scholarly journals L’epifania della gran meretrice: La Pisanelle  e la lubrica arte di Moreau

2020 ◽  
Author(s):  
Alfredo Sgroi
Keyword(s):  
Visual Component ◽  
Gustave Moreau

La Pisanelle is a work in which the author realises his ideal of ‘total theatre’. Written in French, it presents all the typical elements of d’Annunzio’s work. In particular, it is characterised by a remarkable visual component and by the repetition of the topical of the dancer-harlot. So there is an evident link with the painting of Gustave Moreau, the painter known and loved by decadent artists, who has presented in his paintings many figures of femmes fatales, cruel and insensitive prostitutes. On this model d’Annunzio built the character of the protagonist of his work, and also the particular exotic scenography of the pièce.

Preliminary Results of a Telemedicine Questionnaire in Pediatrics as an Innovative New Tool to Diagnose and Treat Children Virtually in an Ambulatory Setting: Analysis of 400 Pediatric Consultations

2021 ◽  
Author(s):  
Stefan Bittmann
Keyword(s):  
Real Time ◽  
Video Communication ◽  
Ambulatory Setting ◽  
Preliminary Results ◽  
Visual Component ◽  
Online Consultation ◽  
Discussion Partners

Virtual online consultation enables real-time exchange between two or more participants at different locations via audio and video communication [1-9]. In the visualization of the discussion partners, telemedicine thus differs from a classic telephone conference and expands it to include the visual component [1-6].

Teaching Inequalities

2016 ◽  
Vol 44 (3) ◽  
pp. 200-211 ◽  
Author(s):  
Liz Grauerholz ◽  
Marc Settembrino
Keyword(s):  
Quantitative Assessment ◽  
Social Inequalities ◽  
Structural Barriers ◽  
Abstract Concepts ◽  
Assessment Data ◽  
Daily Lives ◽  
Qualitative And Quantitative ◽  
Visual Component ◽  
Marginalized Groups ◽  
Income Inequalities

In this article, we describe an adaptation of Nichols, Berry, and Kalogrides’s “Hop on the Bus” exercise. In addition to riding the bus, we incorporated a visual component similar to that developed by Whitley by having students conduct a sociological, photographic exercise after they disembarked. Qualitative and quantitative assessment data show that taken together, these exercises enhance students’ awareness and sociological understanding of social inequalities, especially income inequalities. Specifically, the activities make abstract concepts real to students, make more obvious inequalities that often go unnoticed, help students better understand how structural barriers affect individuals’ daily lives and contribute to broader social inequalities, and to some degree, dispel stereotypes of marginalized groups.

A Classroom Demonstration of Taste-Aversion Learning

1998 ◽  
Vol 25 (2) ◽  
pp. 116-118
Author(s):  
Michael R. Best ◽  
W. Robert Batsell
Keyword(s):  
Taste Aversion ◽  
Animal Research ◽  
Aversion Learning ◽  
Taste Aversion Learning ◽  
Visual Component

Rats readily avoid tastes paired with illness, although they associate exteroceptive cues less well with toxicosis. In this article, we describe a demonstration that recreates the central features of taste-aversion research. A dark, tasty fluid is paired with a toxin. Students can directly observe the animal's behavior to conclude that the taste component, not the visual component, is associated with internal malaise. This demonstration places in a more concrete context the contribution of animal research to the principles of psychology.

Medically Modified Eyes

2018 ◽  
Vol 2 (4) ◽  
pp. 491-511
Author(s):  
Emily R. Cain
Keyword(s):  
Cataract Surgery ◽  
Concept Formation ◽  
Sensory Perception ◽  
The Body ◽  
Safe Procedure ◽  
Elite Group ◽  
Visual Component ◽  
Medical Component ◽  
Repeated Contact

In Paedagogus 1.6.28, Clement describes baptism through the metaphor of a cataract surgery that enables the percipient to see God. In antiquity, cataract surgery was neither a common nor a safe procedure, which raises the question: why does Clement use such an unlikely metaphor for baptism? In this article, I demonstrate that this medical metaphor of cataract surgery enabled Clement to blur the line between the physical and the spiritual. The visual component of the metaphor allowed Clement to draw from Epicurean sensory perception and epistemology, which understood objects to emit tiny films that entered the eye of the body, with repeated contact leading to concept formation, in order to describe how the eye of the soul could see God once it has been transformed through baptism. For Clement, it is only through baptism that the cataract can be removed, thereby providing the baptized Christian with deified eyes to see God. In addition to having her cataract removed, according to Clement, the nature of the baptized Christian's vision changes from intromission to extramission, from receiving films to emitting a visual ray back to the divine. I further argue that the medical component of the metaphor allows Clement to describe the baptized Christian as fundamentally different from the rest of humanity and as part of an elite group that has undergone this uncommon and dangerous cataract surgery. Through these two aspects of his metaphor, Clement describes and defines Christians in terms of their medically modified eyes that enable them to see and to know God.

scholarly journals As "formas simbólicas" na pintura tardia de Gustave Moreau

2020 ◽  
Vol 6 (1) ◽  
pp. 145-160
Author(s):  
Mariana Garcia Vasconcellos
Keyword(s):  
Ernst Cassirer ◽  
Erwin Panofsky ◽  
Gustave Moreau

Este artigo busca analisar o papel exercido pelos elementos pictóricos de desenho e colorido dentro da pintura tardia do artista oitocentista francês Gustave Moreau, utilizando como ferramenta teórica o conceito de “forma simbólica” de acordo com as concepções de Ernst Cassirer e Erwin Panofsky. Argumenta-se que a noção de “forma simbólica” oferece a possibilidade de integrar os aspectos visuais e simbólico-filosóficos peculiares a esse período da pintura de Moreau, quais sejam: a dissociação da linha e da mancha e a construção de uma mitopoese que explora dualismos como o de espírito e matéria.

scholarly journals Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau

Kultura ◽  
2020 ◽  
pp. 51-68
Author(s):  
Jovana Nikolić
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
Middle Age ◽  
Forest Landscape ◽  
Medieval Period ◽  
Art Forms ◽  
Relationship Of ◽  
The 19Th Century ◽  
Gustave Moreau ◽  
Intellectual Climate

The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.

scholarly journals The Music Traditions of the Ashkenazi Jews and Radical Jewish Culture: A Brief Outline of the Definitions and Content of Jewish Music in the Past and Nowadays

2020 ◽  
pp. 215-227
Author(s):  
Luiza Zapiór
Keyword(s):  
Ashkenazi Jews ◽  
Jewish Culture ◽  
Visual Component ◽  
The Past ◽  
Jewish Music ◽  
Definition Of ◽  
Music Tradition

The main purpose of this paper is to describe John Zorn’s approach to klezmer music and Jewish music tradition in general. The text has been divided into shorter sections. The first part of the article is dedicated to providing an overview of problems concerning the definition of Jewish music. The second part focuses on analysing klezmer motifs in John Zorn’s selected works and Jewish symbols present in the visual component of his recording projects. The last section contains a summary and conclusions.

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