'Looking' at Conversations

1998 ◽  
Vol 3 (1-2) ◽  
pp. 31-51
Author(s):  
Marike Hoekstra
Keyword(s):  
Social Insurance ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Cross Cultural ◽  
Joint Learning ◽  
The Public ◽  
Transnational Exchange ◽  
Formed Part ◽  
Learning Language ◽  
The Relationship

This paper discusses a conversation between six Swedish women who participated in a transnational exchange that formed part of a project in the framework of the EU's Leonardo Da Vinci Program, the aim of which is formulated as: "To develop tools for competence enhancement for organizations active in the field of social insurance ". The project sought to link organizations that are active in the field of social insurance, both in the private and the public sector, from Sweden, Belgium, Ireland and Northern Ireland. The joint 'learning ' that took place as a result of the transnational exchange is illustrated in the first part of this paper with fragments of conversations and recorded episodes, all of which are part of a narrative on cross-cultural personal encounters. The paper reflects on the transnational experience, in the light of the intertwined notions of learning, language and cultural embeddedness. In the second part, the paper discusses the significance of interaction, encounter, mutuality, contrast, and surprise, and further will allude to the relationship between competence and organization.

scholarly journals From the History of the Journal “Severny Vestnik”. Commentary to the Commentary

Literary Fact ◽  
2021 ◽  
pp. 261-277
Author(s):  
Mikhail V. Stroganov
Keyword(s):  
Essential Role ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Personal Relationship ◽  
Short History ◽  
History Of ◽  
The Relationship

The history of literary associations, including the history of any journal, is primarily the history of people's relationships with each other. In such a history, personal likes and dislikes play the most essential role. This law of personal sympathies and antipathies manifests itself very expressively in a rather short history of the journal “Severny Vestnik”, published by L.Ya. Gurevich (1891–1898). The article offers significant additions to comments to published texts on the history of the journal. A.L. Volynsky and N.K. Mikhailovsky showed equal harshness and indelicacy in their polemics, but their contemporaries almost unanimously sided with Mikhailovsky as an older and deserved writer. Volynsky acquired a reputation as an unscrupulous person and gossip begins to gather around his name. Volynsky demonstrated unacceptable immodesty towards D.S. Merezhkovsky and Z.N. Gippius and allowed himself to use of someone else's material, bordering on plagiarism. But most importantly, in the plot of the book about Leonardo da Vinci, he depicted his personal relationship with Merezhkovsky and Gippius and his interpretation of the relationship between them. In addition, he expelled Merezhkovsky from the journal “Severny Vestnik”, which closed for him the opportunity to publish his novel about Leonardo da Vinci.

The Discovery of a Masterpiece

2019 ◽  
pp. 5-50
Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon
Keyword(s):  
New Orleans ◽  
Da Vinci ◽  
Research Process ◽  
Leonardo Da Vinci ◽  
First Person ◽  
National Gallery ◽  
The Public ◽  
The Press ◽  
Person Account

Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.

Reading a View: Poem and Picture in the Greek Anthology

Ramus ◽  
2010 ◽  
Vol 39 (2) ◽  
pp. 73-103 ◽  
Author(s):  
Michael Squire
Keyword(s):  
Literary Criticism ◽  
Da Vinci ◽  
Fourth Century ◽  
Leonardo Da Vinci ◽  
Sixth Century ◽  
Fourth Century Bce ◽  
Sister Arts ◽  
The Relationship

‘A picture is a silent poem, a poem is a speaking picture’ (attr. Simonides)‘A picture is a silent poem, a poem is a blind picture’ (Leonardo da Vinci)How do words represent images? In what ways do visual signs function like (and unlike) verbal ones? And which medium better captures its represented subjects—pictures that are seen, or poems that are heard, written and read?These questions stretch the length and breadth of western literary criticism. Already in the Homeric description of Achilles' shield (Il.18.478-608), we find the respective resources of pictures and poetry pitched against one other, in a passage that plays with the respective visibility of words and the audibility of images. By the late sixth century BCE, the relationship between poetry and painting seems to have been theorised explicitly. Whatever the origins of the maxim attributed to Simonides—‘frequently repeated’, as Plutarch elsewhere describes it—a related sentiment was evidently widespread by the fourth century BCE. When Plato came to theorise the relationship in hisPhaedrus, he has Socrates define words and paintings in closely related terms: ‘the creatures that painting begets stand in front of us as though they were living entities,’ Socrates concludes; ‘ask them a question, however, and they maintain a majestic silence’ (ϰαὶ γὰϱ τὰ ἐϰείνης ἔϰγονα ἕστηϰε μὲν ὡς ζῶντα, ἐὰν δ' ἀνέϱῃ τι, σεμνῶς πάνυ σιγᾷ, Pl.Phdr.275d).Vt pictura poesis—as is painting, so is poetry’: that was how Horace famously summed up the analogy some four centuries later, giving rise to the so-called ‘sister arts’ tradition of conceptualising painting and poetry.

A ‘Whispered Disfazione’: Maurice Blanchot, Leonardo da Vinci and Three Dialogues with Georges Duthuit

2013 ◽  
Vol 22 (2) ◽  
pp. 135-160 ◽  
Author(s):  
Adam Winstanley
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Maurice Blanchot ◽  
Literary Critic ◽  
The Relationship

This piece examines the audacious dismissal of Leonardo da Vinci in Samuel Beckett's Three Dialogues with George Dialogue alongside the Parisian re-evaluation of Leonardo's work in the 1940s; a re-evaluation partly prompted by Gallimard's publication of Les carnets de Léonard de Vinci (1942). It argues that B's critique of Leonardo and the Italian masters is imbricated in contemporary debates on the relationship between painting and the impossible that emerged between the Flemish painter and writer, Jean de Boschère, and the French literary critic, Maurice Blanchot; a debate which Beckett himself appears to have encountered in Blanchot's Faux Pas (1943).

scholarly journals Debating as an educational method to science and citizenship

2007 ◽  
Vol 06 (03) ◽  
pp. C08
Author(s):  
Sara Calcagnini
Keyword(s):  
Da Vinci ◽  
Science And Technology ◽  
Leonardo Da Vinci ◽  
The Other ◽  
Science Museums ◽  
Educational Method ◽  
The Real ◽  
The Public ◽  
Aims Of Science ◽  
The One

If one of aims of science today is to respond to the real needs of society, it must find a new way to communicate with people and to be acquainted with their opinions and knowledge. Many science museums in Europe are adopting new ways to actively engage the public in the debate on topical scientific issues. The Museum of Science and Technology "Leonardo da Vinci" in Milan (partner of the SEDEC project) has thus experimented some formats for dialogue with teachers and with the public in general. Our experience shows that museums can be places where science and the public on the one hand and democracy on the other meet.

scholarly journals Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan

2009 ◽  
Vol 08 (02) ◽  
pp. C03
Author(s):  
Claudio Giorgione
Keyword(s):  
Scientific Knowledge ◽  
Da Vinci ◽  
Science And Technology ◽  
Leonardo Da Vinci ◽  
Set Design ◽  
National Museum ◽  
The Public

Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

scholarly journals Leonardo da Vinci

2021 ◽  
pp. 178-188
Author(s):  
Jeppe Barnwell
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Past Experience ◽  
Dual Role ◽  
Virgin Mary ◽  
Art And Science ◽  
Secondary Sources ◽  
Blessed Virgin Mary ◽  
The Relationship

This paper presents a hitherto unpublished essay by the Danish symbolist poet Sophus Claussen (1865-1931). The essay entitled ‘Leonardo da Vinci’ was intended for the collection Løvetandsfnug (‘dandelion fluff’), 1918, but was for unknown reasons omitted in the final edition. In the essay, Claussen recalls when, at the Uffizi Gallery in Florence in 1902–03, he saw a painting (perhaps by Leonardo da Vinci) depicting the Annunciation to the Blessed Virgin Mary. At the time, the Virgin Mary of the painting reminded Claussen of a young Danish girl with whom he had been hopelessly in love some ten years prior. The remembrance of this past experience, at the time of writing the essay in early or mid 1918, causes him to contemplate not only the artistic method of Leonardo, but also, more generally, the relationship between chastity and lust, nature and imitation, and art and science. ‘Leonardo da Vinci’ has never been described in the secondary sources on Claussen’s work. It is, however, arguably both interesting and exemplary for its dual role as both a biographical and poetological lead in his essays and in his oeuvre as a whole.

Replication of Internal Biological Surfaces

1972 ◽  
Vol 30 ◽  
pp. 308-309
Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Rat Lung ◽  
Tubular Structures ◽  
Cerebral Ventricles ◽  
Internal Surfaces ◽  
Biological Surfaces ◽  
Dog Kidney ◽  
Lung And Kidney ◽  
Scanning Electron

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.

Of Frames and Cultures - A Cross-Cultural Comparison of TV Newscasts

2006 ◽  
Vol 18 (4) ◽  
pp. 160-173 ◽  
Author(s):  
Maria Senokozlieva ◽  
Oliver Fischer ◽  
Gary Bente ◽  
Nicole Krämer
Keyword(s):  
Content Analysis ◽  
Arab World ◽  
Methodological Approach ◽  
Cross Cultural ◽  
Cultural Comparison ◽  
Explorative Study ◽  
Cross Cultural Comparison ◽  
Tv News ◽  
The Usa ◽  
The Relationship

Abstract. TV news are essentially cultural phenomena. Previous research suggests that the often-overlooked formal and implicit characteristics of newscasts may be systematically related to culture-specific characteristics. Investigating these characteristics by means of a frame-by-frame content analysis is identified as a particularly promising methodological approach. To examine the relationship between culture and selected formal characteristics of newscasts, we present an explorative study that compares material from the USA, the Arab world, and Germany. Results indicate that there are many significant differences, some of which are in line with expectations derived from cultural specifics. Specifically, we argue that the number of persons presented as well as the context in which they are presented can be interpreted as indicators of Individualism/Collectivism. The conclusions underline the validity of the chosen methodological approach, but also demonstrate the need for more comprehensive and theory-driven category schemes.

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