'Greek' and 'Roman' in Latin Medical Texts

Total Page:16

File Type:pdf, Size:1020Kb

'Greek' and 'Roman' in Latin Medical Texts ‘Greek’ and ‘Roman’ in Latin Medical Texts Studies in Ancient Medicine Edited by John Scarborough Philip J. van der Eijk Ann Ellis Hanson Joseph Ziegler VOLUME 42 The titles published in this series are listed at brill.com/sam ‘Greek’ and ‘Roman’ in Latin Medical Texts Studies in Cultural Change and Exchange in Ancient Medicine Edited by Brigitte Maire LEIDEN | BOSTON Cover illustration: Detail of the mark of the printer Johann Setzer engraved on wood in the end of the edition of Celsus’ De medicina printed in Haguenau in 1528. Dimensions: 6.56 × 8 cm. © Private collection, with the kind authorization of the owner. Library of Congress Cataloging-in-Publication Data ‘Greek’ and ‘Roman’ in Latin medical texts : studies in cultural change and exchange in ancient medicine / edited by Brigitte Maire. p. ; cm. — (Studies in ancient medicine, ISSN 0925-1421 ; volume 42) Includes bibliographical references and index. ISBN 978-90-04-24278-4 (hardback : alk. paper) — ISBN 978-90-04-27386-3 (e-book) I. Maire, Brigitte, editor. II. Series: Studies in ancient medicine ; v. 42. 0925-1421 [DNLM: 1. History of Medicine—Congresses. 2. History, Ancient—Congresses. 3. Culture—Congresses. 4. Greek World—Congresses. 5. Roman World—Congresses. W1 ST918K v. 42 2014 / WZ 51] R138 610.938—dc23 2014014737 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see brill.com/brill-typeface. issn 0925-1421 isbn 978 90 04 24278 4 (hardback) isbn 978 90 04 27386 3 (e-book) Copyright 2014 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Nijhoff, Global Oriental and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper. Contents Preface ix Introduction 1 Brigitte Maire part 1 The Physician 5 1 Greek and Roman Patients under Galen’s Gaze: A Doctor at the Crossroads of Two Cultures 7 Véronique Boudon-Millot 2 “Memorial” Strategies of Court Physicians in the Imperial Period 25 Sébastien Barbara 3 The Identity, Legal Status and Origin of the Roman Army’s Medical Staff in the Imperial Age 43 Pascal Bader part 2 Medical Practice and Theory 61 4 Pneumatism in Seneca: An Example of Interaction between Physics and Medicine 63 Frédéric Le Blay 5 References to Medical Authors in Non-Medical Latin Literature 77 Innocenzo Mazzini 6 At the Crossroads of Greek and Roman Medicine: The Contribution of Latin Papyri 1. Medical Texts; 2. Iatromagical Papyri 92 Marie-Hélène Marganne and Magali de Haro Sanchez vi contents part 3 Anatomy and Pathology 117 7 Calcidius, Witness to Greek Medical Theories: Eye Anatomy and Pathology 119 Béatrice Bakhouche 8 Physical Pain in Celsus’ On Medicine 137 Aurélien Gautherie part 4 Pharmacology and Magic 155 9 The Pharmacological Treatise Περὶ εὐφορβίου of Juba II, King of Mauretania 157 Antoine Pietrobelli 10 “As a Matter of Fact, This is Not Difficult to Understand!”: The Addresses to the Reader in Greek and Latin Pharmacological Poetry 183 Svetlana Hautala 11 Magical Formulas in Pliny’s Natural History: Origins, Sources, Parallels 201 Patricia Gaillard-Seux 12 On Analgesic and Narcotic Plants: Pliny and His Greek Sources, the History of a Complex Graft 224 Valérie Bonet 13 Collyrium Names Attested on Stone Tablets: The Example of the Helvetian Corpus 240 Muriel Pardon-Labonnelie contents vii part 5 Language and Establishment of the Text 257 14 The Meaning and Etymology of the Adjective Apiosus 259 Vincenzo Ortoleva 15 The Latin and Greek Tradition of the Corpus Oribasianum 289 Serena Buzzi and Federico Messina 16 Galen of Pergamum: A Witness of Scribonius Largus’ Œuvre 315 Alessia Guardasole 17 Greek Medicine in Scribonius Largus’ Compositiones 330 Sergio Sconocchia 18 The Ancient Latin Commentary on the Hippocratic Aphorisms on the Threshold of the Twelfth Century 350 Manuel E. Vázquez Buján 19 On Terminological Variation in the Late Latin Translation of the Hippocratic Aphorisms 368 Gerd V.M. Haverling 20 From Cassius Felix to Tereoperica: New Considerations on Indirect Tradition 383 Laura López Figueroa 21 The Author of Book 10 of the Mulomedicina Chironis and Its Greek and Latin Sources 402 Valérie Gitton Ripoll Indices Index Locorum 421 Inscriptions 440 Papyrus and Ostraca 441 Manuscripts 442 General Index 444 Preface1 The most rewarding undertakings are those that are shared. They are never solitary, but arise from encounters between real people, between scholars from the same and from neighbouring disciplines that enable us to explore new horizons outside existing academic boundaries. The complementary character of competences and approaches alike is the basis of ever fresh developments in the study of the history of medicine, providing new vistas, and it is to this end that this volume hopes to contribute. Its publication has been made possible thanks to Brill Academic Publishers, espe- cially Caroline van Erp, Tessel Jonquière, and Judy Pereira, as well as Philip van der Eijk, who welcomed it into the Studies in Ancient Medicine series. A special word of thanks goes to Klaus-Dietrich Fischer and Brigitte Coutaz for their support, advice and friendship. The volume brings together twenty-one papers from a colloquium on Latin medical texts organized by me at the University of Lausanne from 3 to 6 November 2010. The papers read there were revised for publication and then reviewed by two successive editorial committees composed of international experts. The conference was sup- ported by the Swiss National Research Foundation, the Chuard-Schmid Foundation, the Institute for Archaeology and Ancient Studies (IASA, Faculty of Arts, University of Lausanne) and the University’s Institute for the History of Medicine & Public Health (IUHMSP, Faculty of Biology and Medicine and CHUV, the regional university hospital) for its generous contribution towards the costs of preparing this volume. The participants came from a number of different disciplines within classical stu- dies (Greek and Latin philology, ancient medicine, ancient philosophy, ancient history, anthropology, papyrology, epigraphy, iconography, and classical archaeology). Their personal points of view provided complementary perspectives on the theme of the conference: At the Crossroads of Greek and Roman Medicine: Contributions to the History of a Transfer in Science and Culture. This colloquium was one in the well-known series of triennial academic confe- rences on Latin medical texts, inaugurated by Innocenzo Mazzini at Macerata almost thirty years ago. At the same time, it introduced two major innovations. The first was a workshop for doctoral candidates and young researchers, funded by the University Conference for Western Switzerland (CUSO, Conférence universitaire de Suisse occi- dentale), which allowed a number of junior scholars to present their research within the context of an international colloquium. The second innovation was the decision to present the conference proceedings in English (the volumes from the previous conferences had been multilingual, with 1 Translated by Beverly Maeder. x maire contributions in French, Italian, Spanish, English, German, and Latin). This decision was motivated by our desire to reach an audience as large as possible. We therefore hope that the readership of this volume will not be limited to philologists, but will also include many historians of medicine, physicians interested in the humanities, and non-specialist readers eager to gain a more profound understanding of ancient socie- ties and the debates initiated then and there about the body, knowledge about the body, and its care and treatment. Brigitte Maire Introduction1 Latin medical texts transmit practices and theories of medicine inherited essentially from Greece. They reflect processes of combination, assimilation, and transformation of knowledge. These processes provide a fertile context for a better understanding of the development of medical doctors, medical prac- tice, and its underlying theories. The interest for all things living, both human and animal, saw a constant growth throughout antiquity and was accompa- nied by an ever-increasing willingness to learn more about the body in sick- ness and in health, about anatomy, pathology, and pharmacology. Focusing on ancient medical texts allows us to perceive facets that shed much light on the contacts that took place between the Greek and Roman wor- lds, between two forms of thought that were distinct yet complementary all the same. The authors of this volume have paid particular attention to the his- tory of ideas surrounding the body, ways of getting to know its functioning, the illnesses it was prey to, and the therapies going with them. Although it is usual to speak of Graeco-Roman medicine, this volume focuses on Roman medicine as represented in medical literature written in Latin. Latin treatises on medicine relied in effect on works written in Greek,
Recommended publications
  • Isola Art Center Deve Vivere!
    Appello internazionale al Comune di Milano www.isolartcenter.org Isola Art Center deve vivere! Chiediamo al Comune di Milano di non cancellare un progetto d'arte contemporanea inedito in Italia, e di non cancellare i due piccoli giardini attaccati all’edificio, nel quale è stato costruito il Centro. Appoggiamo le richieste delle associazioni del quartiere che chiedono di riqualificare questi spazi pubblici invece di privatizzarli per edificare 90.000 metri cubi di costruzioni come prevede un contratto tra il comune di Milano e la multinazionale texana Hines. Oggi, nel 2007, Isola Art Center rischia di perdere gli spazi dove lavora dal 2003 senza avere a disposizione uno spazio alternativo dove continuare la sua attività in modo adeguato. Il Centro dispone di una superficie espositiva di 1.500 metri quadri al secondo piano dell'edificio industriale chiamato "Stecca degli Artigiani" di proprietà comunale, che secondo i piani del comune di Milano dovrebbe essere raso al suolo in tempi brevi. Lo spazio ospita una collezione permanente di opere d'arte inseriti nell'architettura dell’edificio di artisti internazionali come Marjetica Potrc, Tania Brughiera, Maria Papadimitriou, Seamus Farrell e di artisti italiani come Michelangelo Pistoletto, Stefano Arienti, Luca Pancrazzi, Massimo Bartolini, Gabriele Di Matteo, Vedovamazzei, Loris Cecchini e Bernardo Giorgi che ora rischiano di essere distrutte. Isola Art Center è stato costruito nel quartiere Isola in sei anni da artisti, critici, curatori, filosofi e abitanti. Il Centro è un laboratorio che offre all'arte contemporanea una piattaforma di sperimentazione, che lavora in una logica interdisciplinare e internazionale, che si sta radicando sempre di più nel territorio locale e sociale, e che mira a cambiare delle decisioni politiche e urbanistiche negative per il quartiere.
    [Show full text]
  • Exibart.Point
    Exibart .biennale inside Sped. in A.P. 45% art. 2. c. 20 A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 1,50 onpaper arte.architetturaExibart.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria.cinema.gallerie.danza.trend.mercato.politica.vip.musei.gossip 1,50 euro | anno sesto | numero quaranta | giugno - luglio duemilasette | www.exibart.com Ce l'abbiamo messa proprio tutta. Ci siamo davvero sforzati. Con la massima concentrazione. Con la massima convinzione che no, non dovevamo farci distrarre dalla Biennale di Venezia. E che sì, anche in pre- senza di uno speciale sulla Biennale denso di contenuti, dovevamo garantire anche per questo giugno un numero 'normale', ricco come al solito, anzi di più, proprio a causa della super-tiratura che la manifesta- zione veneziana ci ha piacevolemente imposto. Beh ce l'abbiamo fatta. Festeggiamo con tutti i crismi la cifra tonda del quarantesimo onpaper. Con un numero di spessore. In tutti i sensi. Lo speciale sulla Biennale, dicevamo, con approfondimenti sulla storia della kermesse lagunare, con una speculazione intellettuale sul direttore dell'edizione di quest'anno, con interviste agli artisti italiani che vi partecipano e con otto-pagi- ne-otto di impressioni da parte di tutti i protagonisti. E ancora una riflessione - polemica! - sui nuovi padiglioni, una disamina statistica della mostra più importante del mondo, le 'ancore di salvezza' per non mori- re di sola Biennale e per non perdersi la Venezia emblema della storia dell'arte. E con un calendario che può farvi usare questo fascicolo anche come guida, se visiterete la megarassegna durante i mesi estivi.
    [Show full text]
  • Artribune Magazine 51
    #51 SETTEMBRE L OTTOBRE 2019 ARTRIBUNE MAGAZINE 18.06.2015 centro/00826/06.2015 ISSN 2280-8817 Belgrado cambia pelle Prosegue l’inchiesta sulla Da New York a Milano, ANNO IX CONTIENE conservando l’identità. vita pratica degli artisti. dai Seventies a oggi L'INSERTO Fra artist-run space e Difficile, soprattutto quando sulle tracce di musiche grandi progetti urbani sono di sesso femminile. e balli LGBTQ* REPORTAGE DALLA SERBIA COME CAMPANO LE ARTISTE? CLUBBING E VOGUING OVAL | TORINO 1—3 NOV 2019 present future AAAJIAO, HOUSE OF EGORN Berlin MARCOS AVILA-FORERO, ADN Barcelona ANNA-SOPHIE BERGER, EMANUEL LAYR Vienna, Roma ISA CARRILLO, PROXYCO New York ARTISSIMA FRANCESCA MININI Milano ISSUES Stockholm + TIRO AL BLANCO Guadalajara MASSIMO MININI Brescia LARISA CRUNȚEANU, ANCA POTERASU INTERNAZIONALE D’ARTE MARFA’ Beirut MONITOR Roma, Lisbon, Pereto MATÈRIA Roma Bucharest CONTEMPORANEA DÉBORA DELMAR GALLLERIAPIÙ FRANCO NOERO Torino MLZ ART DEP Trieste , Bologna ANNA FRANCESCHINI, NOIRE Torino NOME Berlin VISTAMARE/VISTAMARESTUDIO Pescara, Milano LORCAN O’NEILL Roma NOVEMBAR Belgrade main section CRISTINA GARRIDO, LMNO Brussels OSART Milano ÖKTEM AYKUT Istanbul OTTO JANUARIO JANO, PRIMO MARELLA Milano, Lugano A+B Brescia Bologna LILY ROBERT Paris P420 Bologna ELLA LITTWITZ, COPPERFIELD London AB-ANBAR Tehran SUPRAINFINIT Bucharest ALBERTA PANE Paris, Venezia JUAN LÓPEZ, JUAN SILIÓ Santander ADA Roma UNA Piacenza ALTMAN SIEGEL San Francisco ALBERTO PEOLA Torino MERCEDES MANGRANÉ, ANA MAS Barcelona, VIN VIN Vienna ROLANDO ANSELMI Berlin, Roma
    [Show full text]
  • Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
    Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation.
    [Show full text]
  • Entre Mers—Outre-Mer. Spaces, Modes and Agents of Indo-Mediterranean Connectivity
    Entre mers—Outre-mer Entre mers—Outre-mer Spaces, Modes and Agents of Indo- Mediterranean Connectivity Edited by Nikolas Jaspert and Sebastian Kolditz About the Editors Nikolas Jaspert is professor of Medieval History at the Historical Institute of Heidelberg University. His research centers on Mediterranean, particularly Iberian History, the Crusades, Monastic and Religious History as well as Transcultural History. Sebastian Kolditz is academic assistant in Medieval History at the Historical Institute of Heidelberg University. His research focuses on the maritime history of Europe in the Early Middle Ages, on the Medieval Mediterranean and the history of Byzantine-Western relations. This publication was supported by the Heidelberg Center for Transcultural Studies. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. This book is published under the Creative Commons License 4.0 (CC BY-SA 4.0). The cover is subject to the Creative Commons License CC-BY-ND 4.0. The electronic, open access version of this work is permanently available on Heidelberg University Publishing’s website: http://heiup.uni-heidelberg.de. URN: urn:nbn:de:bsz:16-heiup-book-355-6 DOI: https://doi.org/10.17885/heiup.355.492 Text © 2018 by the authors. Cover image: Jean Mansel, La Fleur des histoires - Bruxelles, Bibliothèque Royale de Belgique, Ms. 9231, fol. 281v (Courtesy Bibliothèque Royale de Belgique). ISBN 978-3-946054-81-8 (PDF) ISBN 978-3-946054-80-1 (Hardcover) Table of Contents Nikolas Jaspert and Sebastian Kolditz Entre mers—Outre-mer: An Introduction ...........................................................
    [Show full text]
  • J}Ngfwy3tsufujw
    Sped. in A.P. 45% art. 2. c. 20 A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 0,0001 onpaper arte.architetturaExibart.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria.cinema.gallerie.danza.trend.mercato.politica.vip.musei.gossip free | anno settimo | numero cinquantatre | novembre - dicembre duemilaotto | www.exibart.com Tutto cambia affinché nulla cambi. Va tutto bene madama la marchesa. La crisi, a noialtri, non ci riguarda. Il mercato tiene. Frieze sopra le aspettative, ArtVerona pure, Artissima meglio che mai, la Fiac non è fiacca. Fa spallucce, il mondo del- l'arte, rispetto alla crisi internazionale che sta cambiando i connotati al mondo come lo conosciamo dalla fine degli anni Settanta a oggi. Fa finta di non capire. Si volta dall'altra parte. Come niente fosse. Beh, cari signori, se permettete inizia- mo col farvi notare che se da voi non si è fatta ancora presente, chèz nous, nel palcoscenico tragicomico dell'editoria, la crisi è arrivata eccome. Le materie prime sono aumentate a dismisura - avete presente la carta che tenete in mano in questo momento? Ecco, appunto... -, le spese postali sono paradossali, gli affitti per sedi ed uffici non ne parliamo neppure. E questo è il problema di tutta l'editoria di settore (per la verità anche di quella fuori dal nostro settore). Sia quella free- press, ed eccoci qui, sia quella da edicola che sconta anche un calo del potere d'acquisto diffuso. E così si è diffuso, e questa è la triste storia delle ultime settimane, il credit crunch: le banche vogliono indietro i soldi prestati, e non ne danno più in credito perché han paura di non poterli riavere indietro.
    [Show full text]
  • Ciampi Accusa: Manovra Tardiva Covrueifterisfetenmm / Ancora Scioperi, Dissenso De, Rispunta La «Tasco»
    [GARAVH41 Un'altra giornata di proteste: grandi cortei a Genova, Napoli e Ancona. Oggi tocca a Piemonte, Sicilia, Sardegna e Abruzzo IVOOie UÀ RBSA) Il Governatore chiede un nuovo patto coi sindacati. Goria propone di ridurre l'«Ici» e di introdurre un'imposta sui servizi comunali ASMSTRA , «IMO, [OlfE'Stttì/U». SQQOtifcO, Ciampi accusa: manovra tardiva covrueifterisfetenMM / Ancora scioperi, dissenso De, rispunta la «Tasco» ÌT.TTJT BHTWIirirPTl T Ciampi accusa «Se la manovra fosse stata fatta a lotta contro misure ntenute ini giugno invece che a settembre la lira si sarebbe sai que si sta allargando a tutto il lijJil*yBMii!jl paese Ieri sono scesi in piazza vata II Governatore invita ad un patto per salvare migliala di lavoraton a Napoli 1 economia del paese ma i lavoratori non vogliono a Genova e nelle Marche Iso Trentin: «Un altro pagare il conto più salato in tutta Italia proseguono lati gli autonomi Oggi nuovi Utili a picco PdsPsiPsdi gli scioperi Isolati gli autonomi Crepe nella mag­ sciopen in Piemonte Sicilia autunno caldo Sardegna e Abruzzo con cortei La Fiat Diecimila gioranza la De prende le distanze da Amato mentre e comizi A Milano Trentin Goria riscopre la Ta sco in versione aggiornata concluderà I assemblea dei venti anni dopo» mille delegati lombardi eletti perde il 55% a Mantova durante la consultazione nei QILDO CAMWATO RICCARDO LIQUORI luoghi di lavoro E intanto nella maggioranza BB ROMA Se il governo si fos attenti che ta svalutazione non si aprono nuove crepe Nella 1 lanciatori di prodotti ortofrutticoli (con quello
    [Show full text]
  • Guida Dello Studente Student Guide Nella Pagina Precedente: Teatro Polifunzionale Dell’Accademia Di Belle Arti Dell’Aquila, Visione Dalla Sala
    Guida dello studente Student guide Nella pagina precedente: Teatro Polifunzionale dell’Accademia di Belle Arti dell’Aquila, visione dalla sala. Il teatro consta di un palcoscenico di 8m di boccascena per 10m di profondità. È dotato delle migliori apparecchiature tecniche oggi disponibili sul mercato. On the previous page: Multipurpose Theatre of the Academy of Fine Arts of l’Aquila, view from the hall. The theatre has a stage measuring 8 m of proscenium and 10 m deep. It is equipped with the best technical equipment available on the market today. Progetto grafico (graphic design) : Antonello Santarelli Foto (photos) : Giuditta Martinicchio Trascrizione testi (transcription of text) : Diana Morasca Ministero dell’Istruzione, dell’Università e della Ricerca Alta Formazione Artistica, Musicale e Coreutica ACCADEMIA DI BELLE ARTI L’AQUILA Guida dello studente Student guide A.A. (A.Y.) 2012 - 2013 Accademia di Belle Arti - L’Aquila Via Leonardo Da Vinci - 67100 L’Aquila Tel. +39 0862 31 73 60 / 80 Fax +39 0862 31 73 70 E-mail: [email protected] [email protected] [email protected] Web: www.accademiabellearti.laquila.it Direttore (Director) Prof. Eugenio Carlomagno Presidente (President) Dott. Sandro Santilli Direttore Amministrativo (Administrative Director) Dott.ssa Paola Spezzaferri Organi Accademici (Academic Body) Consiglio di Amministrazione (Board of Directors) : Dott. Sandro Santilli, presidente (president) Prof. Eugenio Carlomagno, direttore (director) Prof. Sergio Prodigo Prof. Patrizio Bassanin Dott.ssa Paola Spezzaferri, direttore amministrativo (administrative director) Mario Pelliccione, rappresentante degli studenti (student representative) Consiglio Accademico (Academic Board) : Prof. Eugenio Carlomagno, direttore (director) Prof. Valter Battiloro Prof. Sandro Cassola Prof.ssa Lea Contestabile Prof.
    [Show full text]
  • La Biennale Di Venezia 1993
    #2-*!-11-/!*%$)1%,%- /!$2!1%#(--* -11-/!1-$)/)#%/#! ),%-/)!%1-/)%$%**%/1) )#*- ,,-$)$)0#200)-,% %0)$)-11-/!1-$)+!1/)#-*! --/$),!1-/%$%*-11-/!1- 21-/%$%*-11-/!,$- /-&)20%..%!/")%/) /-&00!,'%*!%11%0% La Biennale di Venezia 1993 – 2003 L’esposizione come piattaforma ad Andrea gere curam mei finis Indice Indice Introduzione Tracce del cambiamento nelle pratiche espositive: la Biennale di Venezia e la storia delle Esposizioni Sezione I Contesto e metodologia 1. Il mondo è connesso 1 2. Il fenomeno della biennalizzazione 9 3. La voga del ‘contemporary’ 17 Sezione II La Biennale di Venezia: 1993-2003 4. 1993. La 45esima Biennale di Venezia: I Punti Cardinali dell’Arte. 29 4.1. Venti dell’Arte 47 4.2. 1993. Scheda generale 55 4.3. 1993. Display 69 4.4. 1993. Analisi dell’esposizione 91 4.5. Ricezione critica di Punti Cardinali dell’Arte 101 4.6. Achille Bonito Oliva: la curatela come ideologia del traditore 111 5. 1995. La 46esima Biennale di Venezia: Identità e Alterità. 131 5.1. 1995. Scheda generale 155 5.2. 1995. Display 169 5.3. 1995. Analisi dell’esposizione 183 5.4. Ricezione critica di Identità e Alterità 187 5.5. Jean Clair: come e perché criticare la modernità 199 6. 1997. La 47esima Biennale di Venezia: Futuro, Presente, Passato. 215 6.1. 1997. Scheda generale 229 6.2. 1997. Display 239 6.3. 1997. Analisi dell’esposizione 259 6.4. Ricezione critica della Biennale di Germano Celant 267 6.5. Germano Celant: verso un “Pensiero Povero” 285 7. 1999. La 48esima Biennale di Venezia: dAPERTutto. 295 7.1. 1999. Scheda generale 305 7.2.
    [Show full text]
  • FIN July15 ISR Becoming a River Program
    SUMMER SCHOOL 2019 Istituto Svizzero di Roma BECOMING A RIVER: LIQUID DISASTERS AND SPECULATIVE STORIES DAY TO DAY PLAN A collaboration between EDHEA – Ecole de design et haute école d’art du Valais The Faculty for Italian Culture and Society, University of St Gallen Accademia di Belle Arti, L’Aquila In 1962, J. G. Ballard imagined a “drowned world” as a result of global warming. The temperature in the Equator is 180°C, the ice caps have collapsed and Europe is breaking into an archipelago of lagoons. A group of scientists is trying to map the surviving nature in a submerged London city. Artificial lakes, multiple waterfalls and liquid platforms occupy the urban space following the failures of "synchronization" between the rhythm of industrial modernity and that of imperfect nature. In the era of climate emergencies, the violence of exceptional floods and inundations, the disruption of dams and the creation of artificial lakes punctuate current events and raise the need to revisit and anticipate scenarios of past and future water overflows through aesthetic and scientific investigation. Looking at environmental history, natural sciences, Italian Studies and contemporary artistic practices, the Summer School Becoming a river: liquid disasters and speculative narratives aims at questioning the memory and present tense of water-related disasters in order to develop future scenarios. Our discussions and common activities will be feed by an initial study day, walks, an ongoing video screening program, shared readings and group discussions/work. 1. METHOD: HOW TO PREPARE 2. DAY TO DAY PROGRAM 3. PARTICIPANTS’ BIOGRAPHIES 4. PRELIMINARY BIBLIOGRAPHY 1. METHOD: HOW TO PREPARE What to bring for the week: We will walk, following water signs and underground waters, in particular on day 2, but also during the week.
    [Show full text]
  • Untitled (Dirt), As Well As Documentary Photographs of Artworks Sited Elsewhere
    Journal On Biennials and Other Exhibitions Director Angela Vettese, Università Iuav di Venezia Editors Clarissa Ricci, Università di Bologna Camilla Salvaneschi, Università Iuav di Venezia / University of Aberdeen Editorial Board Marco Bertozzi, Università Iuav di Venezia Renato Bocchi, Università Iuav di Venezia Amy Bryzgel, University of Aberdeen Silvia Casini, University of Aberdeen Agostino De Rosa, Università Iuav di Venezia Paolo Garbolino, Università Iuav di Venezia Chiara Vecchiarelli, Università Iuav di Venezia / École Normale Supérieure, Paris International Advisory Board Bruce Altshuler, New York University Dora Garcia, Kunsthøgskolen i Oslo (Oslo National Academy of the Arts) Anthony Gardner, Ruskin School of Art University of Oxford Charles Green, University of Melbourne Marieke Van Hal, Manifesta Foundation Amsterdam Joan Jonas, MIT Massachusetts Institute of Technology Caroline A. Jones, MIT Massachusetts Institute of Technology Antoni Muntadas, MIT Massachusetts Institute of Technology Mark Nash, Birkbeck University of London Rafal Niemojewski, Biennial Foundation New York Terry Smith, University of Pittsburg Benjamin Weil, Centro Botin Santander Proofreaders Max Fletcher Chris Heppell Publisher OBOE On Biennials and Other Exhibitions Associazione Culturale, Venice Co-publisher Università Iuav di Venezia, Venice Graphic Design Zaven, Venice Acknowledgements OBOE Journal wishes to thank the many individuals that have contributed to its publication. These include the board members, trustees and partners, the University,
    [Show full text]
  • DIE BESTEN EINFAMILIENHÄUSER AUS BACKSTEIN Fritz-Höger-Preis Für Backstein-Architektur INHALT
    AUSGABE 13 DEUTSCHLAND 4,80 EURO | ÖSTERREICH 5,60 Euro | SCHWEIZ SFr 9,20 www.backstein-magazin.de VORTEILE DAS BACKSTEIN-MAGAZIN WARUM BAUEN MIT BACKSTEINEN EIN THEMA IST Es gib viele gute Gründe, mit Backstein zu bauen, meint der renommierte Architektur- journalist Wolfgang Bachmann. DIE BESTEN EINFAMILIENHÄUSER AUS BACKSTEIN Fritz-Höger-Preis für Backstein-Architektur INHALT WARUM DAS BAUEN MIT BACKSTEINEN GERADE JETZT EIN THEMA IST ........................................................ 4 Es gib viele gute Gründe, mit Backstein zu bauen, meint der renommierte Architekturjournalist Wolfgang Bachmann. EINFAMILIENHAUS UND DOPPELHAUSHÄLFTEN ..................................... 10 HAUS MIT AUSSICHT ................................................................................................ 11 Wohnhaus Z, Bayer & Strobel Architekten KEIN DIENST NACH VORSCHRIFT ....................................................................... 16 House M, M&DB Architecten RUSTIKALE ELEGANZ ................................................................................................. 20 Haus Reisch, LRO Lederer Ragnarsdóttir Oei EINS MIT DER NATUR ................................................................................................ 24 Creek House, Tham & Videgård Arkitekter WEISS AUF SCHWARZ ............................................................................................... 28 V35K18 Wohnhaus in Leiden, pasel.künzel architects OHNE JEDE PRAHLEREI ...........................................................................................
    [Show full text]