mazzoni, Palazzo Capodiferro Spada, a detail-by-detail analysis of the still-existing decorations, cross-referencing with other decorative artworks fashioned in Rome during the Farnese and Del Monte pontificates, lead to propose a new chronological framework and a more accurate description of the progress of the worksite, and to more clearly identify the specific contribution provided by Mazzoni as well. The book also shows an unprecedented interest in stucco decoration, a tecnique often neglected by scholars due to the poverty of its material components. Mazzoni was certainly one of the undisputed masters of sixteenth-century stucco decoration and he became a point of reference in relation to the spreading of this technique in the Po Valley area. These new insights into the field of moulding – stucco or marble – open important scenarios in the study of the relationship between Mazzoni and the Lombardy and Ticino artists, involving some phenomena that are now currently under examination by international scholars, such as the progressive self-establishment of Lombardy and Ticino workers in the Roman artistic and architectural production at the turn of the sixteenth century. The book is supplemented by a documentary digest that brings together all the documents concerning Giulio Mazzoni, both published (but often not transcribed) and unpublished.
Among the many mustelids are wolverines, weasels (including ermines), otter, badgers, marten (including sables), ferrets, and mink. Since the early Middle Ages, the quest for furs of these animals ...has played a role in European national expansion into areas where fur-bearing mustelids were populous, including Russia’s expansion into Siberia and France and England’s expansion into North America. Recent experimental research has shown that many mammals can be infected with the virus, including cats, dogs, bank voles, deer mice, fruit bats, ferrets, hamsters, mink, skunks, pigs, rabbits, raccoon dogs, tree shrews, white-tailed deer, rhesus macaques, and cynomolgus macaques. In January 2021, a combined report of the Food and Agriculture Organization of the United Nations, the World Organisation for Animal Health (OIE), and the World Health Organization presented data from OIE and other sources from 36 countries with mink farming industries and documented widespread virus transmission, in both Europe and North America. Because of concerns that mink farm populations could serve as a reservoir for ongoing coronaviruses transmission and result in development of mutations that would undermine the effectiveness of SARS-CoV-2 vaccines, large-scale culling of these animals has been pursued by Denmark, the Netherlands, and Spain. ...it appears that in addition to all the human-to-human contact prevention measures needed to control and eliminate SARS-CoV-2 transmission, interventions that reduce contact of humans or domestic (or farmed) animals with bats or other susceptible wild animals will be needed to avert future spillover with pandemic potential.
There is no complete description of either the term "mannerism" or its associated features. Contradiction, paradox, and ambiguity may have been the terms most referential for mannerism since the ...1950s, but this article poses a unification of opposites as another important feature, specific to modern and contemporary architecture. We analyse three series of works by Andrea Palladio against another three pairs of opposing concepts-absence versus presence, frontality versus foreshortening, and grid versus assemblage. An analysis of each pair of concepts using commonly accepted examples from late twentieth-century architecture, following Venturi in the way of "both-and," allows us to argue how this merging of opposites in the same element, blends into, and participates in both characterisations. The pairings of opposites maintain their features, becoming simultaneous complementary characters. These mannerist characterisations are less common in current architecture, but they can, we claim, be easily detected in various recent projects.
In conversation
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with Didier Debaise, this piece thinks transversally across Nature as Event (2017a) and Speculative Empiricism (2017b) to explore some of the key stakes in his philosophy, namely: ...the relationship between the task of thinking a speculative empiricism and the problem of the bifurcation of nature. Engaging with the themes of nature, abstraction, dualism, pragmatism, and the role of stories in dramatizing our sensitivity to the world, the conversation develops Debaise’s contribution to theorising alternative modes of knowledge and experience capable of admitting those infra-sensible, inaudible, or imperceptible qualities of events. Distinctly, Debaise introduces here the problem of ‘predatory abstractions’ as one way to understand the problem of bifurcation. Ethically, the question of predatory abstractions makes new demands on the social sciences: to story new abstractions capable of deepening our experience of nature.
Resumo A obra Teoria da Literatura, de Aguiar e Silva (2011 1973), foi referência para gerações de pesquisadores em Portugal e no Brasil. Afastando-se de antigos modelos, a obra surge dividida entre ...interesses propriamente teóricos, universais e de caráter explicativo, e o imperativo à compreensão historicamente ancorada do objeto. A fundamentação que aí se oferece para o programa disciplinar da História Literária esforça-se por conciliar premissas disciplinares diversas e fá-lo num quadro institucional particular, hoje diferente no tocante quer aos interesses cognitivos, quer aos meios disponíveis para a investigação. Entender como se engendrou a matriz teórica desse programa é importante para pensar as possibilidades que a História Literária oferece para as Letras. Este artigo dedica-se ao conceito do literário implicado nesse modelo de História de que a Teoria da Literatura partilha e que assenta. Também procuramos justificar a busca por alternativas ao catálogo periodológico, especialmente respeitante à tese do autor sobre Maneirismo e barroco (1971).
Resumen Teoría de la Literatura de Aguiar e Silva fue referencia para generaciones de investigadores de la literatura em Portugal e Brasil. Alejándose de viejos modelos académicos, esta obra parece dividida entre sus propios intereses teóricos, universales y de carácter explicativo y el imperativo de comprender su objeto históricamente. La fundamentación de un programa disciplinar de Historia de la Literatura que aquí se ofrece se esfuerza en conciliar premisas disciplinarias diversas, y lo hace en el marco de un cuadro institucional particular, hoy diferente en lo tocante a intereses cognitivos y a los medios disponibles para la investigación. Entender cómo se engendró la matriz teórica de ese programa es importante para pensar las posibilidades que la Historia Literaria ofrece para las Letras. Este artículo se dedica al concepto de literatura implicado en ese modelo de Historia teorizado por Aguiar e Silva. También intentamos justificar la búsqueda de alternativas al catálogo periodológico, especialmente concerniente a la tesis del autor sobre Maneirismo e Barroco.
Abstract Aguiar e Silva'sTeoria da Literatura has been a reference for many generations of literary scholars. Departing from old scholarly models, this work seems however torn between its properly theoretical interests, which are potentially universal and explanation-based, and the imperative tounderstandits object in a strict adherence to its historical character. The work strived to reconcile incompatible disciplinary premises, affording to do so in an institutional framework that recently underwent deep transformations. These concerned both the cognitive purposes and the means through which Literature is studied. Nevertheless, understanding how the theoretical matrix of this investigation was brought about is important if we intend to grasp the possibilities that it might still offer for Literary Studies. This article addresses the concept of “literature” employed in this model of History, theorized in Aguiar e Silva’s textbook. We also discuss the search of alternatives to the current periodological catalog, especially concerning the author’s doctoral thesis on Mannerism and Baroque.
Abnormal movements are intrinsic to some forms of endogenous psychoses. Spontaneous dyskinesias are observed in drug-naïve first-episode patients and at-risk subjects. However, recent descriptions of ...spontaneous dyskinesias may actually represent the rediscovery of a more complex phenomenon, 'parakinesia' which was described and documented in extensive cinematographic recordings and long-term observations by German and French neuropsychiatrists decades before the introduction of antipsychotics. With the emergence of drug induced movement disorders, the description of parakinesia has been refined to emphasize the features enabling differential diagnosis with tardive dyskinesia. Unfortunately, parakinesia was largely neglected by mainstream psychiatry to the point of being almost absent from the English-language literature. With the renewed interest in motor phenomena intrinsic to SSD, it was timely not only to raise awareness of parakinesia, but also to propose a scientifically usable definition for this phenomenon. Therefore, we conducted a Delphi consensus exercise with clinicians familiar with the concept of parakinesia. The original concept was separated into hyperkinetic parakinesia (HPk) as dyskinetic-like expressive movements and parakinetic psychomotricity (PPM), i.e., patient's departing from the patient's normal motion style. HPk prevails on the upper part of the face and body, resembling expressive and reactive gestures that not only occur inappropriately but also appear distorted. Abnormal movements vary in intensity depending on the level of psychomotor arousal and are thus abated by antipsychotics. HPk frequently co-occurs with PPM, in which gestures and mimics lose their naturalness and become awkward, disharmonious, stiff, mannered, and bizarre. Patients are never spontaneously aware of HPk or PPM, and the movements are never experienced as self-dystonic or self-alien. HPk and PPM are highly specific to endogenous psychoses, in which they are acquired and progressive, giving them prognostic value. Their differential diagnoses and correspondences with current international concepts are discussed.
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