Foretelling pathology: The poetics of prognosis

This paper examines a number of French middle-brow novels, usually called at the time romans de murs, from the period 1880-1910. It shows how, in these stories, doctors are shown to foretell the course of narrative through the diagnosis of certain pathologies, especially psychosexual ones. These pathologies are thus represented as implacable narrative programmes. In effect, most of these novels renounce the standard fictional resources of intrigue and suspense in favour of the relentless working out of their initial prognosis. The authority of medical discourse is therefore not just confirmed and disseminated: it is elaborated as fatality in the very terms of the novel. Copyright © SAGE Publications.

The fevered novel from Balzac to Bernanos:frenetic Catholicism in crisis, delirium and revolution

Book Review: The Fevered Novel from Balzac to Bernanos: Frenetic Catholicism in Crisis, Delirium and Revolution. By Francesco Manzini. (IGRS Books). London: Institute of Germanic and Romance Studies, 2011. 264 pp. Full text: This monograph is an important and compelling account of a novelistic tradition that stretches from Georges Bernanos back to Balzac, by way of Léon Bloy, Joris-Karl Huysmans, and Barbey d'Aurevilly. Depending on a master plot that evokes Maistrean themes of blood, sacrifice, and redemption, working in a feverish female body, this canon combines Romantic freneticism and anti-Enlightenment religion to create a compound that Francesco Manzini calls ‘frenetic Catholicism’. The theme of fever, Manzini tells us, was commented on by Huysmans in writing about Barbey d'Aurevilly. When André Gide read Bernanos's Sous le soleil de Satan, he dismissed it as a rehash of Bloy and Barbey. In this present work Manzini aims to make us aware once more of the gradually intensifying themacity of fever in writings more usually classed in theologo-literary categories. His analysis encompasses (though is not restricted to) Balzac's Ursule Mirouët, Barbey d'Aurevilly's Un prêtre marié, Huysmans's En rade, Bloy's Le Désespéré and La Femme pauvre, and Bernanos's Nouvelle histoire de Mouchette. Thus, as Manzini argues in his conclusion, between the freneticism of the Romantics and that of the surrealists this corpus represents an intermediary wave of freneticism, foregrounding fever, hyperconsciousness, dreamlike episodes, and female automatism. Manzini's knowledge of, and ease amidst, the sources is constantly impressive. Much like Richard Griffiths before him (The Reactionary Revolution: The Catholic Revival in French Literature, 1870–1914 (London: Constable, 1966)), he has read both the bad novels and the good ones. For that we are in his debt. His commentary thrives on the oddities of his subjects. He points quite rightly to the peculiar hubris of writers whose contempt for the secular excesses of scientism leads them down a cul-de-sac of primitive medical quackery. Likewise, he underlines how Zola's attempt to unwrite Barbey — exorcising the former's anti-Romantic animus, as much as scratching his anticlerical itch — leads him to recapitulate Barbey's religious authoritarianism in the secular vernacular of patriarchy. Les espèces qui se rapprochent se mangent, to paraphrase Bernanos (Les Grands Cimetières sous la lune). In spite of all Manzini's tightly organized analysis, however, this reader wonders whether the fevered novel ‘best allowed contemporaries — and now […] literary critics and historians — to imagine the issues at stake in the amorphous scientistic, religious, and political debates’ of the period (p. 17). Below the ideological clashes of nineteenth-century science and religion, the two contending dynamics of anthropocentrism and theocentrism are attested and, it can be argued, even more perfectly dramatized in other Catholic literature (Charles Péguy's poetry, for example). In these terms, what distinguishes the Catholic frenetics from their Romantic or surrealist counterparts is that their fevered subject represents an attempt to build a road out of what Canadian philosopher Charles Taylor calls ‘buffered’ individuality, and back towards the theocentric porous subject who is open to divine influence. By way of minor corrections, nuns do not take holy orders (p. 94) but make religious profession by taking vows. Also, the last Eucharistic host is not extreme unction (p. 119) but viaticum.

Threshold Magic: Impressionism and the Domestic Interior

This article focuses on the liminal space of the threshold in paintings by female Impressionists. It engages with Cultural theory and History of Design in order to offer a new interpretation of domestic spaces

Analisi e riprogettazione del meccanismo di apertura della porta di un forno domestico

Il presente lavoro di tesi è stato sviluppato presso l’azienda “Nuova Star” SpA di Zola Predosa, leader mondiale nella produzione di meccanismi di apertura per porte di forni domestici. Gli scopi principali di questi meccanismi sono quelli di bilanciare il peso della porta durante l’apertura della stessa e di generare, a porta chiusa, una opportuna forza di ritenuta che la tenga pressata contro le guarnizioni del forno. L’azienda produce una notevole varietà di modelli, realizzati mediante componenti in lamiera stampata che si basano su varianti dei medesimi meccanismi di base, in particolare un manovellismo di spinta (per ottenere il bilanciamento) e un sistema camma-punteria (per garantire la chiusura). In un’ottica di sperimentazione e innovazione del prodotto, l’azienda ha quindi espresso il desiderio di realizzare un nuovo modello, concepito attraverso un sistema inedito e originale e che allo stesso tempo risultasse più economico rispetto ai vari modelli attualmente in produzione. In particolare questo nuovo meccanismo dovrà sfruttare un sistema a cavi. L’obiettivo di questa tesi è quindi quello di ripensare il meccanismo attualmente esistente, analizzando le proprietà offerte da un sistema a cavi per sfruttarne i possibili vantaggi, sia in termini di funzionamento che di economicità del prodotto finale. A tale scopo si partirà con l’analisi concettuale dell’architettura e del funzionamento dei meccanismi su cui si basano i modelli attualmente in produzione. Si passerà poi a una seconda fase di progettazione concettuale, nella quale verranno ideate e proposte varie soluzioni alternative. Seguirà quindi uno studio articolato nei seguenti punti: - Analisi cinematica e cinetostatica - Analisi e scelta dei parametri ottimali di funzionamento - Disegno costruttivo dei vari componenti - Simulazione multibody del nuovo meccanismo tramite il software MSC Adams;