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Discovering Il Bottaccio, Relais&Chateaux
DISCOVERING IL BOTTACCIO, RELAIS&CHATEAUX The setting for the dinner is at your choice: a romantic table in “Sala Diana” close to the fireplace, or on the border of the pool surrounded by “Bottaccio” is the place of the gathering of the waters created from the deviation unique pieces of art in “Sala della Piscina”, or you may choose for an open of rivers, fords and streams used in ancient times, to set into motion mill wheels. air dinner in our garden overlooking the ancient water mill wheel which is The maison, an original 18th century water wheel, opened its gates for the first still working. time in 1983 and is part of the international association of Relais & Chateaux since 1988. THE CUISINE Through the park runs a VII century Roman road that used to lead to the ruins of Aghinolfi Castle still overlooking Il Bottaccio. The D’Anna family entrusted Il Bottaccio to the Chef - Director Nino Mosca The dream of the D’Anna family was since the beginning to open a hotel for more than 35 years ago, and has watched it grow with passion to become not travellers that do not like hotels, so at Il Bottaccio you will feel just like home only an institution, but also a mecca for the devotees of fine Italian cuisine. In but with 5*****L service. Nino there is the precious gift of equilibrium, acquired from years of dedication, experience and introspection, which permits him to blend a DINING AT IL BOTTACCIO luminous creativity with the most profound roots of Italian tradition. -
One Touch of Venus Notes on a Cardiac Arrest at the Uffizi Ianick Takaes De Oliveira1
Figura: Studies on the Classical Tradition One touch of Venus Notes on a cardiac arrest at the Uffizi Ianick Takaes de Oliveira1 Submetido em: 15/04/2020 Aceito em: 11/05/2020 Publicado em: 01/06/2020 Abstract A recent cardiovascular event at the Galleria degli Uffizi in Florence in December 2018 involving an elderly Tuscan male gathered significant media attention, being promptly reported as another case of the so-called Stendhal syndrome. The victim was at the Botticelli room the moment he lost consciousness, purportedly gazing at the Birth of Venus. Medical support was made immediately available, assuring the patient’s survival. Taking the 2018 cardiovascular event as a case study, this paper addresses the emergence of the Stendhal syndrome (as defined by the Florentine psychiatrist Graziella Magherini from the 1970s onwards) and similar worldwide syndromes, such as the Jerusalem, Paris, India, White House, and Rubens syndromes. Their congeniality and coevality speak in favor of their understanding as a set of interconnected phenomena made possible partly by the rise of global tourism and associated aesthetic- religious anxieties, partly by the migration of ideas concerning artistic experience in extremis. While media coverage and most art historical writings have discussed the Stendhal syndrome as a quizzical phenomenon – one which serves more or less to justify the belief in the “power of art” –, our purpose in this paper is to (1) question the etiological specificity of the Stendhal syndrome and, therefore, its appellation as such; (2) argue in favor of a more precise neuroesthetic explanation for the incident at the Uffizi; (3) raise questions about the fraught connection between health-related events caused by artworks and the aesthetic experience. -
Art, Argento and the Rape-Revenge Film
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 13 | Autumn 2011 Title The Violation of Representation: Art, Argento and the Rape-Revenge Film Author Alexandra Heller-Nicholas Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 13 Issue Date Autumn 2011 Publication Date 6/12/2011 Editors Dorothy Butchard & Barbara Vrachnas FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM | ISSUE 13 Alexandra Heller-Nicholas 1 The Violation of Representation: Art, Argento and the Rape-Revenge Film Alexandra Heller-Nicholas Swinburne University of Technology Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The ‘Heroic’ Tradition and Its Alternatives (1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. -
© 2018 Donata Panizza ALL RIGHTS RESERVED
© 2018 Donata Panizza ALL RIGHTS RESERVED OVEREXPOSING FLORENCE: JOURNEYS THROUGH PHOTOGRAPHY, CINEMA, TOURISM, AND URBAN SPACE by DONATA PANIZZA A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Italian Written under the direction of Professor Rhiannon Noel Welch And approved by ________________________________ ________________________________ ________________________________ ________________________________ New Brunswick, New Jersey OCTOBER, 2018 ABSTRACT OF THE DISSERTATION Overexposing Florence: Journeys through Photography, Cinema, Tourism, and Urban Space by DONATA PANIZZA Dissertation Director Rhiannon Noel Welch This dissertation examines the many ways in which urban form and visual media interact in 19th-, 20th-, and 21st-centuries Florence. More in detail, this work analyzes photographs of Florence’s medieval and Renaissance heritage by the Alinari Brothers atelier (1852- 1890), and then retraces these photographs’ relationship to contemporary visual culture – namely through representations of Florence in international cinema, art photography, and the guidebook – as well as to the city’s actual structure. Unlike previous scholarship, my research places the Alinari Brothers’ photographs in the context of the enigmatic processes of urban modernization that took place in Florence throughout the 19th century, changing its medieval structure into that of a modern city and the capital of newly unified Italy from 1865 to 1871. The Alinari photographs’ tension between the establishment of the myth of Florence as the cradle of the Renaissance and an uneasy attitude towards modernization, both cherished and feared, produced a multi-layered city portrait, which raises questions about crucial issues such as urban heritage preservation, mass tourism, (de)industrialization, social segregation, and real estate speculation. -
Beyond Stendhal: Emotional Worlds Or Emotional Tourists? Mike Robinson
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Beyond Stendhal: Emotional Worlds or Emotional Tourists? Mike Robinson Introduction Some years ago I visited the World Heritage Site of Petra in Jordan, the ancient Nabatean City built into encircling red sandstone cliffs. 1 Without any detailed knowledge of the Nabateans and their place in the history of the region, it is clearly an impressive place by virtue of its scale, by virtue of the craft of its construction and, particularly, by virtue of its seeming seclusion. I was especially struck by the way the site seems to have its own physical narrative, which blends the natural features of the deeply gorged cliffs with the creativity of its sixth century BCE founders in striving to hide this city from the rest of the world, and, also, the creativity of those who have long recognised the allure of the place to visitors. For most visitors, to reach this ancient site you have to walk, and the walk takes you from a relatively commonplace and bustling entrance of open, rough and stony land which promises little, through a high- sided and, at times, claustrophobic narrow gorge – known as the ‘siq’ – to a position where your sight is drawn from bare wall and dusty ground to a powerful vision; a true glimpse into another world. For as one moves out of the siq, one is faced with the sheer power of a monument; the magnificent façade of what is known as the Treasury, carved out of, and into, the solid wall of the high cliffs. -
Management Plan Men Agement Plan Ement
MANAGEMENTAGEMENTMANAGEMENTEMENTNAGEMENTMEN PLAN PLAN 2006 | 2008 Historic Centre of Florence UNESCO WORLD HERITAGE he Management Plan of the His- toric Centre of Florence, approved T th by the City Council on the 7 March 2006, is under the auspices of the Historic Centre Bureau - UNESCO World Heritage of the Department of Culture of the Florence Municipality In charge of the Management Plan and coordinator of the project: Carlo Francini Text by: Carlo Francini Laura Carsillo Caterina Rizzetto In the compilation of the Management Plan, documents and data provided di- rectly by the project managers have also been used. INDEXEX INDEX INTRODUCTIONS CHAPTER V 45 Introduction by Antonio Paolucci 4 Socio-economic survey Introduction by Simone Siliani 10 V.1 Population indicators 45 V.2 Indicators of temporary residence. 46 FOREWORD 13 V.3 Employment indicators 47 V.4 Sectors of production 47 INTRODUCTION TO THE MANAGEMENT 15 V.5 Tourism and related activities 49 PLANS V.6 Tourism indicators 50 V.7 Access and availability 51 FIRST PART 17 V.8 Traffi c indicators 54 GENERAL REFERENCE FRAME OF THE PLAN V.9 Exposure to various sources of pollution 55 CHAPTER I 17 CHAPTER VI 56 Florence on the World Heritage List Analysis of the plans for the safeguarding of the site I.1 Reasons for inclusion 17 VI.1 Urban planning and safeguarding methods 56 I.2 Recognition of Value 18 VI. 2 Sector plans and/or integrated plans 60 VI.3 Plans for socio-economic development 61 CHAPTER II 19 History and historical identity CHAPTER VII 63 II.1 Historical outline 19 Summary -
Stendhal (Florence) Syndrome As an Unclassified Disorder
© Kamla-Raj 2019 Ethno Med, 13(4): 190-197 (2019) PRINT: ISSN 0973-5070 ONLINE: ISSN 2456-6772 DOI: 10.31901/24566772.2019/13.04.594 Stendhal (Florence) Syndrome as an Unclassified Disorder Asli Yayak Bursa Technical University, Bursa, 16330, Turkey E-mail: [email protected] KEYWORDS Aesthetic. Art. Beauty. City. Psychology ABSTRACT The first aim of this paper is to discuss human-art relations basically. In this paper, literature related to Stendhal syndrome as pertaining to art psychology will be reviewed and information on the subject will be compiled. The necessity of doing art is widely defined in society as a form of self-disclosure by an individual. The definition of art according to scientists is art as self-actualization. The other discussed concept in this paper is Stendhal (Florence) syndrome. It’s known as a city syndrome. Stendhal syndrome, also known as Florence syndrome, describes a physical disease that afflicts those who behold works of art in Florence, Italy. The symptoms are dizziness, palpitations, hallucinations, orientation disorder, loss of identity and physical burnout.These clinical features manifest in patients who encounter rich Italian culture and historically important characters. INTRODUCTION the The Diagnostic and Statistical Manual of Mental Disorders (DSM) as a specific psychiat- Over the last few years, a cluster of psycho- ric illness, but in contrast, it is included in Zin- logical symptoms has appeared among tourists garelli, which is one of Italy’s most important due to exposure to artistic and historical master- dictionaries (Hager 2016). According to Magh- pieces. These are known as city syndromes. -
Somaesthetic Experience and the Viewer in Medicean Florence
VISUAL AND MATERIAL CULTURE, 1300-1700 Terry-Fritsch Medicean Florence Somaesthetic Experience and the Viewer in Allie Terry-Fritsch Somaesthetic Experience and the Viewer in Medicean Florence Renaissance Art and Political Persuasion, 1459-1580 Somaesthetic Experience and the Viewer in Medicean Florence Visual and Material Culture, 1300-1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300-1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. Somaesthetic Experience and the Viewer in Medicean Florence Renaissance Art and Political Persuasion, 1459-1580 Allie Terry-Fritsch Amsterdam University Press Cover illustration: Benozzo Gozzoli (1420-1497), Procession of the Magi (detail), east wall, fresco, Chapel of the Magi, Palazzo Medici Riccardi, Scala/Art Resource, NY Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 221 6 e-isbn 978 90 4854 424 0 doi 10.5117/9789463722216 nur 685 © A. -
Ital-News-Number 60-FINAL.Qxp
ITALIAN POLITICS & SOCIETY The Review of the Conference Group on Italian Politics and Society No. 60, Spring 2005 http://www.congrips.org P R E S I D E N T C O N T E N T S Carol Mershon University of Virginia Symposium V I C E P R E S I D E N T Raffaella Nanetti University of Illinois Temi e Voci E X E C U T I V E S E C R E T A R Y / T R E A S U R E R Richard Katz Epistulae The Johns Hopkins University P R O G R A M C H A I R Research Dossier Carolyn Warner Arizona State University E X E C U T I V E C O M M I T T E E Note e Notizie Franklin Adler Macalester College Maurizio Cotta Book Essay and Reviews Università di Siena Julia Lynch University of Pennsylvania Membership Survey Simona Piattoni Università di Trento Supplement Alan Zuckerman Brown University C O - E D I T O R S Anthony C. Masi Filippo Sabetti Department of Sociology Department of Political Science McGill University McGill University 855 Sherbrooke St. West 855 Sherbrooke St. West Montreal,Quebec Montreal, Quebec Canada H3A 2T7 Canada H3A 2T7 [email protected] [email protected] A C K N O W L E D G E M E N T S This issue of Italian Politics and Society has been published ITALIAN POLITICS & SOCIETY with the support of McGill The Review of the Conference Group on Italian Politics and Society University No. -
Art, Argento and the Rape-Revenge Film
Alexandra Heller-Nicholas : The Violation of Representation: Art, Arge... http://www.forumjournal.org/site/issue/13/alexandra-heller-nicholas The Violation of Representation: Art, Argento and the Rape-Revenge Film Alexandra Heller-Nicholas Swinburne University of Technology Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The 'Heroic' Tradition and Its Alternatives(1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. Despite the broadness of the rape-revenge category, however, these films predominantly involve some kind of visceral skirmish between victim/villain, good/evil, female/male and right/wrong, and the desire for vengeance upon which their narratives rely provides a widely shared melodramatic foundation. The ideological leanings, thematic cores and moral messages of any given text hinge upon its representational mechanics-in this instance, how film formally constructs meaning-and can thus shift radically from text to text, despite the uniformity of the trope itself. Italian cult horror director Dario Argento's The Stendhal Syndrome (La Sindrome di Stendhal, 1996) is a rape-revenge film that addresses the representation of sexual violence on screen, placing it explicitly in a cinematic and art-historical context. -
Beyond Stendhal: Emotional Worlds Or Emotional Tourists? Mike Robinson
Beyond Stendhal: Emotional Worlds or Emotional Tourists? Mike Robinson Introduction Some years ago I visited the World Heritage Site of Petra in Jordan, the ancient Nabatean City built into encircling red sandstone cliffs. 1 Without any detailed knowledge of the Nabateans and their place in the history of the region, it is clearly an impressive place by virtue of its scale, by virtue of the craft of its construction and, particularly, by virtue of its seeming seclusion. I was especially struck by the way the site seems to have its own physical narrative, which blends the natural features of the deeply gorged cliffs with the creativity of its sixth century BCE founders in striving to hide this city from the rest of the world, and, also, the creativity of those who have long recognised the allure of the place to visitors. For most visitors, to reach this ancient site you have to walk, and the walk takes you from a relatively commonplace and bustling entrance of open, rough and stony land which promises little, through a high- sided and, at times, claustrophobic narrow gorge – known as the ‘siq’ – to a position where your sight is drawn from bare wall and dusty ground to a powerful vision; a true glimpse into another world. For as one moves out of the siq, one is faced with the sheer power of a monument; the magnificent façade of what is known as the Treasury, carved out of, and into, the solid wall of the high cliffs. This impressive monumentalism is repeated a number of times as the valley opens up to the skies, and one is able to wander through what feels like a hidden kingdom. -
Stendhal Syndrome: a Psychological Response Among Tourists
PSYCHOLOGY AND COGNITIVE SCIENCES ISSN 2380-727X http://dx.doi.org/10.17140/PCSOJ-3-125 Open Journal Review Stendhal Syndrome: A Psychological *Corresponding author Response Among Tourists Swarna Datta, MSc Independent Researcher Kolkata, WB 700045, India Swarna Datta, MSc* Tel. +91 8697223295 E-mail: [email protected] Independent Researcher, Kolkata, WB 700045, India Volume 3 : Issue 2 Article Ref. #: 1000PCSOJ3125 ABSTRACT Article History Stendhal Syndrome (SS) is a behavioral syndrome characterized by anxiety and affective Received: February 12th, 2017 and thought disturbances in response to art and often to culturally or historically significant Accepted: June 5th, 2017 places. The purpose of this review is to elucidate the clinical significance of SS and discuss Published: June 12th, 2017 the various approaches implemented towards understanding the condition. Our objective is directed towards promoting further research to understand the etiology of SS as a rare medical condition and to define other potential perspectives in its investigation. Citation Datta S. Stendhal Syndrome: A psy- chological response among tourists. KEY WORDS: Stendhal Syndrome (SS); Psychiatric condition; Clinical symptoms; Tourist city Psychol Cogn Sci Open J. 2017; 3(2): syndromes; Neuroaesthetics. 66-73. doi: 10.17140/PCSOJ-3-125 INTRODUCTION Stendhal Syndrome (SS) is a rare psychiatric condition characterized by a state of dizziness, panic, paranoia or madness caused by being exposed to artistic or historical artifacts or having witnessed too many