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This paper presents a hitherto unpublished essay by the Danish symbolist poet Sophus Claussen (1865-1931).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.

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.

'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.

The Art and Science of Procurement: Revisiting Leonardo da Vinci

2020 ◽  
Vol 26 (4) ◽  
pp. 100650
Author(s):  
Federico Caniato ◽  
Christine Harland ◽  
Thomas Johnsen ◽  
Antonella Moretto ◽  
Stefano Ronchi
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Art And Science

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.

The Relationship between Father John Morris, S.J. and the Institute of the Blessed Virgin Mary

2002 ◽  
Vol 26 (1) ◽  
pp. 194-209
Author(s):  
M. Gregory Kirkus
Keyword(s):  
Common Ground ◽  
Virgin Mary ◽  
Society Of Jesus ◽  
Practical Application ◽  
Shared Interest ◽  
Blessed Virgin Mary ◽  
History Of ◽  
The Common ◽  
Vexed Question ◽  
The Relationship

The common ground trodden by Father John Morris of the Society of Jesus and members of the Institute of the Blessed Virgin Mary was at first a shared interest in the acts of the English martyrs. This widened to a study of the history of the Institute and Father Morris’s involvement in its current problems—the removal of the Church’s three-century old ban, the vexed question of Mary Ward’s title of foundress, the desirability of union of all the members, and the drawing up of the constitutions acceptable to all. These intellectual explorations and their practical application led him to the Bar Convent in York, to Haverstock Hill and Ascot in the south, and to Nymphenburg, Altötting and Augsburg in Germany.

scholarly journals Computing the Future: Digital encounters in art and science when da Vinci meets Turing

2020 ◽  
Author(s):  
Tula Giannini ◽  
Jonathan P. Bowen
Keyword(s):  
Da Vinci ◽  
Natural World ◽  
Leonardo Da Vinci ◽  
Global Network ◽  
Renaissance Art ◽  
Art And Science ◽  
Global Consciousness ◽  
Digital World ◽  
Alan Turing ◽  
The Future

Computing the future, as life and research moves to the Internet, we are engaged increasingly in digital encounters from present to past and into the future with real people, events and documents. This paper focuses on the newly born-digital relationship between Alan Turing, father of computer science, and Leonardo da Vinci, master of Renaissance art and science – both revered as visionary geniuses, prophets of the future. Given the continued growth of digitised materials that are daily entering global consciousness, it is only relatively recently that both da Vinci’s notebooks and paintings, and Turing’s archive, are online and searchable. Thus we are able for the first time to relatively easily juxtapose and compare their work, and see that they have much in common in terms of what it means to human in science, art and the natural world, from da Vinci’s in-depth studies of the mechanisms of the human body, mind, and soul, foundational to his art, and to Turing’s discoveries in Artificial Intelligence (AI), machine learning, and morphogenesis. Considering their points of concurrence in the digital world brings into focus our global network of digital places and spaces, where science, art, and nature, including real and artificial life, become unbounded.

Mona Lisa Syndrome: Solving the Enigma of the Gioconda Smile

1989 ◽  
Vol 98 (3) ◽  
pp. 196-199 ◽  
Author(s):  
Kedar K. Adour
Keyword(s):  
Facial Nerve ◽  
Wallerian Degeneration ◽  
Da Vinci ◽  
Bell’S Palsy ◽  
Leonardo Da Vinci ◽  
Facial Muscle ◽  
Bell's Palsy ◽  
Art And Science ◽  
Muscle Contracture ◽  
Mona Lisa

The Mona Lisa smile is presented as a possible example of facial muscle contracture that develops after Bell's palsy when the facial nerve has undergone partial wallerian degeneration and has regenerated. The accompanying synkinesis would explain many of the known facts surrounding the painting and is a classic example of Leonardo da Vinci as the compulsive anatomist who combined art and science.

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).

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