Great Masters Research Articles

“With a glance of dark meaning”; or, Bloodstained Allegories in Spenser and Hawthorne

Over and over again, there was the idea of woman, acting the part of a revengeful mischief towards man. It was, indeed, very singular to see how the artist's imagination seemed to run on these stories of bloodshed, in which woman's hand was crimsoned by the stain; and how, too,--in one form or another, grotesque or sternly sad,--she failed not to bring out the moral, that woman must strike through her own heart to reach a human life, whatever were the motive that impelled her. Nathaniel Hawthorne, The Marble Faun And the blood has its strange omniscience. D.H. Lawrence, Studies in Classic American Literature It has long been acknowledged that Hawthorne was a close and careful reader of Spenser. (1) He often wrote about reading his treasured copy of The Faerie Queene; he and his wife read cantos of the poem out to their children at bedtime; his mother-in-law, Elizabeth Palmer Peabody, adapted the first book of the poem for children; and his daughter was named Una after the heroine of Book I (Miller 49, 56, 409-10, passim-, Peabody; Hosington and Anne Shaver 289). According to Gary Scharnhorst, Hawthorne was the anonymous reviewer of the first American edition of Spenser's Poetical Works in the Boston Post in 1839 (668). It is thus hard to imagine another nineteenth-century writer--and there are many, given Spenser's importance for writers of Gothic fiction, poetry, and romance--who was more obviously influenced by the greatest Elizabethan poet. (2) Despite this, the ways in which Spenser has shaped Hawthorne's literary imagination have not often been fully explored, and Gregory Staley is a rare exception in acknowledging that Hawthornes debt to Ovid in his work is an Ovid "re-modelled by Spenser" (137). This is assuredly due, at least in part, to an over-compartmentalization of academic writing which has served to isolate scholars and critics in their distinct fields or time periods. Yet the relative lack of scholarship on the Spenser-Hawthorne relationship may also be due to a tradition of reading Hawthorne in terms of the development of Puritan allegory, especially in terms of John Bunyan, rather than more ambiguous and amorphous writers such as Spenser. Henry James, for one, ascribes Hawthorne's "metaphysical moods" to his reading of both Bunyan and Spenser, those two "masters of allegory," together in a single breath. As James writes: Hawthorne, in his metaphysical moods, is nothing if not allegorical, and allegory, to my sense, is quite one of the lighter exercises of the imagination.... It has produced assuredly some first-rate works; and Hawthorne in his younger years had been a great reader and devotee of Bunyan and Spenser, the great masters of allegory. But it is apt to spoil two good things--a story and a moral, a meaning and a form; and the taste for it is responsible for a large part of the forcible feeble writing that has been inflicted upon the world. (366) Despite James's characterization, we should be careful to put Spenser and Bunyan uncritically together, as the two instantiate different literary and philosophical investments in their use of allegory. Although he acknowledges Hawthorne's first-rate works, for James, the influence of the two allegorists ultimately leads less to Hawthorne's richly allusive prose textures, marked by studied ambiguities of phrase and rhetoric, image and characterization--things Hawthorne found in Spenser, and which James would seemingly otherwise appreciate--than to James's opinion of allegory as one of the "lighter exercises of the imagination." What is more, Hawthorne's allegorical method notoriously combines not only Spenserian and Bunyanesque conceits (like the Valley of the Shadow of Death in "The Celestial Railroad"), but also unique features from New England Puritan typology, elements drawn from the historical "romance," as well as new understandings of symbol and allegory developed in Romantic poetics. …

Editorial note

It is with great satisfaction that we disclose the creation of Journal of Sedimentary Environments (JSE), an open access journal that allows online publication of important articles in the fields of Sedimentology, Stratigraphy, Paleontology, Archeology, Biology (associated with sedimentary environments), Speleology, Biogeography, Oceanography, Environmental Sciences, Geophysics, Geochemistry, Energy Resources and related fields. The JSE was designed by the Department of Stratigraphy and Paleontology (DEPA), Faculty of Geology (FGEL) at the State University of Rio de Janeiro (UERJ) in order to fill a gap in Brazilian geoscientific research: the absence of a focused journal for the area of Sedimentary Geology. Given the representativeness and authority of the Brazilian community in this field of research, it is of fundamental importance to create a channel for communication and integration between Brazilian and foreign geoscientists. We believe that the JSE will play an important role in this process. The JSE is a quarterly journal (four issues per year) in English and rigorously peer-reviewed. Its editorial board is composed of renowned national and foreign researchers from different areas of Sedimentary Geology, which are also editors of important journals focused on geosciences worldwide. The creation of the JSE is also a tribute to the great masters of Sedimentary Geology who had and have a very important role, not only for the Faculty of Geology at UERJ and for Rio de Janeiro State, but also for Brazilian Geology: Maria Antonieta da Conceição Rodrigues, Hernani Aquini Fernandes Chaves, Jorge Carlos Della Fávera, Pedro de Césero ( in memoriam ) and René Rodrigues. doi: 10.12957/jse.2016.21720

LE “DECLINAZIONI” DELL’AMORE NELLA LETTERATURA GIAPPONESE MODERNA

This article deals with the relationship between love and marriage in three Japanese authors. At the end of 19th century, the introduction of the idea of monogamy in Japanese culture created two opposite points of view. On one hand there was Kitamura Tōkoku (1868-1894) with its romantic ideal and the resulting disillusionment; on the other hand, Izumi Kyōka (1873-1939) always condemned the institution of marriage as oppressive to women. Both these views have flown into the vision of marriage proposed by Tanizaki Jun’ichirō (1886-1965), a great master in exploring and painting conjugal love and its various aspects.

A Queen in a “Purple Robe”: Henry Constable’s Poetic Tribute to Mary, Queen of Scots

The religious sonnets that the Elizabethan poet and courtier Henry Constable wrote in exile, which reveal strong post-Tridentine and continental influences, have been edited and assessed as they survive in manuscript in the British Library (Harley MS 7553)> thought to be the only witness. The rediscovery of another manuscript containing the Spiritual Sonnets, held at Berkeley Castle in Gloucestershire, throws light on the hitherto obscure history of their production and reception. It also adds four new sonnets to the canon of Constable's poetry, three of which are addressed to Mary, Queen of Scots. This article looks at the rediscovered sonnets as pieces that fit in larger martyrological narrative constructed around the figure of the executed queen; in addition, it brings to the fore Constable's personal anxieties as an exiled Englishman who hoped to return home under the rule of more tolerant king. ********** THE Elizabethan poet Henry Constable (1562-1613) is best known for his secular sonnets, which found their way into different manuscript miscellanies and two printed editions and earned him considerable reputation among his contemporaries. (1) In 1621 he was described by Edmund Bolton as a great Master in English Tongue whose Delivery of Conceit was unparalleled. (2) However, his literary prestige suffered on account of his religion. Later critics and scholars considered Constable traitor of sorts based on Thomas Birch's portrayal of the poet as zealous Roman Catholic, which became critical commonplace and influenced the reception of his works from the early eighteenth century on. (3) Thomas Park, the first modern editor of Constable, printed not only the secular sonnets but also later group of works that had gone largely unnoticed and became known as the Spiritual Sonnets. (4) The shift from amatory and courtly sonnets to Catholic ones revealing strong post-Tridentine influences is consistent with the evolution of man who started out as steadfast Protestant with promising career as diplomat and converted to the Roman church around 1590. (5) In i960, Joan Grundy included these later sonnets in her book The Poems of Henry Constable, using as her copy-text the only manuscript known to that date, BL Harley MS 7553 (henceforth HA), miscellaneous volume whose provenance remains obscure. (6) In the last few decades, as result of the turn to religion in early modern English studies, Constable's Spiritual Sonnets have been reassessed by scholars interested in the poetry written by converts as illustrating the way in which the sonnet form was adapted to religious concerns. (7) The rediscovery of another manuscript containing the Spiritual Sonnets, held at Berkeley Castle, Gloucestershire, under the call mark Select Books 85 (henceforth BE), throws new light on the hitherto obscure history of production and reception of these sonnets. Besides presenting more complex arrangement of the sequence and number of textual variants, BE adds four new sonnets to the canon of Constable's poetry, three of which are addressed to Mary, Queen of Scots. (8) These raise questions concerning the poet's embrace of the Catholic martyrological tradition, his rejection of Queen Elizabeth as sovereign, and the extent of his renunciation of worldly concerns as he sought to reingratiate himself with Mary's son, the heir presumptive to the throne. They embody narrative shift in collection that, in the better-known Harley manuscript, is concerned exclusively with doctrinal and devotional matters and offers but fragmented view of Constable's experience as an exiled convert who longed to be welcomed back home. (9) A close reading of Constable's Spiritual Sonnets as the carefully crafted sequence surviving in BE provides better understanding of the situation of people tom between their newfound faith and service to their country and underscores Michael Questier's notion of loyalism as myth, that is, constraining belief that Catholic converts were either traitors or patriots. …

紙管の製造における熟練者と非熟練者の違い

Many kinds of paper tubes are used as core of toilet paper craft tapes, print paper and film etc. Paper tubes are also used for subsidiary material, display and packing part, a part of an exhibition stand and its structure. In 1950s, the paper tubes were firstly produced in Japan. From then on, the technical innovation for machine structure to produce paper tubes is rarely seen except the NC control. Paper tubes are usually produced by expert workers who are trained for experience. The manufacture technology can also be developed by this empirical rule. Paperboards for paper tubes production are not stable and the paper tubes fabrication is different with the mass-produced goods that are produced in a certain size and shape, it belongs to the class of high-mix low-volume production. Even many orders are received with a short delivery time, it is also a career that the technology is inherited in the daily working. The so-called expert is non-expert person who is trained in the daily working and improve the technology by himself. It is a task for middle and small-sized enterprises in how to train the workers in a short time effectively. This is not only for paper tubes production, but also for a small factory on how to inherit its technology in a short time effectively. The objective of this is to analyze the motion for paper tubes fabricating by observe difference between expert and non-expert at work site as one of “Great master's work” in middle and small-sized enterprises.

Cervantes and His Don Quixote

Cervantes and His Don Quixote A. J. Greimas Translated by Julija Korostenskienė, Translator Through the broadest seas and non-seas,And through mountains topped with white wreaths,Asking neither about the paths nor the days,He will come as if from the Nemunas Valley. —Brazdžionis The noble hidalgo, a long-awaited guest, has finally come to us, too. He comes at a time when we require his assistance and advice perhaps the most. In the terrible collision of the giants of this world, our small and dear country desperately needs just such naïve belief in its human cultural mission. The armor-bearers have been waiting for their knights-errant and have missed them so badly that the appearance of the great optimist in the fields of our literature may definitely be regarded as the best omen sent to us by the gods. It is notable that the incorporation of Cervantes into the Lithuanian depository is perhaps the most important, if not the only, fact of our literary life this past year. We are shamefully ignorant of the classics; nor do we apprehend those ideological and artistic opportunities which, amassed in the works of great masters, offer themselves to every traveler of this earth as a shared property of humanity. The occasional earlier translations of the classics, as well as dry rudimentary literature textbooks only terrify the youth and scare them away from taking any interest in literature. If he has spoken to his students about Dante with enthusiasm, a conscientious professor of literature is forced to forbid them to read the Divine Comedy in Lithuanian, for fear of passing for a charlatan. This is why, upon receiving a truly exemplary translation [End Page 171] of Don Quixote, a pleasure for both the eye and the soul¸ ever more so must we “make merry and rejoice,” thanking Andriušis and Churginas for all the toil they have put into it. If every nation must contribute its seed into the common granary of humanity, Spain has paid off its debt in full with one stroke by Don Quixote, by effecting a true salto immortale. Confronted with the work by Cervantes, just as when confronted with any great work by a genius, the reader experiences the entire complex of his human nothingness, feeling not only the abyss that separates him from the heights of the genius’s thought, but also comprehending the enormous disproportion between the author and his era, on the one hand, and between the author and his work, on the other. Even the pen of the most sophisticated critic working according to the principles of Taine’s determinism that have already been put to the test, will not be able to elucidate Don Quixote through Cervantes, a hero of Lepanto, nor Hamlet through a dozen problematic Lord Shakespeares. The mysterious gap which separates man from the greatness of thought that he himself has created will remain unexplained. Cervantes emerges in Spain in the fairest days of its Golden Age. Born in the empire of Charles V on which the sun never set, as a war invalid missing a hand, Cervantes experiences Spain’s full honor and grandeur along with Philip II, and dies seeing its decline. Alongside his contemporaries Lope de Vega and El Greco, and the somewhat younger Quevedo, Velázquez, Calderón and Murillo, he forms Spain’s iron honor guard. Spain is a strange country: having saved Europe from Islam in the battle against the Moors which lasted for eight centuries; having discovered and conquered America; having created the largest empire in the world, expelling the Jews and the Moors—restoring the unity of the true faith, enthroning popes and kings, and ruling the gold of the entire world—the hidalgo suddenly noticed that he was ragged and indigent and had to tramp. Heroically devoted to both the chivalrous and folk medieval tradition, full of the valorous spirit to fight for that abstract honor which is of no benefit to himself, having sacrificed himself to the struggle for king and faith, stunned by the boundless opportunities [End Page 172] supplied to him by space and time, the proud Spaniard didn’t have the...

BUILDING MEMBER STATES: HOW THE EU PROMOTES POLITICAL CHANGE IN ITS NEW MEMBERS, ACCESSION CANDIDATES, AND EASTERN NEIGHBORS

1. IntroductionThe European Union (EU) seeks to strengthen the integration capacity of new members, current and potential candidates as well as its Eastern neighbors by helping them to make their domestic institutions and policies conform to the EU's norms and values and by building their capacity to provide collective goods and services. Modes of economic integration aim at mitigating competitive asymmetries and fostering the sustainability of EU market rules. Modes of political integration, in turn, aim to promote democratization and democratic consolidation, and to strengthen governance capacities of new and non-members.EU membership has been considered the key factor in strengthening the integration capacity of post-communist countries in the context of Eastern enlargement. Accordingly, the ineffectiveness of the European Neighbourhood Policy (ENP) in bringing about the domestic change that conforms to the EU's expectations tends to be blamed on the lack of this golden carrot. Likewise, the stalling of domestic reforms in current and potential candidates (Albania, Turkey, Bosnia Herzegovina, and Macedonia) as well as the potential back-sliding of some of the new member states (Bulgaria, Romania, Hungary, Latvia, cf. Borzel 2014) are explained by the carrot already being eaten up or not being juicy enough (any more). At the same time, however, we do find that Eastern Neighbourhood Countries (ENC) engage in domestic reforms the EU has been promoting, mostly at the policy level (Langbein/ Borzel 2013) but in some cases also with regard to political institutions (Borzel/van Hullen 2014b).This paper reviews the literature regarding the modes of political integration the EU has developed and applied to shape state-building, democracy and rule of law in the new member states, in the current and potential candidates of the Western Balkans, and in the ENC. The first part develops an analytical framework of modes of political integration that combines two concepts: the mechanisms the EU uses to induce political change and the actors targeted by the EU with these mechanisms in its attempt to shape their preferences and build their reform capacities. Particular attention is paid to more indirect mechanisms, such as competition and emulation, which the Europeanization literature with its focus on conditionality and assistance has overlooked so far. The second part uses this framework to make an inventory of the EU's modes of political integration systematically tracing their evolution over time. The analysis draws on a comprehensive review of the general literature complemented by the findings of four separate case studies on the EU's attempts at promoting and protecting rule of law as well as strengthening the governance capacities in past candidates and new members (Dimitrova 2015), current and potential candidates (Fagan 2015; Mufteler- Bac 2015 a), and the Eastern Partnership (EaP) countries (Borzel/Lebanidze 2015). I show that the EU's political modes of integration developed through an incremental process of learning by doing rather than through a great master plan by the EU to strengthen the integration capacities of new and non-members. These political modes initially emerged in the development cooperation of the EU with the so-called African, Caribbean, and Pacific Group of States (ACP), then travelled to the Eastern enlargement process and to the ENP and finally also spilled over into the domestic politics of the EU vis-a-vis its new member states.This might suggest that the EU has pursued a one size fits all approach. The analysis indeed reveals some interesting similarities of the modes used by the EU to promote the integration of new member states, candidates, and neighborhood countries. These similarities have been propelled by the lessons the EU has learned over time. While conditionality continues to play a prominent role, it has become more differentiated, both with regard to the rewards offered and the benchmark set to obtain them. …

Juan Fernández de Heredia y Plutarco. Las Vidas Paralelas

Juan Fernandez de Heredia, Great Master of the Saint John of Jerusalem’s Order, passionate person for grecolatin culture and great humanist promoter, find hollow between his occupations as State man for promoting numerous works, and between these, a translation of the Plutarc’s Parallel Lives, which is recovered in this way for Occident. Two translators took order of such commission: one byzantine translator, Talodiqui, and one aragonese translator, Nicolaus; the latter translate what the byzantine translator had translated in byzantine language. The byzantine version has not arrived to us; yes, nevertheless, the byzantine version. This paper analyses several questions which have to see with the difficulty of a translator function not from the Plutarc’s aragonese text, but a intermediate text that have disappeared. Nevertheless, the aragones translation not ceases to see one linguistic invaluable document for the studious of romanist and aragonese language.

The artist’s hand — When dematerialization becomes form

László Beke once said: ‘we can consider conceptual art as anti-painterly, or, anti-traditionalist art. For this reason, everyone, especially painters with a good perspective, had to decide for their own how to handle this. [...] The same problem occurred again at the beginning of the 80s when the same artists, who had become conceptual, had to decide whether to begin to paint again. [...] This can be described as the great conflict between traditional and conceptual art in general.’ This conflict that I would call La querelle des conceptuels et des traditionnels is presented in this paper through the work of the Hungarian artist Gyula Konkoly and his twofold, controversial relation to the tradition of painting and to conceptual thinking. Konkoly, a classically-trained painter, who is mainly known as a pop art artist and as one of the earliest protagonists of object art in Hungary, with his Manifesto from 1971/72, ceased every kind of ‘grand art’ activity for almost two decades, until the end of the Eighties, when he returned to painting. In most of his works from the Sixties, it was the episteme of painting that he was dealing with. On the one hand, he quoted the great masters of art history in many of his paintings, using their works in a pop art context, pairing them with abstract, hardedge surfaces. On the other hand, as a skilled painter he inserted resin imprints of his own hand on the canvases that represented the notion of craftsmanship and also the idea of the ready-made. It was the motif of the skilled hand of the artist that had to be destroyed when he got involved in conceptual art and in anti-art activities. At the first Iparterv exhibition he presented his seminal work Cage: An Academic Study (1968). In an unrealized project for a solo exhibition it was also the artist’s hand that he planned to bury. By the deconstruction of the artist’s personality and by the symbolic destruction of the artist’s hand, the symbol of the mastery of his métier, Konkoly came to the conclusion that this process, the total dematerialization of art and art object has reached its end making every kind of artistic activity pointless. The great paradigm shift of conceptual art thus led in Konkoly’s career also to a major turning point, to an almost two-decade long pause in his work. When returning to painting at the end of the Eighties, it was again, through his skilled artist’s hand with which he resumed his meditation on medium and métier, on colours and forms, and on the episteme of painting in general. Thus the thesis of this paper is that Konkoly’s work may be seen as a continuous and – almost – lifelong meditation on painting, on its basic structures, its relationship to its tradition and to the reality it expresses, and its epistemological value when compared with other, more abstract and philosophical, conceptual modes of art making.

Pi (Spleen)-deficiency syndrome in tumor microenvironment is the pivotal pathogenesis of colorectal cancer immune escape.

Cancer immunoediting consists of three sequential phases: elimination, equilibrium, and escape. For colorectal adenoma-carcinoma sequence, the adenoma dysplastic progression may represent an equilibrium phase and the cancer stage as escape phase. Immune system eliminates transformed enterocytes by destroying them at first, sculpts them at the same time and selects the variants subsequently that are no longer recognized and insensitive to immune effectors, and finally induces immunosuppressive state within the tumor microenvironment that facilitates immune escape and tumor outgrowth. Immunosuppression and inflammation are the two crucial features of Pi (Spleen)-deficiency. Classic quotations, immune evidence and clinical observations suggest that Spleen (but not other organs) deficiency is the key pathogenesis of colorectal cancer (CRC) microenvironment. Weakness of old age, immunosuppressive cytokines from chronic inflammation, tumor-derived immunosuppressive factors and surrendered immune cells-regulatory T cells, myeloid-derived suppressor cells and tumor associated macrophages (TAMs) constitutes CRC microenvironment of Pi-deficiency. Furthermore, excess in superficiality, such as phlegm stagnation, blood stasis and toxin accumulation are induced by chronic inflammation on the basis of asthenia in origin, an immunosuppressive state. Great masters of Chinese medicine emphasize that strengthen Pi is the chief therapeutic principle for CRC which receives good therapeutic effects. So, Pi-deficiency based syndrome is the pivotal pathogenesis of tumor microenvironment. The immunosuppressive microenvironment facilitates immune escape which play an important role in the transition from adenoma to adenocarcinoma. There are some signs that strengthen Pi based treatment has potential capacity to ameliorate tumor environment. It might be a novel starting point to explore the mechanism of strengthen Pi based therapy in the prevention and treatment of CRC through regulation of tumor environment and immunoediting.

Celestial Magic as the ‘Love Path’: The Spiritual Cosmology of Ibn ‘Arabi

Nature’s secrets can be approached in a variety of ways and this paper explores celestial magic as the ‘path of love’ via the Sufi teachings of Muhyiddin Ibn al-Arabi (1165–1240 CE). Given the honorary title of ‘the greatest master’, al-Shaykh al-Akbar, he occupies a special place in the Sufi tradition, because his writings are by far the most extensive contribution to Islamic mystical philosophy. His terminology and works have become a main point of reference for most Sufi orders, partly due to the historical circumstances explored below. His teachings continue to be widely studied, and a range of contemporary Sufi schools, like Beshara in Scotland and Karnak in Northern Australia, have introduced westerners to the study, work, invocation and meditation of the Sufi path as passed down by Ibn ‘Arabi.1 This paper explores his use of astrological symbolism to illustrate Sufi cosmology, as for example, his ‘orientations to spirit’, which are a different way of viewing the ‘quadruplicities’. In Mystical Astrology According to Ibn ‘Arabi, translator and author Titus Burckhardt (1908–1984) calls attention to what Ibn ‘Arabi calls the ‘contemplative penetration of cosmic atmosphere’. Mystical correspondences, including ‘eternal prototypes’ and designated prophets, are linked to planets, like the symbolic chain he draws between the moon and Adam’s prophetic role as the ‘mirror’ of divinity.2 This may beg the question of an overlap between the mystical and the magical, yet any such engagement depends on cultural norms and social context for its nomenclature. Celestial ‘magic’, explored as an imaginative engagement with the cosmos for the production of knowledge, allows the Sufi ‘love path’, to be considered. Further, Tasawwuf, the mystical path of Sufism, is suggestive for the sociological discourse on the ‘magical subject’ and for the question that frames this paper: namely, what are the implications for our ways of knowing?

On the Shape of a Violin

SummaryFor centuries luthiers—that is, instrument makers of violins and other stringed instruments—had no more sophisticated tools at their disposal to define the shape of their instruments than marked ruler and compass. Today, modern aids are available in terms of computational power and expertise in graphic design to assist them in this respect. This raises the following question: How can these powerful computational techniques be applied in the process of searching for a form of the violin both pleasing to the eye and optimal in some mathematical sense? In this paper, I use parametric cubic splines in an attempt to come close to and possibly improve upon—strictly in a mathematical and visual sense—the shape of a violin as laid down by the great masters of the past. The main reasons for choosing the cubic spline are: good approximation properties, simplicity of construction, and most importantly, its unique curvature properties.

Professor Hyun Koo Kim: a great master of single port video-assisted thoracoscopic surgery.

Dr. Kim ( Figure 1 ) is the Associate Professor of Department of Thoracic and Cardiovascular Surgery in Korea University Medical Center. He obtained the PhD. In Medical Science in 2004. He has gained Korean License of Medical Doctor (in 1996), the Korean Board Certification of Thoracic and Cardiovascular Surgery (in 2001) and Korean Board Certification of Critical Care Medicine (in 2009). Dr. Kim is the Director of Korean Society for Nanomedicine and member of lots of professional affiliations, such as Korean Thoracic and Cardiovascular Surgery, Korean Cancer Association, European Association of Cardiothoracic Surgery, International Association for the Study of Lung Cancer, World Molecular Imaging Society (Intraoperative image-guided surgery group), etc. Dr. Kim’s research interest focuses on the thoracic surgery. He has about 30 publications in SCI as first author or corresponding author. He has won the 2012 Merit award of Asian Clinical Oncology Society, and couples of times of Best presentation article in his research field. Dr. Kim has earned the 2012 National Research Foundation of Korea (NRF) grant funded by the Korea government (MEST) and 2012 Korean Health Technology R&D Project, Ministry of Health & Welfare.

‘Boxall is interested only in the Great Masters . . . Well, we’ll see about that!’

‘Boxall is interested only in the Great Masters . . . Well, we’ll see about that!’

Art and being in neutrosophic communication

What seems to suggest various avant-garde and artistic experimentalism movements from futurism to cubism, from expressionism to surrealism, from Picasso to the great masters of informal art is a Beauty of challenge. The avant-garde art does not arise the issue of Beauty. It is understood without saying that the new images are beautiful in terms of art and that should produce the same pleasure that feel the contemporaries of Rafael and Giotto in front of their works” asserts Umberto Eco (Eco, 2005). The phenomenon is due to the fact that the challenge of avant-garde tear down all aesthetic canons, observed at the moment. Art no longer aims to offer images of natural beauty, no longer occasion for calm pleasure of contemplation the harmonious forms. Instead, it wants to lead to an interpretation of the world from a different optic, wants to return to archaic or exotic models: the universe of dreams or ill mentally fantasies, visions experienced under the drugs influence, rediscovering matter, chaotic household objects current location in contexts unlikely (new object, Dadaist movement etc.), unconscious impulses, of uncertainties, of confusion, of neutrality. The study aims to explore Beauty and ugly in terms of neutrosophic concept.

Tratantes de arte y los grandes maestros de la pintura

Se presenta un modelo sobre los contratos surgidos durante el Renacimiento entre pintores y los primeros tratantes de arte, así como las condiciones bajo las cuales el convenio de trabajo era ventajoso para ambos. El modelo explica por qué la relación funcionó adecuadamente para pintores menores y por qué los grandes maestros se mantuvieron al margen de dicha conexión. El modelo finalmente estudia la relación entre el número de pintores al servicio de un comerciante y los costos de mercadeo y promoción de la obra de arte.

Os ensinamentos herdados de um grande mestre

Ensinar Bioquímica é um desafio enorme no ciclo básico de muitos cursos de graduação. Como convencer o aluno de que a disciplina é importante para seu curso de graduação em um momento tão inicial da sua caminhada acadêmica? Talvez seja difícil definir em palavras uma boa estratégica didática para isso, mas, entre as décadas de 70 e 80, alguns professores toparam este desafio! O professor Leopoldo de Meis foi um dos que dedicaram especial atenção à forma de ensinar bioquímica. Com sua sensibilidade ele foi capaz de perceber que o segredo seria manter a motivação, acrescida de um pouco de provocação aos jovens. Foi pensando assim que o Prof. de Meis, junto com um grupo pequeno de docentes e alunos de pós-graduação do antigo Departamento de Bioquímica Médica, hoje Instituto de Bioquímica Médica Leopoldo de Meis, da Universidade Federal do Rio de Janeiro, propôs introduzir o método da redescoberta em sala de aula. A ideia era apresentar o conteúdo da disciplina de bioquímica instigando os alunos a interpretarem os dados originais das grandes descobertas desta área. Para isso, cada tema de Bioquímica era apresentado através dos experimentos que levaram às conclusões que eram exibidas no livro didático. Desta forma, os alunos eram motivados a refazer perguntas e a propor experimentos que permitiam a interpretação dos resultados históricos dos cientistas. A metodologia parecia muito nova e difícil em um primeiro momento, mas, com o passar dos primeiros minutos de aula, o ambiente se tornava um local de ampla discussão científica, onde os alunos participavam ativamente e desenvolviam a habilidade de elaborar as questões necessárias para decifrar o funcionamento de vias metabólicas. O paralelo entre os fatos experimentais observados e o estado fisiológico do modelo experimental utilizado nos experimentos clássicos permitiam o desenvolvimento de um conhecimento amplo e crítico no aprendizado da Bioquímica. Imaginar que já no primeiro semestre do curso de graduação o aluno era motivado a desenvolver a autonomia do pensamento crítico era algo revolucionário e bem atraente. Assim, não raro, era possível encontrar em sala de aula alunos já aprovados na disciplina, e cursando períodos mais adiantados no curso, voltando para participar das aulas e rever o querido professor!

The God of Mercy or the King of the Hell? Plastic Surgeon Depicted in Parodies of Altar Portraits of Buddha.

The aim of this paper is to see how the plastic surgeons are depicted in some recently made parodies of altar portraits of Buddha. Three of Kim's traditional paintings depicting a plastic surgeon were collected and 3 types of altar portraits of Buddha were also collected. The Water-Moon Avalokiteshvara (Symbol: see text) sits on a rocky outcropping above the waves. At the lower right, is the boy pilgrim Sudhana (Symbol: see text). In the "Plastic Surgeon as a Bodhisattva," the plastic surgeon is wreathed in gold necklaces and seated on stones as if he were a wise man or perhaps a divine being, only it is his services that help allow for transformation. Below him, there is a female who yearns for man-made beauty. In Emma's court, there is a "Mirror of Perfect Clarity" that reflects unfailingly, the past misconduct and sins of the dead. In "Judgment of the Obese" (Symbol: see text), the plastic surgeon looks down on his patients from above and makes severe judgments about their looks. The women are holding their hands out desperately, standing haggard in front of the mirror, pleading to the doctor. The Great Master of Seon Buddhism holds a large fly-whisk. In the "Portrait of a Plastic Surgeon" (Symbol: see text), a surgeon is sitting in a chair holding a huge surgical knife as if the patriarch holds a monk's stick. Like the patients at our clinic and the sole of the dead at the Emma's court, we plastic surgeons should have a "Mirror" to reflect our practices and ask ourselves whether we are "good" doctors or not.

Alberto Balil, veinte años después

En este escrito se valora la trayectoria investigadora del Profesor Alberto Balil Illana, con motivo de los veinte años de su fallecimiento. Se ponen de manifiesto, a juicio del autor, los logros más destacados, las enseñanzas más fructíferas y la proyección en la actualidad de este gran maestro de la Arqueología española.

Tender is the night and F. Scott Fitzgerald's sentimental identities

In this fascinating study, Chris Messenger posits F. Scott Fitzgerald as a great master of sentiment in modern American fiction. Sentimental forms both attracted and repelled Fitzgerald while defining his deepest nature in prose. Messenger demonstrates that the sentimental identities, refractions, and influences Fitzgerald explores in Is the define key components in his affective life that evolved into a powerful aesthetic, which underwrote his stature as a major novelist. In Tender Is the Night and F. Scott Fitzgerald's Sentimental Identities , Messenger traces the roots of Fitzgerald's writing career to the deaths of his two infant sisters, a few months before his own birth. It was their loss, Fitzgerald wrote, that made him a writer. Messenger highlights how the loss of his siblings powerfully molded his writer's relation to maternal nurturing and sympathy as well as shaped the homosocial intimations visible in the care-giving protagonist of Is the , psychiatrist Dick Diver. A concomitant grief and mourning was articulated and fueled by Fitzgerald's intimate and writerly battle with his often-institutionalized wife, Zelda Sayre Fitzgerald. While sentiment is a discredited strain in high modernism, Fitzgerald nevertheless embraced it in Is the to articulate this most poignant and beautiful successor to The Great Gatsby . Fitzgerald's aesthetic and emotional preoccupations came most vividly to life in this major novel. Messenger depicts how Fitzgerald, creating his character Nicole Warren Diver as a victim of paternal incest, finally found the sentimental key to finishing his novel and uniting his vision of the two narratives of saving the two sisters and reimagining the agony of his wife and their marriage. Fitzgerald's productive quarrel with and through sentiment brilliantly authorizes his career and Messenger convincingly argues that Is the should be placed alongside The Great Gatsby as a classic novel.