Stendhal (Florence) Syndrome As an Unclassified Disorder
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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. -
The Everyday Geopolitics of Messianic Jews in Israel-Palestine
Title Page The everyday geopolitics of Messianic Jews in Israel-Palestine. Daniel Webb Department of Geography, Royal Holloway, University of London. Submitted in accordance with the requirements for the degree of PhD, University of London, 2015. 1 Declaration I Daniel Webb hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Date: Sign: 2 Abstract This thesis examines the geopolitical orientations of Messianic Jews in Jerusalem, Israel-Palestine, in order to shed light on the confluence and co-constitution of religion and geopolitics. Messianic Jews are individuals who self-identify as being ethnically Jewish, but who hold beliefs that are largely indistinguishable from Christianity. Using the prism of ‘everyday geopolitics’, I explore my informants’ encounters with, and experiences of, the Israeli-Palestinian conflict and the dominant geopolitical logics that underpin it. I analyse the myriad of everyday factors that were formative in the shaping of my informants’ geopolitical orientation towards the conflict, focusing chiefly on those that were mediated and embodied through religious practice and belief. The material for the research was gathered in Jerusalem over the course of sixteen months – between September 2012 and January 2014 – largely through ethnographic research methods. Accordingly, I offer a lived alternative to existing work on geopolitics and religion; work that is dominated by overly cerebral and cognitivist views of religion. By contrast, I show how the urgencies of everyday life, as well as a number of religious practices, attune Messianic Jewish geopolitical orientations in dynamic, contingent, and contradictory ways. -
The American Poetry Review
“As soon as we subscribe to a hierarchy, we circumscribe ourselves within a value system. This is perhaps the great conundrum AMERICAN of art—once we define a term, we impose a limit, thereby inviting both orthodoxy and transgression. Our concept of ‘art’ or ‘poem’ or ‘novel’ is, then, always in flux, and I think we’d agree that this is how art renews itself—through those who dare to challenge those terms. The making of art, and the evaluation of it, is always an act POETRY REVIEW of self-definition.” —KITANO, p. 37 MAY/JUNE 2021 VOL. 50/NO. 3 $5 US/$7 CA MEGAN FERNANDES MAGICAL REALISM IN AMERICA & OTHER POEMS FORREST GANDER OWNING YOURSELF: AN INTERVIEW WITH JACK GILBERT SALLY WEN MAO PARIS SYNDROME & OTHER POEMS ALSO IN THIS ISSUE: ALISON C. ROLLINS MAGGIE SMITH NATALIE EILBERT PHOTO: APRWEB.ORG RIVKAH GEVINSON 2 THE AMERICAN POETRY REVIEW The American Poetry Review (issn 0360-3709) is published bimonthly by World Poetry, Inc., a non-profit corporation, and Old City Publishing, Inc. Edi torial offices: 1906 Rittenhouse Square, Philadelphia, PA 19103-5735. Subscription rates: U.S.: 3 years, $78.00; 2 years, $56.00; 1 year, $32.00. Foreign rates: 3 years, $129.00; 2 years, $92.00; 1 year, $49.00. Single copy, $5.00. Special classroom adoption rate per year per student: MAY/JUNE 2021 VOL. 50/NO. 3 $14.00. Free teacher’s subscription with classroom adoption. Subscription mail should be addressed to The American IN THIS ISSUE Poetry Review, c/o Old City Publishing, 628 N. -
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. -
From Surrealism to Now
WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions). -
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. -
Art, Crime, and the Image of the City
Art, Crime, and the Image of the City The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Kaliner, Matthew Erik. 2014. Art, Crime, and the Image of the City. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11744462 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Art, Crime and the Image of the City A dissertation presented by Matthew Kaliner to The Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Sociology Harvard University Cambridge, Massachusetts October, 2013 © 2014 Matthew Kaliner All rights reserved Dissertation Advisor: Robert J. Sampson Matthew Kaliner Art, Crime, and the Image of the City Abstract This dissertation explores the symbolic structure of the metropolis, probing how neutral spaces may be imbued with meaning to become places, and tracing the processes through which the image of the city can come to be – and carry real consequences. The centrality of the image of the city to a broad array of urban research is established by injecting the question of image into two different research areas: crime and real estate in Washington, DC and the spatial structure of grassroots visual art production in Boston, Massachusetts. By pursuing such widely diverging areas of research, I seek to show the essential linkage between art and crime as they related to the image of the city and general urban processes of definition, distinction, and change. -
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. -
Toponymic Medical Terms Based on Precedent Situations and Denoting Psychiatric Deviations
Филологические науки Shalajeva A.V. The Chair of Foreign Languages, Higher State Educational Establishment of Ukraine „Bukovinian State Medical University“, Chernivtsi (Ukraine) TOPONYMIC MEDICAL TERMS BASED ON PRECEDENT SITUATIONS AND DENOTING PSYCHIATRIC DEVIATIONS. In the medical context the precedent situations containing toponyms in their name are well-known geographical names that are used in the text not so much to refer to concrete areas, cities or countries, but rather as a kind of symbol of certain qualities that are used to form medical terms, designating the syndromes of various mental abnormalities. In our unstable and volatile time, the time of local wars, political changes and new opportunities for obtaining all kinds of information and possibility to move from one country to another for both with political goals and for the purpose of travel, the social sphere is an inexhaustible source for the field of psychiatry. Mental disorders affect the lives of many people. At assessment of condition of persons with mental disorders, doctors rely on diagnoses that are generally accepted and are taken into account in the differential diagnostics of the patient. But there are a number of rare psychiatric syndromes that doctors rarely encounter in everyday practice. One of such syndromes is the Paris syndrome. People who study the language and culture of another country often feel an active interest in the population of this country, they pay attention to the external appearance of the native speakers, their habits, norms and manners of behavior, the system of values, and their mentality as a whole. On the other hand, they try to get acquainted with the new cultural environment as close as possible by comparing the phenomena of another country with the phenomena of their native or world culture. -
Beyond Jerusalem Syndrome: Religious Mania and Miracle Cures in British Mandate Palestine1
Beyond Jerusalem Syndrome: Religious Mania and Miracle Cures in British Mandate Palestine1 Chris Wilson In 1937, Dr. Heinz Hermann, the medical director of Ezrath Nashim (“Women’s Help”), a private Jewish mental hospital in Jerusalem, published an article on “Jerusalem fever” (Jerusalem-Fieber) in Folia clinica orientalia.2 Based in Tel Aviv and granted a publishing license in September 1937, the German- and English-language medical journal proved a short- lived affair, eclipsed by the success of the Hebrew-language medical journal Harefuah (“Medicine”) among European Jewish doctors in Palestine. But Hermann’s argument, that there was a distinct psychiatric condition linked to the uniquely holy city of Jerusalem, would go on to enjoy a long career, repackaged and popularized later in the century as “Jerusalem syndrome.”3 Grounded in his clinical experience of the numerous prophets and messiahs who could be found wandering the streets of Jerusalem in the 1930s, the idea that a particular place could be mentally dislocating chimed with some contemporary trends in the history of the psy-sciences, particularly psychoanalysis, when Hermann published his piece in 1937. No less a figure than Sigmund Freud had just penned an open letter to Romain Rolland, in which he reflected on his own moment of “derealization” on a trip to the Acropolis in 1904. At a remove of thirty years, Freud boiled down the essence of the experience to a sense of incredulity at reality. “By the evidence of my senses,” he wrote, “I am now standing on the Acropolis, but I cannot believe it.”4 Hermann the psychiatrist had good reason to be cautious about tapping into psychoanalytic thought. -
Stendhal's Syndrome
Stories Stendhal’s Syndrome Before the 19th century, there were that turned into a horrendous saga of Hans Holbein in Basle (and made his travellers. There were even rich Englishmen frostbite and starvation. He visited London pregnant wife fear he was going to have one doing the Grand Tour. But then, somewhere three times, and even contributed articles to of his epileptic fits). 1 The German poet Rainer around the time of the French Revolution (or English-language journals on the cultural life Maria Rilke wrote in his first Duino Elegy : perhaps a little before it) feelings were let of Paris. Stendhal liked to pepper his French ‘beauty is nothing but the beginning of terror, loose on the world. Back in 1761, readers with anglicisms, and was one of the first which we are still just able to endure, and we had swooned when they encountered the writers to popularise the use of the word are so awed because it serenely disdains to ‘true voice of feeling’ in Jean-Jacques ‘tourist’ in French. annihilate us.’ Philosophers were getting in Rousseau’s novel La Nouvelle Héloïse ; by It was on one of his visits to Italy in 1817 on the act too. Immanuel Kant, in his Critique the end of the decade, all of Europe was that Stendhal described an experience that of Judgement , hypothesised that the being sentimental in the manner made brought the literary swoon into tourism. contemplation of aesthetically stimulating fashionable a few years later by Laurence Visiting the Basilica of Santa Croce, he found objects induces ‘a rapidly alternating Sterne in his A Sentimental Journey .