The experienced English housekeeper : for the use and ease of ladies, housekeepers, cooks, &c. : written purely from practice, dedicated to the Hon. Lady Elizabeth Warburton, whom the author lately served as housekeeper : consisting of several hundred original receipts, most of which never appeared in print ...

Includes index.

The Chef In Society: Origins And Development

In his discourse - The Chef In Society: Origins And Development - Marcel R. Escoffier, Graduate Student, School of Hospitality Management at Florida International University, initially offers: “The role of the modern professional chef has its origins in ancient Greece. The author traces that history and looks at the evolution of the executive chef as a manager and administrator.” “Chefs, as tradespersons, can trace their origins to ancient Greece,” the author offers with citation. “Most were slaves…” he also informs you. Even at that low estate in life, the chef was master of the slaves and servants who were at close hand in the environment in which they worked. “In Athens, a cook was the master of all the household slaves…” says Escoffier. As Athenian influence wanes and Roman civilization picks-up the torch, chefs maintain and increase their status as important tradesmen in society. “Here the first professional societies of cooks were formed, almost a hierarchy,” Escoffier again cites the information. “It was in Rome that cooks established their first academy: Colleqium Coquorum,” he further reports. Chefs, again, increase their significance during the following Italian Renaissance as the scope of their influence widens. “…it is an historical fact that the marriage of Henry IV and Catherine de Medici introduced France to the culinary wonders of the Italian Renaissance,” Escoffier enlightens you. “Certainly the professional chef in France became more sophisticated and more highly regarded by society after the introduction of the Italian cooking concepts.” The author wants you to know that by this time cookbooks are already making important inroads and contributing to the history of cooking above and beyond their obvious informational status. Outside of the apparent European influences in cooking, Escoffier also ephemerally mentions the development of Chinese and Indian chefs. “It is interesting to note that the Chinese, held by at least one theory as the progenitors of most of the culinary heritage, never developed a high esteem for the position of chef,” Escoffier maintains the historical tack. “It was not until the middle 18th Century that the first professional chef went public. Until that time, only the great houses of the nobility could afford to maintain a chef,” Escoffier notes. This private-to-public transition, in conjunction with culinary writing are benchmarks for the profession. Chefs now establish authority and eminence. The remainder of the article devotes itself to the development of the professional chef; especially the melding of two seminal figures in the culinary arts, Cesar Ritz and August Escoffier. The works of Frederick Taylor are also highlighted.

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it.

El color en los códices prehispánicos del México Central: identificación material, cualidad plástica y valor estético

Este artículo investiga algunos de los valores plásticos y estéticos que presidieron la selección y la preparación de las materias colorantes empleadas para iluminar los códices creados por los nahuas del México Central durante el Posclásico Tardío. Estos códices son interesantes porque análisis arqueométricos y exámenes codicológicos recientes han permitido conocer la materialidad de su capa pictórica, así como las características formales y el comportamiento de los colores en estas obras. Uno de los aportes trascendentales de estos estudios ha sido averiguar que la paleta cromática que sirvió para pintar los códices del México Central era principalmente de origen orgánico, lo que contrasta con la naturaleza de los pigmentos detectados en restos de pintura mural y en esculturas creadas por los nahuas que son sobre todo minerales. El objetivo de este artículo es reflexionar sobre las razones de esas diferencias y demostrar que el uso de los colorantes orgánicos en los códices respondía a un fin plástico específico que concordaba con el canon estético imperante en la sociedad náhuatl.

Lies and Camouflage

Collaborative installation of painting and sculpture with Denise de Cordova. Both artists use a female subject as a recurring metaphor – as cipher, ghost, or nom de plume, and both employ intricately decorated surfaces to allude to ambiguities inherent in using material to speak of ideas.

Channel-forming activity of syringopeptin 25 A in mercury-supported phospholipid monolayers and negatively charged bilayers

Interactions of the cationic lipodepsipeptide syringopeptin 25 A (SP25A) with mercury-supported dioleoylphosphatidylcholine (DOPC), dioleoylphosphatidylserine (DOPS) and dioeleoylphosphatidic acid (DOPA) self-assembled monolayers (SAMs) were investigated by AC voltammetry in 0.1 M KCl at pH 3, 5.4 and 6.8. SP25A targets and penetrates the DOPS SAM much more effectively than the other SAMs not only at pH 6.8, where the DOPS SAM is negatively charged, but also at pH 3, where it is positively charged just as SP25A. Similar investigations at tethered bilayer lipid membranes (tBLMs) consisting of a thiolipid called DPTL anchored to mercury, with a DOPS, DOPA or DOPC distal monolayer on top of it, showed that, at physiological transmembrane potentials, SP25A forms ion channels spanning the tBLM only if DOPS is the distal monolayer. The distinguishing chemical feature of the DOPS SAM is the ionic interaction between the protonated amino group of a DOPS molecule and the carboxylate group of an adjacent phospholipid molecule. Under the reasonable assumption that SP25A preferentially interacts with this ion pair, the selective lipodepsipeptide antimicrobial activity against Gram-positive bacteria may be tentatively explained by its affinity for similar protonated amino-carboxylate pairs, which are expected to be present in the peptide moieties of peptidoglycan strands.

Murais modernos de Newton Navarro e Dorian Gray

This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of Cândido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city

Decorative tiles between Brazil and Europe: the case of the Santa Catharina factory

Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .

Murais modernos de Newton Navarro e Dorian Gray

This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of Cândido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city

Darkening on Lead based pigments: microbiological contribution

The biodeterioration/biodegradation process is an important issue for the conservation of cultural heritage that needs urgent answers to their rehabilitation. In this way, the role of microorganisms in surfaces alteration was exploited. This work revealed a strong relationship between the microbiological proliferation and the damaged areas, evidencing the important role of the microorganisms in mural paintings alteration process. The oxidation of lead-based pigments noticeably contributes to the pigments alteration, and seems to be correlated with the presence of biodeteriorative microorganisms. The study of the mechanisms underlying the microbiological attack of mural paintings has been explored to understand as much as possible the proliferative ability and biodeteriorative capacity of the microorganisms, related to darkening on lead-based pigments

Technological characterization of molded islamic pottery from Iberian Peninsula

The thesis examines the technical aspects of unglazed molded ceramics from Mértola, in the context of Islamic archaeology of the Iberian Peninsula (Almohad period, end of 12th and the beginning of 13th century). Ceramics of the time period under discussion (12th – 13th century) are understudied, including in what concern to shaping and firing of ceramic vessels, the origin of raw materials used in ceramics and glazes, and decoration methods such as slip painting and/or colored glazes. Moreover, the use of archaeometry tools is rare. Along with providing a general picture of molded ceramic production in Mértola, this work provides a new dimension to the discipline of Islamic ceramic studies by the analytical tool used and demonstrating the importance of archaeological ceramics of the western peripheries to the understanding the production of ceramics and the transmission of knowledge and cultural traditions within the Islamic caliphate. The chemical and mineralogical characterization of 12th/13th century Almohad unglazed molded ware from Mértola was accomplished through multi – analytical approach combining SEM, Powder/uXRD and LA-ICP-MS methods. In this paper unglazed and glazed samples were analyzed but the attention was given to unglazed specimens, while the glazed samples were used for the comparison with the previous group in order to determine possible similarities or dissimilarities, thus providing enough data to discuss about technical aspects and potential provenance; Resumo: A tese debruça-se sobre os aspetos técnicos de cerâmica de molde não-vidrada de Mértola, no contexto da arqueologia islâmica da Península Ibérica (período Almóada, final de XII e início do século XIII). A cerâmica do período em discussão (séculos XII-XIII) é pouco estudada inclusive no que concerne ao fabrico e à cozedura, à de fonte de matérias-primas, na pasta ou nos esmaltes e aos métodos de decoração, como pintura, presença de engobes ou esmaltes. Além disso, o uso de ferramentas de Arqueometria é raro. Para fornecer uma visão geral da produção de cerâmica moldada em Mértola, este trabalho oferece uma nova dimensão para a disciplina de cerâmica islâmicas pelas ferramentas analíticas utilizadas. Demonstrando a importância da cerâmica arqueológica da periferia ocidental para a compreensão da produção cerâmica e a transmissão de conhecimentos e tradições culturais no califado islâmico. A caracterização mineralógica e química das cerâmicas de molde e não-vidrada, Almóada, dos séculos XII-XIII de Mértola foi realizada através de uma abordagem multi-analítica que combina métodos de SEM-EDS, uXRD e LA-ICP-MS. Neste trabalho, as cerâmicas vidradas e não-vidradas foram analisadas conjuntamente, dando mais atenção aos espécimes não vidrados. As amostras de cerâmicas vidradas foram utilizados para a comparação com o grupo anterior, a fim de determinar as possíveis semelhanças ou diferenças, proporcionando, assim, dados suficientes para discutir os aspetos técnicos e o potencial de proveniência das cerâmicas não vidradas

Performing inclusion and exclusion in the peer group. Children's social organization and peer socializing practices in the classroom

This PhD thesis investigates children’s peer practices in two primary schools in Italy, focusing on the ordinary and the Italian L2 classroom. The study is informed by the paradigm of language socialization and considers peer interactions as a ‘double opportunity space’, allowing both children’s co-construction of their social organization and children’s sociolinguistic development. These two foci of attention are explored on the basis of children’s social interaction and of the verbal, embodied, and material resources that children agentively deploy during their mundane activities in the peer group. The study is based on a video ethnography that lasted nine months. Approximately 30 hours of classroom interactions were video-recorded, transcribed, and analyzed with an approach that combines the micro-analytic instruments of Conversation Analysis and the use of ethnographic information. Three main social phenomena were selected for analysis: (a) children’s enactment of the role of the teacher, (b) children’s reproduction of must-formatted rules, and (c) children’s argumentative strategies during peer conflict. The analysis highlights the centrality of the institutional frame for children’s peer interactions in the classroom. Moreover, the study illustrates that children socialize their classmates to the linguistic, social, and moral expectations of the context in and through various practices. Notably, these practices are also germane to the local negotiation of children’s social organization and hierarchy. Therefore, the thesis underlines that children’s peer interactions are both a resource for children’s sociolinguistic development and a potentially problematic locus where social exclusion is constructed and brought to bear. These insights are relevant for teachers’ professional practice. Children’s peer interactions are a resource that can be integrated in everyday didactics. Nevertheless, the role of the teacher in supervising and steering children’s peer practices appears crucial: an acritical view of children’s autonomous work, often implied in teaching methods such as peer tutoring, needs to be problematized.

Development of new immunochemical and spectroscopic analytical methods for the characterization and conservation of works of art

Cultural heritage is constituted by complex and heterogenous materials, such as paintings but also ancient remains. However, all ancient materials are exposed to external environment and their interaction produces different changes due to chemical, physical and biological phenomena. The organic fraction, especially the proteinaceous one, has a crucial role in all these materials: in archaeology proteins reveal human habits, in artworks they disclose technics and help for a correct restoration. For these reasons the development of methods that allow the preservation of the sample as much as possible and a deeper knowledge of the deterioration processes is fundamental. The research activities presented in this PhD thesis have been focused on the development of new immunochemical and spectroscopic approaches in order to detect and identify organic substances in artistic and archaeological samples. Organic components could be present in different cultural heritage materials as constituent element (e.g., binders in paintings, collagen in bones) and their knowledge is fundamental for a complete understanding of past life, degradation processes and appropriate restauration approaches. The combination of immunological approach with a chemiluminescence detection and Laser Ablation-Inductively Coupled Plasma-Mass Spectrometry allowed a sensitive and selective localization of collagen and elements in ancient bones and teeth. Near-infrared spectrometer and hyper spectral imaging have been applied in combination with chemometric data analysis as non-destructive methods for bones prescreening for the localization of collagen. Moreover, an investigation of amino acids in enamel has been proposed, in order to clarify teeth biomolecules survival overtime through the optimization and application of High-Performance Liquid Chromatography on modern and ancient enamel powder. New portable biosensors were developed for ovalbumin identification in paintings, thanks to the combination between biocompatible Gellan gel and electro-immunochemical sensors, to extract and identify painting binders with the contact only between gel and painting and between gel and electrodes.

Mapping socialist solidarities: SWAPO, the Namibian liberation struggle, and the Global Cold War

This thesis addresses the entanglements between the Namibian liberation struggle and the global Cold War, focusing on the socialist support provided to the South West African People Organization (SWAPO), the liberation movement that fought for the independence of the country from the South African regime. This thesis aims at analyzing three socialist models of solidarity with the SWAPO’s struggle that developed especially from the late 1970s. Combining archival sources and biographical accounts, it examines the politics of solidarity with SWAPO implemented by East Germany, Cuba, and the Italian Communist Party. The interest lies in understanding how solidarity was declined and received by internal promoters and external addressees. Thus, I explore how these three actors constructed their concept of solidarity with SWAPO according to their national and ideological contexts and how this was received by the SWAPO members who experienced it in various ways. Each socialist actor promoted solidarity with SWAPO by using varying narratives, pursuing their own objectives, and employing diverse instruments, thus carrying out different and sometimes competing visions of socialism and solidarity. On its side, SWAPO was able to take advantage from such visions, as each of them could serve its different needs in diverse ways. In providing a general overview of these three solidarity policies, this thesis has the objective of highlighting the internal pluralization of the “socialist solidarity regime” while at the same time contributing to the debate on the extent of SWAPO’s commitment to socialism during the Namibian liberation struggle. It argues that, while pragmatism has always guided SWAPO during the liberation struggle and the post-independence period, and non-alignment has always been its international stance, socialism has to some extent been a model for the revolution in Namibia, to the point that it is still influencing the SWAPO party today.