Stephen Russell : Super Vanitas

This article is an analysis and contextualisation of 'Super Vanitas' a video installation by Stephen Russell that was held at Boxcopy ARI, Brisbane. It discusses the significance of the painting 'Death of Marat' (J.L. David, 1793) to the work and describes the methodological processes that are revealed in the work.

Wino's vanitas:Ivresse transgressive et affirmation littéraire dans les romans noirs de Ken Bruen

Based on a theoretical framework owing to Bourdieu, Viala and Meizoz successive adjustments of the notion of literary posturing, and on Maingueneau's concept of auctorial scenography, this chapter probes the writer's ethos of Irish crime fiction author Ken Bruen and its impact on his reception in the French literary field. It studies in particular the double transgression characteristic of his ethos as a pioneer of the Irish noir : a cultural transgression attacking relentlessly the international currency of myths and stereotypes of Ireland, and a generic transgression, which thrives in the tension between codes and constraints of the noir novel.

El bodegó, natura morta, vanitas...

Materials didàctics del grup d'investigació Observatori sobre la Didàctica de les Arts (ODAS)

El sueño del caballero. El retrato de Soane por Gandy como vanitas

El sueño del caballero. El retrato de Soane por Gandy como vanitas

Tractatus posthumus Jani Jacobi Boissardi Vesuntini De divinatione & magicis praestigiis : quarum veritas ac vanitas solidè exponitur per descriptionem deorum fatidicorum qui olim responsa dederunt : eorundemque prophetarum, sacerdotum, phoebadum, sybyllarum & divinorum, qui priscis temporibus celebres oraculis exstiterunt ; adjunctis simul omnium effigiebus, ab ipso autore e gemmis, marmoribus, tabulisq[ue] antiquis ad vivum delineatus : jam modo eleganter aeri incisis per Joh. Theodor. de Bry ...

Includes errata, last p.

Virium quae terreis remediis gratis hactenus adscriptae sunt, examen rigorosius, quo simul multarum traditionum practicarum mythologia et vanitas dilucide declaratur atque ad rationalem magis pharmacorum electionem, variorumque morborum sanationem, praeeuntibus recentissimis artis principiis via ostenditur /

Mode of access: Internet.

Vanitas; polite stories, including the hitherto unpublished story entitled a frivolous conversion,

Mode of access: Internet.

Modestia et Vanitas : Romae in Aedibus Barberinis /

Plancha nº 5 de la obra: Schola Italica Picturae.

On absence: society’s return to barbarians

The problem of social exclusion is dealt here through the lens of a particularly radical social theory, that of autopoietic society by Niklas Luhmann. Here, exclusion is included in society, no longer as an issue for care, integration and therapy, but as a mechanism to show the importance of the visibility of exclusion. The inclusion of exclusion in autopoiesis is a far-reaching step that demands a revisiting of the concept of autopoietic society. This article proposes a radicalization of the concept on the basis of an acknowledgment of the impossibility of communication with the excluded. This acknowledgement conditions society from within. It is built upon the Luhmannian description of Barbarism as the included exclusion, and is further conceptualized as its excess, as a 'space of absence'. Within autopoiesis, absence is described as an aporetic rather than a paradoxical structure, a memento vanitas that irritates the system from within, constantly reminding it of its limitations.

« Le Miroir de l'ame, lequel ung Chartreux fist à la requeste d'un sien cordial amy ».

Commençant par : « Vanitas vanitatum et omnia vanitas, dixit Ecclesiastes. Le sage roy Salomon escript ceste auctorité au comandement de son livre... » et finissant par : «... nostre doulx Sauveur, qui vit et regne eternellement par sieclez infinis. Amen » .

COMPENDIVM // MVSICES DESCRIPTVM // AB ADRIANO PETIT COCLICO, // DISCIPVLO IOSQVINI DE PRES. // In quo praeter caetera tractantur haec : // De Modo ornate canendi. // De Regula Contrapuncti. // De compositione. // [4 vers latins adressés :] AD LECTOREM. // Impressum Norimbergae in officina Ioan- // nis Montani, & Vlrici Neuberi. // Cum priuilegio ad quinquennium. // M.D.LII.

Comprend : Fol. Diijr° - Sit nomen Domini benedictum in seculum (Fuga, à 4 v.) - Fol. Ej r° - Morior ego, si non habuero (Fuga, à 5 v.) - Fol. Ej r° - Fuga à 5 v. - Fol. Ej v° - Fuga à 2 v. - Fol. Ej v° - Fuga à 5 v. - Fol. Eij r° - Fuga à 5 v. - Fol. Eij v° - Fuga à 2 v. - Fol. Eiij v° - Fuga à 2 v. - Fol. Eiv r° - Fuga à 5 v. - Fol. Eiv v° - Fuga à 2 v. - Fol. F j r° - Canon à 3 v. - Fol. I j v° - Elegantia super Languir me fault (à 2 v.) - Fol. I ij v° - C'est à grant tort (Aliud exemplum, à 2 v.) - Fol. iiij v° - Fuga à 4 v. - Fol. Kiij r° - In omnibus requiem (à 1 v.) - Fol. Kiij v° - Salve sancta parens (à 1 v. (le début d'une autre voix sur la même portée en ms.)) - Fol. Liij r° - Vanitas vanitatum (à 4 v.) - Fol. Liij v° - Dixit Dominus (à 4 v.) - Fol. Liiij r° - Dixit Dominus (à 5 v. et faux-bourdon) - Fol. Liiij v° - O vos omnes (à 4 v.) - Fol. N j r° - Omnis arbor (à 2 v.) - Fol. N j v° - Pleni sunt coeli (à 2 v.) - Fol. Nij v° - Pleni sunt coeli (à 2 v.) - Fol. Niij r° - Christus spes mea (à 3 v.) - Fol. Niij r° - Et expecto resurectionem mortuorum (à 3 v.) - Fol. Niij v° - Pleni sunt coeli (à 3 v.) - Fol. Niiij v° - A solis ortu cardine ([Hymne], à 4 v.) - Fol. O j v° - [Canon] à 4 v. - Fol. O j v° - Revertere (à 4 v.) - Fol. O j v° - Adolescens graditur (à 5 v.) - Fol. Oij r° - Dominus mihi adiutor (Fuga, à 5 v.) - Fol. Oij v° - Surrexit Christus hodie (à 5 v.) - Fol. Oiij v° - Christus pro nobis passus est (à 5 v.) - Fol. Oiiij v° - Agnus Dei (à 6 v.) - Fol. Pj v° - [Pièce sans texte] (à 6 v.) - Fol. Pij v° - Sumite psalmum (Fuga, à 6 v.) - Fol. Pij v° - Nobilis est (Fuga, à 6 v.) - Fol. Piij r° - Ambulate dum lucem habetis (Fuga, à 7 v.) - Fol. Piij r° - Sancta Trinitas (Fuga, à 7 v.) - Fol. Piij v° - Omnis consummationis vidi finem (Canon, à 8 v. dont 4 notées)

Cross-artform creative practice as still-life recovery: Chinese-Western materialisms of time, writing and death

As argued by Norman Bryson, the still-life genre is sorely neglected by theorists and critics, largely because its concern with ‘low-plane reality’ (everyday items and acts) has obscured its genuine relevance to material thinking. By reappraising rather than abandoning the genre’s traditional themes of death and time—using a cross-cultural, Chinese-Western approach—it is possible to re-energise materialisms of time, writing and death within still life. Such a move depends above all on a re-evaluation of still life as ‘Vanitas’—the term which to date has unified, and more to the point limited, traditional still-life understandings of death and time. This article tracks a more explosive and creative materialism of still life simultaneously through the specifically Chinese approach to death (which includes the ‘Yin Yang’ 阴阳 as a sort of author of time) and via Gilles Deleuze’s cinematic philosophy of the time-image; what connects these is the very Deleuzean notion of time that subtends Chinese engagements with death. In this way, the still-life genre may be recovered from its current critical and theoretical malaise. Reconnecting with practice is a crucial aspect of this recovery, and so in its early stages this article analyses an example of still-life, creative non-fiction (authored by Cher Coad), and it concludes by establishing the value of this potentially ‘new chapter of the “still life” genre’ (in Matilde Marcolli’s terms) for the cross-artform analysis of the short story ‘Nhill’ (authored by Patrick West). Analysis, though, is only half the picture: a fully recovered still-life genre would see theory and practice endlessly circulating through each other, spurring on practice and impelling theory. Coad’s and West’s literary examples are introduced in the hope that they might trigger fresh theoretical and practice-based, still-life discoveries in prose and also in poetry.

The Gentleman-Scholar at Home: Domesticity, Masculinity, and Civility in Dutch Seventeenth-Century Genre Painting

This dissertation examines the gentleman-scholar depicted at home in Dutch seventeenth-century genre paintings, focusing primarily on art created in the Northern Netherlands from the 1630s through the 1670s. The methodological approach is art historical but also pertains to history of architecture, history of dress, and gender studies. Employing the framework of the 'Ages of Man', this thesis investigates three related pictorial themes: the student, the scholar in his prime, and the aged scholar. Variations of male scholarly figures and the accoutrements of the study have a long history in Europe. Prototypical sources include religious history paintings of learned hermit-saints; artistic interest in the allegorical Saturnine persona; portraits of famous scholars; and the iconography of scholarly melancholy implied through vanitas allusions in portraiture and genre paintings. While the majority of Dutch genre paintings pertain to themes of women, male domestic routines form a small but important subset of this imagery and have not been studied. By the 1640s, this subject is readily identified by his setting, clothing, and actions. The ubiquity of scholarly attributes, such as books and globes, paired with the wearing of scholarly robes suggest the merits of intellectual curiosity and the privileges of studying as a pastime and designating a room as a study (studeerkamer). Distinct themes in genre also imply the challenges and rewards of scholarly activity pursued in concert with masculine civic and familial duty. Central to the development of this pictorial theme were: the innovative treatment of learned men by Rembrandt and his circle; the fijnschilder subjects of Dou; and the practice of amateur study by elite men, as suggested by the art of Vermeer. As this dissertation reveals, this convention did not grow to be consistent across the Northern Netherlands, nor was artistic interest limited to university towns. Rather, the larger relevance of scholars in Dutch society is evident in visual and literary sources. The domesticity of this figure in genre painting suggests that scholars mediated between an active and a contemplative life. Societal respect was garnered for scholars through their balance of familial and social duties with the honorable pastime of scholarly leisure.

Aprendizaje a través de las Controversias del Museo Tres ejemplos canadienses

La controversia ha acechado siempre a los museos, en especial, pero desde luego no de forma exclusiva, a aquellos museos de arte que exponen el arte moderno y contemporáneo. Probablemente siempre habrá controversias, ya que son ocasiones en las que el museo ha de enfrentarse directamente a un interrogatorio público sobre sus decisiones y procesos, a menudo demasiado ocultas y con frecuencia mal entendidas. Dado el creciente reconocimiento de que ya no es suficiente para los museos coleccionar, conservar y mostrar, sino más bien que los museos deben ahora comprometerse fundamental y directamente con sus comunidades, ¿cómo pueden los museos gestionar la controversia? ¿Pueden los museos aprender de la controversia para descubrir formas mejores de trabajar con sus públicos? Este artículo examinará tres controversias en los museos canadienses – Los cantos del espíritu, Voz de Fuego y Vanitas o El vestido de carne - en un intento de analizar estas preguntas usando los conceptos ANT de Bruno Latour.