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À la limite: la vie et la carrière de Zacharie de Celers

Die Projektion Gerhard Mercators setzte Maßstäbe in der Kartographie und wurde zum weltweiten Standard, bis sie im 20. Jahrhundert in die Kritik geriet und sukzessive abgelöst wurde. Dieser Band, hervorgegangen aus einer internationalen Tagung aus Anlass des 500. Geburtstags Mercators, nimmt den Gelehrten und sein Werk im Kontext mittelalterlicher und frühneuzeitlicher Diskurse, Netzwerke und Dimensionen der Wissensproduktion in den Blick. Am Standort Duisburg war Mercator auf Informationen aus aller Welt angewiesen, die er durch ein briefliches Kommunikationsnetz und über Vermittlung durch Abraham Ortelius erhielt. Der Selbstverlag, der auf der Mitarbeit der Familie basierte, produzierte und vertrieb das umfangreiche Werk, das weit mehr als Karten und Globen umfasste. Die Rezeption des Werks, die Nutzung und Popularisierung seiner Karten und Globen werden in diesem Band ebenso beleuchtet wie die Wirkung seiner wissenschaftlichen Erkenntnisse bis in unsere Gegenwart.

In Alain Chartier: Père de l'éloquence française contributors explore the diverse literary production of this influential late-medieval writer, whose concern with personal and political ethics and renovation of poetic form inspired generations of writers, and still resonate with modern readers.

A study that explores the role of images of the landscape in marketing America to would-be Italian emigrants in the era of the Great Migration (1880-1920).

A sabbatical project, "Breaking up with Brueghel," led to creation of an extensive number of paintings. Their common theme was the correlation between structures of life as depicted in molecular imaging and the structures of art in still life painting. The tradition of food as a subject of still life paintings was re-examined through the genetics of food. The paintings were exhibited in a number of venues, including several abroad, and purchased by donors for various musea and galleries. The accompanying leaflet presents one of the paintings.

"Reflects Marilyn Aronberg Lavin's innovative work in art and cultural history in both the print and digital realms. Contributors: Kirk Alexander, Horst Bredekamp, Nicola Courtright, David Freedberg, Jack Freiberg, Marc Fumaroli, David A. Levine, Daniel T. Michaels, Elizabeth Pilliod, Debra Pincus, Gary Schwartz. Seventy-seven illustrations, bibliography of Lavin's works, index"--Provided by publisher.

Two term sabbatical to create "Baroque Float", an extensive number of paintings investigating the visual and conceptual correlation between the structures of life as depicted by scientific molecular/cell imaging and structures of art as depicted by still life and Baroque ceiling painting.

In June of 2004, The New York Times reported that the fig trees in the Carroll Gardens section of Brooklyn were dying.1 Accompanying this horticultural death was another transition. Like the fig trees, the elderly Italian-American people who tended them were also gradually disappearing from the neighborhood. The article demonstrated what most residents of the New York tri-state area already knew: The ethnic make-up of a neighborhood often may be "read" through the residential landscape choices of its inhabitants. For people of Italian descent, the fig tree (Ficus carica) is one of many ethnically significant components of the landscape. Throughout the New York City metropolitan region, the residential landscape plays a prominent role in the construction of Italian-American identity. With their symmetrical plans, sheared shrubs, religious statues, and fig trees, Italian-American landscapes proclaim the ethnicity of homeowners and knit neighborhoods together with a shared horticultural and design idiom. Despite the facility with which the denizens of the New York tri-state region discern and describe this "Italian look," no study concerned primarily with the visual analysis and historical precedents of these Italian-American residential landscapes yet exists. Copyright © 2011 Fordham University Press. All rights reserved.

Gallia est omnis divisa in partes tres. ‘All Gaul is divided into three parts.’ The opening passages of Julius Caesar’s Commentaries on the Gallic Wars define the target of Roman conquest in geographic terms. Caesar goes on to describe the boundaries of Gaul, its inhabitants, and their character. He does so – at least in part – to enhance the value and importance of his military triumph. The heirs to the vanquished Gauls – French medieval readers and translators of the Gallic Wars – consumed, copied and transformed Caesar’s text, preserving some features and emphasizing them, while erasing others. Although the text and its description of the divisions of Gaul enjoyed considerable popularity and influence in France throughout the Middle Ages, at the time of the Hundred Years War, when France was politically divided, French texts often replaced the tripartite form of Caesar’s Gaul with other models of geographical description. This essay will consider the changing character of geographical thinking about France by the French in the later Middle Ages – expressed in languages both visual and verbal. It will show how geography became entwined with contemporary French identity, particularly with reference to the ways that authors, artists and mapmakers received, transmitted and ignored the tradition of Caesar’s divided Gaul. Fought with the English, primarily on French soil, the war occasioned monumental division in France. Instigated by a dispute about the inheritance of the French crown, as well as over feudal rights owed the French king by his English rival, the Hundred Years War waxed and waned from 1337 to 1453. The calamities of the war were visited on France both physically, in terms of lost and plundered territory, and politically, in terms of the huge rifts that the war wrought in the fabric of French society. Not only did the French struggle against the English, but also, because of bickering, rivalry and ultimately murder among the peers of the realm, the French were also divided against one another, and thus the Hundred Years War also became a civil war. The Armagnacs (French supporters of the French king Charles VII), the Burgundians (French but for some critical years supporting the English) and the English divided France into three fractious parts that joined into fragile alliances. As divisions, they were not as coherent or distinct as Caesar’s provinces, but they divided France painfully if temporarily. © Cambridge University Press 2013.

The author argues that the online environment lends opportunities for development of critical thinking and creation of a collaborative learning environment not available in the face-to-face classroom. The author compares student participation, test results, the quality of writing assignments in art history survey courses she taught online and face to face at the same university. Not only can critical thinking be encouraged and facilitated by introducing challenging and intriguing topics in group discussions and blogs, but the specific nature of online communication provides a unique and positive atmosphere for discussion: anonymity fosters participation among students who are less fond of public speaking, schedule flexibility means students can do research before posting to discussion boards, a lack of time constraints means discussions do not have to "end" when "class" is over, visibility of discussion postings to the entire class means that students can and do learn from their peers, and the variety of available tools means students can incorporate images, audio/video clips and graphics into their analytical reflections. This paper summarizes the most effective approaches taken to establishing group discussions in asynchronous online courses, discusses learner engagement strategies in the e-learning environment, describes best practices for the optimal use of discussion boards, analyzes learning outcomes of discussion board assignments compared to in-class essays and writing assignments. Copyright © 2012, Common Ground.

For Italian immigrants and their descendants, needlework represents a marker of identity, a cultural touchstone as powerful as pasta and Neapolitan music. Out of the artifacts of their memory and imagination, Italian immigrants and their descendants used embroidering, sewing, knitting, and crocheting to help define who they were and who they have become. This book is an interdisciplinary collection of creative work by authors of Italian origin and academic essays. The creative works from thirty-seven contributors include memoir, poetry, and visual arts while the collection as a whole explores a multitude of experiences about and approaches to needlework and immigration from a transnational perspective, spanning the late nineteenth century to the late twentieth century. At the center of the book, over thirty illustrations represent Italian immigrant women's needlework. The text reveals the many processes by which a simple object, or even the memory of that object, becomes something else through literary, visual, performance, ethnographic, or critical reimagining. While primarily concerned with interpretations of needlework rather than the needlework itself, the editors and contributors to Embroidered Stories remain mindful of its history and its associated cultural values, which Italian immigrants brought with them to the United States, Canada, Australia, and Argentina and passed on to their descendants.

Neoliberal globalization and politics are reshaping the landscape in the United States and other countries; consequently, broader and more critical perspectives about education, community, and the arts are becoming increasingly more important. In the field of education, critical pedagogy has become a philosophy to expose, critique, and challenge neoliberal free market capitalism. Critical pedagogy becomes the link between local and global perspectives that reveals conditions of social and cultural injustices. Through socially engaged art education and service-learning initiatives, the authors have been engaging their students to become actively engaged citizens. This chapter offers a qualitative critique of the authors' own pedagogical practices through the convergence of critical pedagogy and arts-based service-learning by applying, adapting, and revising existing models of critical pedagogy such as Cipolle's (2010) “four elements of critical consciousness development” (p. 40) and Shor's (1992) methods for implementing critical pedagogy.