Artemisia Gentileschi (c. 1593-1652) was well paid and highly thought of as a painter by some of the leading art patrons of the Europe of her time. In other words, in her own time she was a socially acceptable, successful artist. Yet, subsequently, the shadow of obscurity fell over her. Only about thirty paintings, from what must have been a much greater body of work, have been identified and attributed to her. Moreover, relatively little has been written about (...) her, and only very recently has she been the subject of an extensive art-historical monograph. In Contrast, Agostino Tassi, the painter tried for raping Artemisia she was nineteen years old, has been the subject of at least two monographs in this [20th] century. Does Artemisia now lack esteem because the lines along which the story of European art has been permitted to unfold serve non aesthetic ends, objectives prescribed by dominating male interests? Was Artemisia's art eclipsed because the narrative structure of the story of art admits heroes but erects heroines? Such questions are typically raised in feminist or gym-criticism. What remains to be seen is whether feminists can supply answers which draw upon considerations sufficiently compelling to radically revise--indeed, to reform--the history of art. (shrink)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical (...) and anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

The article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland. The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of framing (...) created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from : Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt. (shrink)

Analisi di più aspetti dell’argomentazione giuridica, esposti in quattro saggi. 1. La ricerca della verità nella testimonianza della vittima dei processi per stupro, partendo dalla vicenda biblica di Susanna e i vecchioni, dal processo seicentesco per lo stupro di Artemisia Gentileschi, passando per il romanzo “A Passage to India”, fino all’esame della più recente giurisprudenza (Susanna, Artemisa, Adela … ovvero la semplice verità, di Emanuele Filograna). 2. La giustificazione dialogica e monologica delle argomentazioni: confronto tra le tesi di (...) E. Tugendhat e R. Alexy in merito alla teoria del consenso come giustificazione ultima non solo dell’argomentazione, ma anche della decisione giuridica (Giustificazione, argomentazione e decisione giuridica. Teorie dialogiche e fonologiche: Alexy e Tugendhat, di Massimo Mancini). 3. Analisi del particolare status argomentativo della giustificazione dei diritti umani, con particolare riferimento alla loro natura assoluta o storica, esaminando le argomentazioni relative ai diritti alla vita, alla libertà ed all’integrità fisica, cui corrispondono le rispettive violazioni: l’uccisione, la schiavitù e la tortura (Problemi di argomentazione e giustificazione dei diritti umani, di Massimo. Mancini). 4. Illustrazione degli elementi di continuità tra il processo accusatorio antico (greco e romano) e moderno e, segnatamente, della terzietà del giudice e della cross-examination, attraverso l’esame dei processi ad Oreste, Socrate ed Apuleio (La Verità nel contraddittorio, di Roberto Paradisi). (shrink)

Au Roland Barthes critique, celui des analyses litteraires des Essais critiques, du Sur Racine ou des constructions theoriques nourries par la linguistique et le structuralisme comme le Degre zero de l ecriture, S/Z, le Systeme de la mode; au Roland Barthes ecrivain, sachant meler, avec une originalite inimitable, fiction et reflexions analytiques dans le Roland Barthes par Roland Barthes ou les Fragments d un discours amoureux, il faudrait ajouter un Roland Barthes, moins connu et moins analyse, celui de l - (...) amateur - d art. Il n aura pas fallu attendre son dernier livre, La Chambre claire, pour savoir que Roland Barthes aimait les uvres d art visuel et qu il pratiquait lui-meme, avec grand plaisir et serieux, la peinture. Des ses premiers textes rassembles dans les Essais critiques, il associe a des etudes sur Tacite, Chateaubriand, Baudelaire ou Robbe-Grillet, un essai sur Pieter Saenredam avec lequel il ouvre un recueil pourtant consacre a la litterature. Tout au long de son uvre, que cela soit sous la forme de preface de catalogues consacres a des artistes contemporains (Bernard Requichot, Daniel Boudinet, Cy Twombly), d articles sur des artistes classiques (Arcimboldo, Artemisia Gentileschi) ou de reflexions plus generales sur l art (le kitsch, le cinema, l abstraction, la musique), Roland Barthes a accorde une attention toute particuliere aux images. Elles etaient, a ses yeux, bien plus qu un passe-temps, un delassement intellectuel qui l eloignait de son veritable travail critique. L image, et l imaginaire qui lui est lie, possede une vertu que le texte ne semble pas pouvoir revendiquer: meler le langage expressif au discours critique, faire emerger la - substance sous le concept - et pousser la question de la signification jusqu a sa limite la plus extreme. Sans s embarrasser des regles methodiques dictees par l histoire de l art, en se voulant - sauvage et sans culture - devant ces uvres d art qui venaient a lui comme par - inadvertance -, qui l incitaient a l - aventure -, Roland Barthes a elabore une - esthetique - qui demeure une des plus singulieres et utiles contributions a l etude des images. Le - troisieme sens - et son correlat, la - signifiance - (cet - au-dela - du sens), l - imaginaire de l image - ou bien encore le celebre couple Punctum/ Studium avec lequel il precise la dimension subjective de tout commerce avec les uvres sont autant de propositions methodiques que l auteur reconsidere attentivement afin de tirer toute la force heuristique de cette - lecon de l image - a laquelle nous convie Roland Barthes. La - lecon de l art - que Barthes retient de son commerce constant avec les uvres d artistes contemporains (Cy Twombly, Daniel Boudinet, Bernard Requichot) ou anciens (Saenredam, Arcimboldo) a permis de developper une reflexion singuliere sur le fonctionnement des images. - En elaborant des notions comme la - signifiance -, le - troisieme sens - ou le fameux - punctum - afin de traduire les effets que les images provoquaient sur lui, Barthes a compose une veritable esthetique qu il est temps de lire avec autant de serieux que de plaisir.". (shrink)

Religious conversion revolutions the boundaries which delimit personal identity. Therefore, the main semiotic problem of mental and cultural representations of this religious phenomenon is to convey simultaneously a feeling of sameness and otherness, identity and change. In the present paper, mirrors are analysed as cultural mechanisms which enable representations to accomplish this paradoxical task. After a brief survey concerning literature on mirrors, some early-modern religious texts using these optical instruments as representative devices are analysed in-depth: a painting of the Magdalene’s (...) conversion by Artemisia Gentileschi, an engraving representing conversion from a 17th-century French book, a fragment from Sainte Theresa’s spiritual autobiography, a passage from John Calvin’s Institution de la religion chrétienne. In its conclusion, the paper underlines the importance of Saint Paul’s metaphoric conception of mirrors for the cultural history of these objects, and tries to define the role which cultural semiotics should play concerning this kind of representative mechanisms. (shrink)

When reading Susan Vreeland's novel The Passion of Artemisia, we find ourselves in seventeenth century Renaissance Italy and the social life of Artemisia d'Orazio Gentileschi, a woman painter who was raped, tortured by the Inquisition and due to her fine and original paintings, was the first woman painter to become a member of the famous Accademia del Disegno. In sum, she struggled for her personal and artistic liberation long before anyone in Europe had heard about feminism. Moreover, (...) Artemisia is a timely reminder of how sometimes in the past for Europeans, and more specifically for Italians, Art in general and Painting in particular, was an integral part of a form of life not only for artists but for ordinary people as well. (shrink)

Numerous ancient sources attest that Artemisia of Halicarnassus, a fifth-century BCE tyrant whose polis came under Persian rule in 524 BCE, figures prominently in Xerxes’ naval campaign against Greece. At least since Pompeius Trogus’ first-century BCE Philippic History, interpretations of Artemisia have juxtaposed her “virile courage” (uirilem audaciam) with Xerxes’ “womanish fear” (muliebrem timorem) primarily as a means of belittling the effeminate non-Greeks. My paper argues that although Herodotus is aware of such interpretations of Artemisia, he depicts (...) her primarily as an excellent counsel, a woman who is not only brave in battle, but who is a wonder primarily because of her intellectual excellences in deliberative rhetoric and “geo-political” strategy in the Greco-Persian world. (shrink)

The National Gallery, London. 3 October 2020–24 January 2021.

Le point de vue d’Hérodote sur les guerres médiques, et particulièrement la bataille de Salamine en 480 avant notre ère, n’est pas totalement conforme à la bipolarisation grec/barbare, qui organise et hiérarchise les individus et les groupes vivant autour de la Méditerranée à l’époque classique. En effet Hérodote est un métis d’Halicarnasse en Asie mineure, et il s’amuse plutôt à décrire dans cet engagement naval la provocation d’Artémisia, reine de sa cité en 480. Celle-ci, également métissée, prouve qu’une cité grecque (...) peut être dirigée par une femme, y compris à la guerre. Artémisia, particulièrement avisée, se conduit certes de façon déloyale mais avec une adresse telle que les dieux semblent avec elle. En adoptant le point de vue du métissage, celui d’Hérodote, il s’agit ici de montrer que l’épisode ne valide ni ne renverse la hiérarchie grec/barbare mais révèle les résistances d’une autre réalité grecque, celle d’un monde mélangé, où les femmes ne sont pas toujours soumises aux hommes suivant les critères de l’Athènes du ve siècle. (shrink)

Barnett Newman : Adam's line -- Kant and the newborn -- Virginia Woolf and the shadow of the "I" -- Plato erectus sed -- Men and trees -- We are not monkeys : on erect posture -- Hobbes and the macroanthropos -- Elias Canetti : upright before the dead -- Artemisia : the allegory of inclination -- Leonardo and maternal inclination -- Hannah Arendt : "a child has been born unto us" -- Schemata for a postural ethics -- Coda (...) : adieu to Lévinas. (shrink)

The general public and environmental policy makers often perceive management actions of environmental managers as science, when such actions are, in fact, value judgments about when to intervene in natural processes. The choice of action requires ethical as well as scientific analysis because managers must choose a normative outcome to direct their intervention. I examine a management case study involving prescribed burning of sagebrush (Artemisia tridentata) communities in south-central Montana (USA) to illustrate how to teach students to ethically evaluate (...) a management action by precisely identifying: 1) the proposed management action, 2) the deficiency of the system to be remedied by the action, 3) the stakeholders affected by the action, and 4) the category and type of values affirmed in the management action. Through such analysis, students are taught to recognize implicit and explicit value judgments associated with management actions, identify stakeholders to whom managers have legitimate ethical obligations, and practice a general method of ethical analysis applicable to many forms of environmental management. (shrink)

This article inquires into the shaping force that competition at musical contests exercised on ancient perceptions of literary genres, particularly for the non-choral and non-dramatic kinds of the Classical Period. Three musical contests of the fourth century BCE, the Panathenaia, the Amphiaraia, and the Artemisia, are taken as case studies. After a reconstruction of their programs, principles of categorization that spectators might have inferred from the contests are deduced, and modes in which categories of competition and literary genres interacted (...) are put forward. The article concludes by suggesting that, by enacting taxonomies, either strengthening or weakening the specificity of traditional types, institutionalized poetic and musical competitions contributed to the ancient conceptualization of literary genres. (shrink)

The general public and environmental policy makers often perceive management actions of environmental managers as “science,” when such actions are, in fact, value judgments about when to intervene in natural processes. The choice of action requires ethical as well as scientific analysis because managers must choose a normative outcome to direct their intervention. I examine a management case study involving prescribed burning of sagebrush (Artemisia tridentata) communities in south-central Montana (USA) to illustrate how to teach students to ethically evaluate (...) a management action by precisely identifying: 1) the proposed management action, 2) the deficiency of the system to be remedied by the action, 3) the stakeholders affected by the action, and 4) the category and type of values affirmed in the management action. Through such analysis, students are taught to recognize implicit and explicit value judgments associated with management actions, identify stakeholders to whom managers have legitimate ethical obligations, and practice a general method of ethical analysis applicable to many forms of environmental management. (shrink)

To illustrate dramatically the progress and potential in the field of synthetic biology, one can begin the story with the 2011 winner of the Lasker Clinical Medical Research Award (Youyou 2011). She was an 81-year-old Chinese scientist, Dr. Tu Youyou, who was given an assignment in 1969 by the Chinese government to find a treatment for malaria from among Chinese herbal medicines. She investigated more than 2,000 Chinese herbal preparations, winnowed them down to some 640 possibilities, obtained 380 extracts from (...) about 200 Chinese herbs, and tested them against a mouse model of malaria. She found one extract, of the Artemisia plant, effective in mice, but she could not reproduce the results consistently. So she .. (shrink)

This article aims to demonstrate how the caracteristics creating the image of the dragon are used for the nomination and the definition of plants. To do so, the methodological tools of the science of the imaginary, of litterature and of linguistic are requirred. At first, the article develops the study of the latine etymology of dragon and its derivations showing the persistent links between the image of dragon and the image of some plants. Then, the article studies the french and (...) botanical names of plants evoking the imaginary of dragon such as the common dracunculus, Dracunculus vulgaris Schott, the tarragon, Artemisia dracunculus L. and the dragon tree, representing trees belonging to the genus of Dracaena Vand. ex L. (shrink)

Découverte près d'Alivéri en Eubée, cette importante inscription du milieu du IVe siècle av. J.-C. est demeurée longtemps inédite. Il s'agit d'une grande stèle amputée en haut et à gauche, où se lisent encore 35 lignes gravées stoichédon (à raison de 51 lettres par ligne après restitution). Sur la base du lieu de trouvaille, de la langue et du contenu, on peut rapporter à la même stèle le fragment IG XII 9, 190, en dépit du fait que ce petit morceau (...) — perdu depuis longtemps — n'a pas été présenté comme un texte stoichédon par son unique copiste. Ce rapprochement permet de restituer le frag ment en question (A) plus sûrement qu'on n'avait pu le faire jusqu'ici : c'est le début de la loi, avec l'énoncé des récompenses prévues pour le tyrannoctone, modulées en fonction de son statut politique et social. Le texte du nouveau morceau (B) se compose lui-même de deux sections distinguées par une asyndète significative. La première section (1. 1-17) comporte une série de clauses ayant pour objet la protection de la constitution démocratique contre toute tentative de mise en place d'un régime tyrannique, notamment par le biais d'une motion subversive : le contrevenant se verra non seulement privé de ses droits civiques (discussion sur la notion d'atimia à cette date) et de ses biens (confiscation par l'État — avec une dîme pour Artémis Amarysia, dont la prééminence dans le panthéon érétrien est ainsi confirmée), mais proscrit à perpétuité (interdiction d'inhumer ses restes dans l'Érétriade ou Érétrias gê; impunité et même récompense accordées à son meurtrier). Cette première section s'achève par une imprécation solennelle visant à décourager toute atteinte contre les dispositions de la loi elle-même (rôle intéressant des prêtres et des prêtresses — avec le mot rare, sinon même nouveau, hiéris pour hiéreia — lors des Dionysia et des Artémisia) ; entre les termes de cette imprécation et le libellé des grands serments « internationaux » (attestés à partir du IVe siècle précisément) il y a plus d'un point commun à relever. (shrink)

TheSudatells us the following about the elder Theodectas, the Phaselian orator and tragedian:Θεοδέκτης, Ἀριστάνδρου, Φασηλίτης ἐκ Λυκίας, ῥήτωρ, τραπεὶς δὲ ἐπὶ τραγῳδίας, μαθητὴς Πλάτωνος καὶ Ἰσοκράτους καὶ Ἀριστοτέλους. οὗτος καὶ ὁ Ἐρυθραῖος Ναυκράτης καὶ Ἰσοκράτης ὁ ῥήτωρ, ὁ Ἀπολλωνιάτης, καὶ Θεόπομπος, ἐπὶ τῆς ρϛ́ ὀλυμπιάδος εἶπον ἐπιτάφιον ἐπὶ Μαυσώλῳ, Ἀρτεμισίας τῆς γυναικὸς αὐτοῦ προτρεψαμένης. καὶ ἐνίκησε μάλιστα εὐδοκιμήσας ἐν ᾗ εἶπε τραγῳδίᾳ. ἄλλοι δέ φασι Θεόπομπον ἔχειν τὰ πρωτεῖα. δράματα δὲ ἐδίδαξε ν́. τελευτᾷ δὲ ἐν Ἀθήναις ἐτῶν ἑνὸς καὶ μ́, (...) ἔτι τοῦ πατρὸς αὐτοῦ περιόντος. ἔγραψε δὲ καὶ τέχνην ῥητορικὴν ἐν μέτρωι, καὶ ἄλλα τινα καταλογάδην.Theodectas, son of Aristander, from Phaselis in Lycia, an orator, then he turned to tragedy, a pupil of Plato, Isocrates and Aristotle. This man [that is, Theodectas] and Naucrates from Erythrae and Isocrates the orator from Apollonia and Theopompus, in the 106th Olympiad [356/5–353/2b.c.], gave funeral speeches for Mausolus, at the instigation of his widow Artemisia. And [Theodectas] won, gaining great honour in the tragedy which he spoke. Others, however, say that Theopompus won first prize. He [that is, Theodectas] produced fifty plays. He died in Athens at the age of 41, being survived by his father. He also wrote anArt of Rhetoricin verse, and some other works in prose. (shrink)

Seemingly distant practices of molecular biology and indigenous Xhosa healing have commonalities that I would like to bring into conversation in this article. The preclinical trial of an indigenous medicine brings them together in a research consortium. In this instance, both sets of experts are meant to collaborate in preparing a wild bush for it to pass the tests of the randomized clinical trial (RCT) and to potentially become a biopharmaceutical to counter the tuberculosis pandemic. I aim to tease out (...) how the two sets of actors and their respective practices converge and diverge in their healing hopes and ways of managing uncertainty. Ultimately, I am interested in understanding how the preferred process of making medicine “work” by each set of actors relies upon particular ways of knowing and not knowing life, bringing some ontologies into being, letting others wither away. The shared ways of knowing life as a movement of opening at the edges of the RCT are proposed as paths of recognition between one and the other practice. (shrink)