Polychrome terracotta tableau sculpture is one of the most unique genres of 15thcentury Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both

Palpable Politics and Embodied Passions:Terracotta Tableau Sculpture in Italy, 1450-1530

a de topoi narrativos (por ejemplo, un hombre intenta persuadir a una mujer de que parta con él). A este respecto, el filme se basa en lo que Stephen Heath llama el característico bricolage de Robbe-Grillet con «elementos MODOS HISTÓRICOS DE NARRACIÓN sintagmáticos de la narrativa tradicional»." Al mismo tiempo, El año pasado en Marienbad eleva varias características estilísticas al nivel de estructuras intermitentemente dominantes: la separación de la imagen del sonido, el uso de falsos emparejamientos en los ejes de mirada y en la acción, el rechazo de los movimientos de cámara para seguir la acción o para revelar un espacio coherente fuera de la pantalla." ~lfilroe, en consecuencia, aborda el argumento y el estilo como organizaciones de eleIl:le.ot()§ diVersos-firosy que circulan a través del text<:<-sugiriendo un mundode la historia coherente, mientras una y otra vez_ niegan que cualquier entidad como ésta pueda construirse. Lo que El año pasado en Marienbad fue para el nouveau roman, lo constituyó ftrHdjterral1ie (1963) para el grupo Tel Quel. Pocas películas han sido tan poco vistas y tan frecuentemente citadas. Como El año pasado en Marienbad, Méditerranée resulta de una colaboración, en este caso entre el poeta y, novelista Philippe Sollers y ,el cineasta Jean-Daniel P¿lIet. El filme consiste en 261 planos breves, pasajes musicales y un comentario poético de SolIers. La banda visual se basa en un pequeño conjunto de elementos: el mar, estatuas, pirámides, ruinas, un lingote forjado en una fábrica, un jardín, una corrida de toros, una mujer en una mesa de operaciones, etc. La mayoría de los planos son tópicos de «lo mediterráneo», y es parte del objetivo del filme recombinar imágenes de forma que se vacíen de sus asociaciones estereotipadas. Los seguidores de Tel Quel alabaron el filme como un texto «abierto» organizado totalmente como un juego de significantes, y PolIet sugirió que el filme estaba compuesto por permutaciones de series." Méditerranée, pues, opera con una forma espacializada en su totalidad, situándose, según Sollers, dentro del cine de «presencia diferenciada»: «presencia literal pero parcial, una presencia que presenta una ausencia y, aquí, un filme que manifiesta otro invisible, cuya voz infundida en el filme marca las fluctuaciones»." Tanto El año pasado en Marienbad como Méditerranée se realizaron con total conciencia de la estética serialista. Queda por mostrar que esta estética pueda aplicarse a filmes que no tengan influencia directa de la literatura o la música experimental. En 1967, Noel Burch publicó diversos artículos en Cahiers d~-;;¡;'¿~aque más-tarde se recopilaron en~Cvcl~~~~-Praxisdel cine (1969). ~~t()s es-

La narración en el cine de ficción

Humans respond cognitively and emotionally to the built environment. The modern possibility of recording the neural activity of subjects during exposure to environmental situations, using neuroscientific techniques and virtual reality, provides a promising framework for future design and studies of the built environment. The discipline derived is termed “neuroarchitecture”. Given neuroarchitecture’s transdisciplinary nature, it progresses needs to be reviewed in a contextualised way, together with its precursor approaches. The present article presents a scoping review, which maps out the broad areas on which the new discipline is based. The limitations, controversies, benefits, impact on the professional sectors involved, and potential of neuroarchitecture and its precursors’ approaches are critically addressed.

https://www.mdpi.com/1424-8220/21/6/2193/pdf

The Cognitive-Emotional Design and Study of Architectural Space: A Scoping Review of Neuroarchitecture and Its Precursor Approaches.

Introduction: challenges of analysis and interpretation 1. The ideas of architecture 2. Vision and spatial representation 3. The genesis of scale drawing and linear perspective 4. Architectural vision Excursus: envisioning cosmic mechanism in Plato and Vitruvius Appendix A: analysis of the dimensions of the blueprint for entasis at Didyma Appendix B: analysis of the hypothetical working drawing for platform curvature at Segesta Appendix C: analysis of the hypothetical working drawing for platform curvature in the Parthenon.

The Art of Building in the Classical World: Vision, Craftsmanship, and Linear Perspective in Greek and Roman Architecture

The cerebral theme in the layout of planned towns since antiquity has often reflected the image of cosmic harmony and perfection, unfolding in various notions of the Ideal City. The underlying adage of much of urban design and planning during modernity has continued to be the paradigms of accord in science and perfection in technology. Kindred to the notion of equilibrium in physical science, much of 20th century urban design too has seen to it that planned city-form addresses urban growth within the ideal of a balanced environmental, economic or social development. The notion of the Ideal City thus has remained implicit in urban design through to the present day. The motif of the 20th-century city, however, has not been composure and equilibrium proclaimed by the ideal. Rather, the factual contemporary city has been increasingly characterized by disparity, neurosis and disequilibrium. The gap between a blueprint, and its factual aftermath in the city, has led the fervent observer to the discernment of hu...

Harmonies of Urban Design and Discords of City-form: Urban Aesthetics in the Rise of Western Civilization

Treatise on architecture

Leon Battista Alberti; On Painting

Filarete's Treatise on Architecture

EARLY in its history the Christian Church became aware of the Annunciation as a means of presenting the complex theological concept of the Incarnation of the Word in easily comprehended visual terms. The development and dissemination of the theme in the Middle Ages are already well known. Theologically the Annunciation marks the beginning of the life of Christ and the raison d'etre of the life of the Virgin. It represents a fundamental tenet of Christianity, and, more important, one of the few intellectual concepts which lends itself so readily to dramatization or portrayal. As such it played an important part in the daily Christianity of both laymen and clergy. Because of its popularity and vitality as an iconographical motif, both in the life of Christ and in the life of the Virgin, the Annunciation was able to adapt itself to changing tastes in art and theology without losing any of its force. Challenged by the humanism of the Renaissance, and particularly by the rational and humanist art of fifteenth ...

Spatial Imagery of the Annunciation in Fifteenth Century Florence

Non-destructive analytical techniques in the hands of a conservator reveal a painted surface beneath Vasari's frescoes on the west wall of the Salone dei 500 in Florence. Analysis of the pigments suggests that it is not related to the Vasari fresco over it, that it uses a toothy ground in an oil or resin binder, and contains pigments that can be associated with Leonardo. Art-historical re-examination of documents and descriptions of the Hall supports the suggestions of the conservator. Misinterpretation of a document established the tradition of locating the Battle of Anghiari on the east wall. Analysis of the building and the documents helps clarify Vasari's description of the Hall and suggests that the seat of the Gonfaloniere and Leonardo's mural were on the west wall.

John R. Spencer

Papers

Treatise on architecture

Leon Battista Alberti; On Painting

Filarete's Treatise on Architecture

Spatial Imagery of the Annunciation in Fifteenth Century Florence

On the Location of Leonardo's Battle of Anghiari