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Lévy, Bernard-Henri. Israel Alone. A Wicked Son Book, an imprint of Post Hill Press, 2024.
No full textAcademic Librarianship in Canada: Post-COVID Perspectives in a Neoliberal Era, edited by Jessica E. Shiers, Harriet M. Sonne de Torrens, Joanna Szurmak, and Meaghan Valant
No full textIdiosyncratic and Non-Unitary: Disability Memoirs and Antinormative Bioethics
No full textIn this article, I argue for an antinormative bioethics based in disability experiences drawn from memoirists’ accounts of idiosyncratic needs and desires that are obscured by normative impulses in mainstream bioethics. Bioethics has long been shaped by a commitment to the normal, which often casts disabled people and the category of disability as anterior to bioethical concerns about individual rights, protections, and property. Focusing on disability experiences and the category of disability—as developed by disability studies scholars and supported by materialist feminist science and technology studies—provides a grounding for an inclusive bioethics that creates livable lives through careful and creative alliance building in and beyond the contexts in which bioethics has traditionally operated. I focus herein on the non-unitary experience of autism and the facilitation of people who identify as autistic to develop this inclusive and responsive bioethical praxis
Francesco Salviati and the Horses of San Marco
No full textIn 1539, Florence’s newly elected Duke Cosimo I de’ Medici began to turn the Palazzo della Signoria into his ducal residence. The first major artistic work he commissioned for the palazzo was a cycle of frescoes by Francesco Salviati (1543–48), with scenes from the life of Marcus Furius Camillus. Salviati’s Triumph of Furius Camillus fresco is discussed in light of a preparatory drawing, which shows a chariot drawn by an animated group of horses very like the famous horses of San Marco in Venice (where Salviati had worked from 1539 until 1541), and very unlike the regimented group that draws the chariot in the final fresco. In the wake of Savonarolan reforms to the Florentine government after the expulsion of the Medici, the Venetian quadriga cannot have been politically acceptable to Duke Cosimo. Salviati presumably altered his design to better accord with Cosimo’s self-association with imperial Rome.En 1539, le duc Côme Ier de Médicis, nouvellement élu à Florence, commence à transformer le Palazzo della Signorina en sa résidence ducale. La première œuvre artistique majeure qu’il commande pour le palais est un cycle de fresques de Francesco Salviati (1543-48) montrant des scènes de la vie de Marcus Furius Camillus. Dans cet article, la fresque de Salviati représentant le Triomphe de Furius Camillus est examinée à la lumière d’un dessin préparatoire, qui montre un char tiré par un groupe de chevaux fougueux, fort semblables aux célèbres chevaux de San Marco à Venise (où Salviati avait travaillé de 1539 à 1541), et très différents de l’attelage maîtrisé qui tire le char dans la fresque finale. Au lendemain des réformes savonaroliennes du gouvernement florentin après l’expulsion des Médicis, le quadrige vénitien ne pouvait être politiquement acceptable aux yeux du duc. Salviati a vraisemblablement modifié son projet pour qu’il corresponde mieux à la volonté de Côme de s’associer à la Rome impériale
L’Estrange, Elizabeth. Anne de Graville and Women’s Literary Networks in Early Modern France
No full textInnovating the French Language Classroom
No full textGrowing up, I knew teaching was the career path I wanted to pursue. I was lucky enough to be surrounded by several teachers in my family, including my father and sister. While working my part time jobs as both a camp counselor and dance teacher at a local community center, I realized how rewarding it is to educate youth. That realization stayed with me well into my adult life and guided me on my path to becoming an educator. During high school, I realized I wanted to pursue a teaching career as a second language educator – teaching French to secondary students.
Lifting the Mask: Performance and Real Presence in Dante
No full textWith our new sensibility to faces hidden by and emerging from behind masks, as well as to the dangers associated with seeing unmasked faces, this essay gives consideration to these themes in the Divine Comedy in relation to the question of performance. The blessed souls appearing to Dante descend to the physical spheres in a “command performance” with vague outlines of faces ceding to even less discernible brightnesses. The vision of those same souls as faces assembled in the Empyrean, where they in fact reside, is also staged, as they are shown as they will appear only at the end of time. Yet this performance is described as people removing their masks. The final vision of God seems to be a specular glimpse of one’s own face (nostra effige) in the Incarnation. This essay juxtaposes contemporary ideas of performativity developed out of speech act theory with medieval practical theology, such as the performance of the psalms and the liturgy and iconography of the Eucharist, in which performance effects what is often referred to as “real presence”. In particular, the imago pietatis, or Man of Sorrows, unwittingly echoed in the stance of the proud atheist, Farinata, in Hell, connects real presence to knowledge of the present, both of which are invisible to the damned. The episode of Ugolino, meanwhile, connects seeing faces with eating, glossed by the extreme legibility on the faces of the starving on the terrace of gluttons in Purgatory. By the end of the poem, true knowledge is expressed not as propositional dogma or science of facts but as an ineffable participatory experience: seeing a face, feeding at the breast, and performing or enacting a relationship of love
