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Analyzing the Italian feminist movement of the early 20th century, the historical phenomenon that stands out is that of women's associationism. Studying the aggregation of women's groups allows us to trace a biography of the movement and contributes to writing a still under-documented story of early Italian feminism. In 1910-1911, women's associationism converged in two crucial events in its history: the First Women's Exhibition of Fine Arts in Turin, organised by the magazine 'La Donna' and the First Congress of the Associazione Per la Donna in the context of the 1911 International Exhibition in Rome. The analysis brings out the red thread linking exhibitions and discursive practices in the two cases studied: on the one hand, 'La Donna' gave life to a show that promoted and supported women's art, acting for the professionalisation of women artists and a women's market; on the other hand, the Associazione Per la Donna placed women's social and political claims at the centre of the debate during the Rome Exhibition. The article is part of the branch of research on international feminist movements as a field of investigation intertwining gender, politics, and art. The essay focuses on the first steps of the Italian feminist movement and its forms of institutionalisation, analysing in particular the links between visual and discursive production within two relevant cultural frames of the early 20th century.

The introduction presents an overview of the concept of intermediality and how it is linked with other concepts such as experimentation, transformation, and liminality. Furthermore, the authors claim that intermediality in the post-media era revolutionises the notion of cinematic time and space and leads to an errant spectator, one that experiences various emotions throughout the viewing of an intermedial product.

The contributions collected in this special issue of Whatever shed light on modes and forms of visual representation within twentieth-century Mediterranean artistic practices for the construction of expanded subjectivities in constant metamorphosis. The essays participate in the construction of an alternative historiography of Italian and Southern European art that acts as a narrative “against the grain” to foster a new area of art historical studies inflected by queer perspectives, complementary to the Anglo-American and North European theoretical and historiographical canons. The studies published here focus on theories and experiences capable of expressing resilient and inventive forms of subjective identities that are hybrid or dissident from social norms. Authors in this special issue have addressed topics of the body, desire, and eroticism in areas traditionally considered particularly heteronormative and whose narrative strategies of subjectivity outside the norm have been less explored.

Book review: Cristina Talpan, Reprezentarea filosofului în pictura epocii moderne/ The Representation of the Philosopher in Modern Fine Arts, Ed. Pim, 2022, 276 pages, foreword by prof. univ. dr. Petru Bejan, cover: graphic concept by Ana Maria Alexoaie Conachi.

(Series Information) European Papers - A Journal on Law and Integration, 2023 8(1), 221-226 | Article | (Abstract) This explanation presents the Special Section “The horizontal clauses of arts 8-13 TFEU: normative implications, implementation and potential for mainstreaming”, which collects six Articles originally presented at a workshop devoted to the integration clauses of the TFEU held in October 2021. With a view to working towards a better understanding of arts 8-13 TFEU and their contribution to gender equality, non-discrimination, social protection, environmental protection, consumer protection and animal welfare, the six Articles reflect on the legal nature, value and effects of relevant provisions on EU law- and policy-making. Setting the scene, the explanation outlines the main research questions that guide the analysis in the six Articles and explains how each contribution feeds into the Special Section.

Engaging in martial combat, whether for military, self-defence or cultivation purposes, is taken to sensitise practitioners towards existential issues which in turn enliven potential religio-spiritual experiences and awakenings. In this paper, we draw on Girard’s (1977) Violence and the Sacred, and in particular his proposition that, “religion shelters us from violence just as violence seeks shelter in religion” (Girard, [1977] 2005: 25) to examine sacralisation processes in the traditional martial arts with a particular focus on highlighting how violence, sacralised through sacred imagery, is used as a structuring force to instill dispositions that counter ubiquitous human tendencies towards unfettered violence and violent vengeance. We highlight the phenomenon and function of sacred imagery used in martial arts with very different cultural, ethnic, and spiritual influences, specifically: Japanese Karate, Korean Taekwondo, Brazilian Capoeira and Mexican Xilam. For authenticity, each section is written by an experienced scholar-practitioner of the art and combines literary, empirical, and biographical reflection. Despite these variations, we identify two modalities of sacred imagery use. The first is representational imagery used as sacred signifiers which embed the art in a tradition of sacred attachment. The second form of sacred imagery is metaphorical discourse which is designed to invoke creative visualisations aligning practitioners with idealised experiential states taken to have sacred (as well as practical) value in relation to combat. We conclude that the use of sacred imagery in these ways becomes part of an affective body pedagogy used by the traditionalist martial arts to transfer valued knowledge through the corporeal medium to offset and sacralise violent tendencies. It is qualified that in practice, this sacralisation process involves complex entanglements of the cultural origins, practitioner interpretation and the contemporary context of the martial art in question. The outcome is an evolving sacralisation process which rests in constant tension with the underlying problems initiated by the ubiquitous body-in-conflict problem and the propensity for violence and violent vengeance that the learning of combative skills might otherwise unleash in the body and onto society.

This article explores the documentary-artistic value of historical architecture in the works of a few artists working in Romania after the mid19th century, against the dream of ՙneutral’ depiction or scientific objectivity in rendering historical vestiges and architectural monuments through art. For any antiquarian interests in the drawing of architecture as an art subject in the second half of the 19th century, in the Romanian case the searches are limited to very specific artists, trained in Western or Central-European academies of art, usually not ethnic Romanians in this interval, who worked in the Romanian Principalities (then, Romania) occasionally or permanently, and in most relevant cases were commissioned by the State institutions or directly by the future King to produce such art. How we could use their art works in the field of historical and architectural studies and what are their limits, will make the object of this article.

(Series Information) European Papers - A Journal on Law and Integration, 2022 7(2), 1357-1380 | Article | (Table of Contents) I. Introduction. - II. Arts 8-13 TFEU and other similar clauses of EU primary law. - III. The legal value of the horizontal clauses of arts 8-13 TFEU. - III.1. Horizontal clauses and legal obligations. - III.2. Horizontal clauses and the exercise of Union competences in the areas concerned. - III.3. Horizontal clauses and the boundaries of an EU legal basis. - IV. The functions and judicial input of the horizontal clauses of arts 8-13 TFEU. - IV.1. Horizontal clauses and restrictions to fundamental rights. - IV.2. Horizontal clauses and restrictions to free movement. - IV.3. Horizontal clauses and supportive EU law interpretation - IV.4. Judicial review of compliance with the horizontal clauses. - V. Conclusion. | (Abstract) The horizontal clauses of arts 8-13 TFEU address a persistent challenge for the European Union: combining distinct policy objectives across the many areas of Union activity. Whilst they cannot be used as a legal basis for the adoption of EU measures, they legitimize the pursuit of the objectives they set forth, through legal bases that are designed to pursue some other treaty objective. This Article explores case law of the Court of Justice of the European Union (CJEU) on the legal nature of arts 8-13 TFEU, as well as their functions and input to judicial review. The analysis examines whether the horizontal clauses, as construed by the CJEU, create a legal obligation for mainstreaming. It also probes their relationship with the exercise of Union competences in the broader areas that they ad-dress (save for art. 13 TFEU due to the lack of an EU competence for animal welfare) and their implications for the choice of the legal basis of a mainstreaming measure. This Article further sheds light on the CJEU's treatment of the horizontal clauses in cases concerning restrictions of fundamental rights and free movement, it discusses their contribution to the interpretation of EU secondary legislation and examines whether the horizontal clauses may serve to invalidate an EU measure. The analysis overall attests to moderate judicial use of arts 8-13 TFEU but shows that relevant provisions en-rich and corroborate the CJEU's reasoning on different accounts.

L’articolo si propone, attraverso lo studio delle fonti e la loro contestualizzazione con il panorama della letteratura artistica dell’epoca, di presentare la figura di Emily Nevill Jackson, studiosa inglese di Arti Decorative attiva a Londra tra la fine del XIX e il primo trentennio del XX secolo. La Jackson può essere inquadrata tra le numerose studiose che in quel periodo pubblicarono sui principali periodici di settore, contribuendo a fornire una rappresentazione esaustiva della realtà internazionale legata al settore specifico delle Arti Decorative, sull’onda dell’influenza del pensiero di Ruskin e Morris. La Jackson, in particolare, nella parte finale della sua carriera compì un viaggio in Sicilia, del quale pubblicò un dettagliato resoconto nel volume A student in Sicily del 1926, che rappresenta la prima vera e propria ricognizione generale delle Arti Decorative siciliane, descrivendo dettagliatamente opere, tipologie, materiali, tecniche e collezioni con una meticolosità e una precisione che troveranno riscontro e piena formulazione scientifica soltanto negli studi successivi. Through the study of sources and their contextualisation with the panorama of artistic literature of the time, the article aims to present the figure of Emily Nevill Jackson, an English scholar of the Decorative Arts active in London between the end of the 19th century and the first thirty years of the 20th century. Jackson can be counted among the many women scholars who published in the main periodicals of the sector during that period, contributing to a comprehensive representation of the international reality related to the specific sector of Decorative Arts, in the wake of the influence of Ruskin and Morris' thought. Jackson, in particular, in the final part of her career made a trip to Sicily, of which she published a detailed account in the volume A student in Sicily of 1926, which represents the first real general survey of Sicilian Decorative Arts, describing in detail works, typologies, materials, techniques and collections with a meticulousness and precision that would only be fully and scientifically formulated in later studies.

L'intervento è incentrato sulla ricostruzione del profilo biografico della storica dell'arte Costanza Lorenzetti. Conseguito il Perfezionamento in Storia dell’arte a Roma nel 1915 sotto la guida di Adolfo Venturi, nel 1921 vinse il concorso – prima donna in Italia - per il posto di Professore di Storia dell'Arte, storia generale e bibliotecario presso l’Accademia di Belle Arti di Napoli. Dal 1935 insegnò Storia dell’arte medievale e moderna anche alla Facoltà di Lettere dell’Università di Napoli, ottenendo nel 1949 l’abilitazione definitiva alla Libera docenza. Nel contributo viene evidenziata la grande versatilità della studiosa fabrianese ad indagare con insolita padronanza argomenti in precedenza poco battuti dalla critica, su un vasto arco cronologico che va dal Medioevo al ‘900. Attingendo a fonti archivistiche in gran parte inedite, infine, si mette in evidenza il fondamentale ruolo svolto dalla Lorenzetti nella creazione di un Archivio Fotografico di Storia dell’Arte sia all’interno dell’Accademia di Belle Arti che nell’Università di Napoli. The essay focuses on the reconstruction of the biographical profile of the art historian Costanza Lorenzetti. After her specialization in History of Art in Rome in 1915 under the direction of Adolfo Venturi, in 1921 she won the competition - the first woman in Italy – to become Professor of History of Art and Librarian at the Academy of Fine Arts of Naples. From 1935 she taught History of Medieval and Modern Art also at the University of Naples, obtaining the definitive qualification for university teaching in 1949. The essay highlights her unusual ability in investigating little known topics, over a vast chronological span from the Middle Ages to the 1900s. Finally, drawing on largely unpublished archival sources, it highlights the fundamental role played by Lorenzetti in the creation of a Photographic Archive of the History of Art both within the Academy of Fine Arts and in the University of Naples.

UNESCO’s protection of Intangible Cultural Heritage (ICH) has been a topic of ongoing debate inthe field of Cambodian performing arts. UNESCO’s recognition as ICH means that international attention and renewed economic opportunities arise for the selected performing arts and thus can help to preserve cultural practices that are at risk of being lost. In Cambodia, only a handful of teachers and performers survived the brutalities of Pol Pot’s regime (1975-79), and the incorporation of the artistic traditions into a global scenario, also thanks to the UNESCO cultural strategy, has led to the possibility of revitalizing and rebuilding both old and new repertoires. This is certainly the case regarding the musical tradition of Chapei Dang Veng and the dance-drama Lkhon Khol Wat Svay Andet, registered in the “List of the Intangible Cultural Heritage in Need of Urgent Safeguarding” in 2016 and 2018 respectively. However, considering the “branding” effect of listing and heritage-making, ICH seems to open the doors to mass tourism and in general favors over-commercialization and folklorization of cultural practices, leading to the erosion of their religious significance.

Book review: Anca Elisabeta Tatay, Cornel Tatai-Baltă, Arta grafică a cărților românești vechi tipărite la Brașov/ The Graphic Arts of the Early Romanian Books Printed in Brașov, Mega Publishing House, Cluj-Napoca, 2020, 241 pages

Marcel Proust’s novels certify kitsch by the presence of architecture, theater and fashion. The writer produced his works using textual accumulation and hybridization. These two processes call for other arts in romantic production. From this point of view, the baroque, gothic and modern architectures are represented in the texts through buildings tested by rhetorical descriptions. Images of theater and opera scenes accentuate the flow of kitsch. Ostentatious mode creations are also notified in the intrigues. Marcel Proust is inspired by performing arts to develop an aesthetic of plurality in his novels.

With the advent of digital humanities new expectations and challenges are emerging for institutions harbouring video artworks, specifically in offering access and analytical tools to their archival collections. The paper argues for the possible employment of distant viewing to allow visual arts scholars an unprecedented take on video art, holding together both quantitative comparison and aesthetic considerations. In doing so, the paper addresses the peculiar conditions of video art that need proper consideration for a fruitful employment of distant viewing. Set on the background of the existing platforms for video-art consumption –such as UBU Network, JSC Media Centre, and Daata Streaming Platform that constitute true forerunners in this domain– the paper explores productive connections, synergies and frictions that might emerge with methods in digital humanities. In doing so, this research aims at setting early theoretical assumptions necessary to draw a methodological approach in the employment of distant viewing to video art. Accordingly, the paper reflects on the effectiveness of using thematic sub-sets based on categories already defined by visual arts, as well as on the possible implications of widespread practices such as manipulation and appropriation of video material.

Book review: Valentin Trifescu, Geografii artistice și regionalism în istoriografia de artă din Alsacia interbelică/ , Artistic Geographies and Regionalism in Art Historiography in Interwar Alsace, foreword by Andrei-Corbea Hoișie, preface by Jean-Noël Grandhomme, 2nd revised edition, Ed. Școala Ardeleană, 2019, 250 pages.

Il 1823 vide la fondazione della British Academy of Arts di Roma, in via di S. Isidoro, drawing class stabile, frutto della cooperazione tra i primi artisti inglesi giunti nell’Urbe dopo la Restaurazione. Tra fasi di totale abbandono e tentativi di rilancio, l’accademia sopravvisse per oltre un secolo e, progressivamente aperta anche ai non britannici, fu frequentata da diversi grandi nomi dell’Ottocento artistico europeo. In seguito alla dispersione dell’archivio accademico nel 1946, diversi sono stati i tentativi di ricostruire la storia dell’istituzione, inevitabilmente lacunosi e spesso inesatti. Grazie all’apporto di nuove fonti primarie, col presente saggio si vogliono fornire: una ricostruzione cronologica puntuale del processo di fondazione; un’identificazione degli artisti che presero parte alle prime attività; un’analisi della realtà concreta dell’istituzione ai suoi albori. In particolare, sulla base di un finora mai indagato legame tra la nuova accademia e la British Institution di Londra, sarà avanzata una nuova ipotesi sulle motivazioni del rapporto notoriamente conflittuale tra artisti anglo-romani e Royal Academy, la quale mai volle riconoscere la British Academy di Roma come sua succursale. The year 1823 saw the foundation of the British Academy of Arts in Rome, in Via di S. Isidoro, a stable drawing class, the result of the cooperation between the first English artists who arrived in Rome after the Restoration. With phases of total abandonment and attempts to relaunch, the academy survived for over a century and, progressively accessible to non-British too, it was frequented by several great names of the European artistic 19th century. Following the dispersion of the academic archive in 1946, there have been several attempts to reconstruct the history of the institution, inevitably incomplete and often inaccurate. Thanks to the contribution of new primary sources, this essay aims to provide: a timely chronological reconstruction of the foundation process; an identification of the artists who took part in the first activities; an analysis of the concrete reality of the institution at its dawn. In particular, on the basis of a previously never investigated link between the new academy and the British Institution of London, a new hypothesis will be put forward on the motivations of the notoriously conflicting relationship between Anglo-Roman artists and the Royal Academy, which never wanted to recognize the British Academy of Rome as its branch.

La configuración de la trama urbana de las ciudades revela a menudo aspectos clave de su contextura social, histórica o cultural. Los espacios liminales de la ciudad nos permiten entrever esta configuración en proceso de construcción o mutación. Es significativo el interés reciente por las periferias urbanas en áreas del conocimiento tan diversas como los estudios sociales, la arquitectura y el urbanismo o las artes visuales. La ciudad india de Chandigarh nos proporciona un caso de estudio de especial interés. Diseñada por Le Corbusier y su equipo a mediados del siglo XX, ejemplifica singularmente la tensión entre la ciudad planificada y la tendencia a la proliferación desordenada. Nos remite a algunos debates actuales en torno a la identidad cultural desde perspectivas como los estudios sociales o el urbanismo. Ha sido también objeto de controversia desde la óptica postcolonial: aplaudida por algunos como proyecto urbanístico de alcance social, otros califican el experimento del arquitecto franco-suizo como ejemplo de modernidad importada y autoimpuesta. En este artículo damos cuenta de una investigación llevada a cabo con un grupo de estudiantes y profesores de la universidad local en que las artes visuales son una vía para reflexionar sobre el sentido y las transformaciones de la periferia de Chandigarh, en la zona conocida como el Geen Belt. Repasaremos para ello algunos referentes destacados de las propuestas artísticas que se centran en la idea de periferia urbana, y reuniremos evidencias aportadas por los participantes para sospesar el sentido y alcance que la experiencia tuvo para ellos y ellas.

La trajectòria de Joan Miró es caracteritza per haver sabut construir un llenguatge propi de gran força expressiva a partir d’un ús de formes, materials i colors que entronca amb signes essencials de l’home i de la natura. Amb aquest article recollim alguns dels rastres de l’interès de l’artista per les cultures del món en temps del primitivisme i per manifestacions artístiques foranes, espontànies o primigènies que el van ajudar a traçar un camí propi, profundament personal alhora que universal.

In 1837-1850, King Carlo Alberto of Savoy Carignano – in memory of his ancestors – commissioned four large monuments for the Chapel of the Holy Shroud of Turin, a masterpiece of architect Guarino Guarini, to important and famous sculptor of the time: Amedeo VIII (Benedetto Cacciatori), Emanuele Filiberto (Pompeo Marchesi), Carlo Emanuele II (Innocenzo Fraccaroli) and Tommaso di Savoia Carignano (Giuseppe Gaggini). Based on archival documents, the essay focuses on the realization of the funeral monuments, analyzing the iconographic choices, the material used (marbles from Carrara and Piedmont), the work’s difficulties, the installation in the Chapel. The letters written by the sculptors, who worked mainly in Milan and were in constant contact with the Royal House, tell the work’s progress: the preparation of sketches and preliminary projects, the first sculptures, the variations, the transfer of the marbles to Turin and the final positioning in the Chapel of the Holy Shroud. [ABSTRACT FROM AUTHOR]

This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts.

L’article analyse la naissance des «Annales du Musée et de l’école moderne des beaux- arts» de Charles-Paul Landon. Imprimé à partir de 1801, le périodique avait pour but de raconter l’histoire de l’art à travers une image simplifiée, la gravure au trait, et un langage essentiel,afin de promouvoir de manière compréhensible et accessible à tous tant les œuvres situées dans l’espace en cours de définition du Louvre, que celles exposées aux Salons. L’étude des volumes des «Annales» – en relation avec les publications contemporaines – permet de reconstruire la période d’un point de vue critique et théorique, en mettant en évidence les aspects émergents du débat de ces années et lagenèse d’une typologie éditoriale liée à la diffusion artistique, étroitement liée aux succès des musées. The article analyses the origin of the «Annales du Musée et de l’école moderne des beaux-arts» by Charles-Paul Landon. Printed from 1801, this periodical publication was created with the aim of disclosing art through simplified pictures, line-engraving and essential language, thus promoting in a simple and accessible way both the works of artlocated in the developing space of Louvre both the ones showed during the short time span of Salons. The study of the «Annales» – in relation to other contemporary publications – allows the reconstruction of the whole period from a critical and theoretical perspective, underlining the emerging topics of the debate of those years and revealing the very origin of this particular type of publishing linked to the outreach of art and closely connected to the spread of museums.

The aim of this report is to show two main results of the ERC project PerformArt: a database and a thesaurus. Over a period of five years, the team of the project developed a very rich database; the development of a thesaurus became necessary to browse through this mass of data.

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient.

In nowadays' explosion of technologies and mediums of communication, there is a recurrence of the pattern of dissemination of the message and of its formative mechanics of meaning, manifested especially in the field of contemporary visual arts and advertising. A comparative analysis of these visual structures of communication could reveal the nature of the interference between the advertising message's subject and theme, and the peculiarities of the meaning specific to the artistic mediums appropriated by the contemporary advertising - namely, the mediums of expression. Targeting the unconventional forms of advertising, as well as the constantly changing relationship of advertising with the technological environments, we will analyze the relationship between the specific expression of the traditional fine arts (graphics, painting, engraving), the contemporary visual arts (such as graphic design, photography, video, or performance), and the characteristics of the message and its meaning in advertising (as expressed in printing, television, or internet). We want to emphasize the importance of these particularities of the visual arts mediums in crafting the communication message, as each of these mediums of expression imposes its expressive mark to the advertising process, decisively influencing the creation of meaning.

Il saggio prende in esame l’Osservatorio per le Arti Decorative in Italia, strumento scientifico del Dipartimento Culture e Società dell’Università degli Studi di Palermo, che ha come obiettivo principale la conoscenza, lo studio, la divulgazione e la salvaguardia del patrimonio storico-artistico delle Arti Decorative, e la sua attività di comunicazione, tra realtà analogica e digitale. L’attività scientifica dell’Osservatorio viene messa in relazione con il contesto degli studi storico-artistici inerenti il settore specifico delle Arti Decorative in Italia a partire dalla fine del XIX secolo, dimostrando come l’Osservatorio stesso costituisca un aggregatore di risorse scientifiche coerente con un percorso di studi che ha portato le Arti Decorative ad uscire dall’alveo ristretto che la definizione di “Arti Minori” gli ha imposto a lungo, per accreditarsi come branca di studi di livello pari alle discipline tradizionali. The essay examines the Osservatorio per le Arti Decorative in Italia, a scientific instrument of the Department of Culture and Society of the University of Palermo, which has as its main objective the knowledge, study, dissemination and preservation of the historical-artistic heritage of the Decorative Arts, and its communication activity, between analogical and digital reality. The scientific activity of the Osservatorio is related to the context of the historical-artistic studies inherent to the specific sector of Decorative Arts in Italy since the end of the 19th century, showing how it constitutes an aggregator of scientific resources consistent with a path of studies that has led the Decorative Arts to leave the narrow field that the definition of "Minor Arts" has imposed on it for a long time, to be accredited as a branch of studies of the same level as traditional disciplines.

This paper examines a long-neglected aspect of Giulio Camillo’s oeuvre: the role of the emotions and their systematic symbolisation via foot imagery in L’Idea del Theatro (1550) and De l’humana deificatione (c. 1542). A twofold hypothesis is suggested: on the one hand, Camillo’s negative association of feet with the emotions stems from his syncretic reading of Kabbalah and Christian theology; on the other, this conceptual blending is supported by the embodied cognitive dynamics intrinsic to the arts of memory’s imagines agentes in the tradition of the Rhetorica ad Herennium.

The contribution attests a research project coordinated by the Department of Human Sciences for Education “Riccardo Massa” (University of Milano-Bicocca) and led in Mantova and Sabbioneta UNESCO sites. The project aims at accompanying citizens and visitors along a participative, sensorial and emotional path towards the cultural heritage’s enhancement and interpretation. Inspired by the desire to promote experiences helpful for an encounter between human beings and the environment, the body and the mind, the scientific and poetic dimension (Antonacci, 2019; Bruzzone, 2016; Dallari e Francucci, 1998; Mortari, 2017; Scardicchio, 2012; Zuccoli, 2020), we wanted to investigate and further explore the possibility to plan and start exploratory itineraries (Guerra, 2019) and artistic-expressive-performing actions both for daily and one-day passers-by. These are meant to feel, to live and inhabit these places not only through a rational and intellectual awareness but, more importantly, through a bodily and emotional one (Gamelli, 2005, 2009).

(Series Information) European Papers - A Journal on Law and Integration, 2022 7(3), 1381-1403 | Article | (Table of Contents) I. Introduction. - II. Individual horizontal clauses as an empty vessel. - II.1. Equality concerns incorporated in EU law-making before the horizontal clauses. - II.2. No autonomous function for horizontal equality clauses. - III. The contribution of horizontal clauses to the crossing. - III.1. An aid in the case-law of the ECJ. - III.2. An aid in the broader context of EU governance. - IV. Where is the vessel heading? The quest for the effectiveness of the principle of equal treatment in EU law. | (Abstract) About 15 years ago, Jo Shaw asserted that what is the current art. 10 TFEU was "largely an empty vessel". Several years down the road, the present Article takes Shaw's statement as a starting point to ex-amine the two articles of the current EU Treaties that are most commonly associated with the idea of equality mainstreaming in contemporary EU law: art. 8 TFEU and art. 10 TFEU (section I). It is argued that these articles rather than fulfilling a new function, actually primarily illustrate and give visibility to a political will to use existing tools to enhance the protection of equal treatment in EU law. We will explain first why these articles taken in isolation can still be considered an empty vessel (section II). Yet, although the horizontal clauses have not had much added value, they have actually been used. We therefore subsequently explore how the clauses have been employed, both in ECJ case-law and in a broader EU governance context (section III). By way of concluding comments, we investigate the existence of other possible avenues for improving the equality agenda in the EU legal order (section IV).

The potential rewards of non-formal education in language learning and teaching should not be underestimated. At the heart of this contribution, then, is an extensive dialogue between a language teacher and a museum guide. Together, they explore how their different disciplines can complement each other, with the overall aim of maximising the (language) learning effect for students, whilst also motivating them to engage in the art exhibition itself. They discuss the benefits museum learning can offer upper-secondary language learners and what challenges teachers and arts educators may face. It becomes clear that language learners can benefit from a collaborative relationship between their school and a museum, especially if the respective educators join forces in this shared mission.

Il mate è un infuso che si ricava dalle foglie essiccate e triturate dell’arbusto Ilex paraguensis (o paraguayensis) secondo la classificazione scientifica assegnagli nel 1822 dal botanico francese Auguste de Sainte Hilaire. Conosciuta già in epoca pre-colombina, la bevanda era inizialmente diffusa presso gli indios guaraní, popolazione dell’attuale Paraguay, ma poi si è propagata in altri territori della America Latina: Argentina, Uruguay, Bolivia, Perù e alcune zone del sud del Brasile e del Cile. Il mate ha proprietà nutritive, toniche, diuretiche ed energetiche e per tali ragioni, secondo i suoi miti d’origine, sarebbe stato donato agli indios dagli dei. In ambito rioplatense, il mate è ancora oggi molto diffuso, ed è diventato una bevanda carica di significati che rinviano all’identità, alla meditazione, all’integrazione, oppure ad aspetti della vita quotidiana. Il saggio, utilizzando prevalentemente fonti letterarie o delle arti visuali, traccia una storia del mate da “rito del demonio” a patrimonio culturale. Mate is an infusion derived from the dried and ground leaves of a shrub classified in 1822 by French botanist Auguste de Sainte Hilaire as Ilex paraguensis (o paraguayensis). The drink was known already in pre-Colombian times, originally among the Guarani Indios in what is today Paraguay, but its use subsequently spread to other regions of Latin America: Argentina, Uruguay, Bolivia, Peru and some areas of Southern Brasil and Chile. Mate has nutritional, tonic, diuretic and stimulant properties, and for this reason, according to its origin myths, it was given to the Indios by the gods. In the Rio de la Plata region it is widely used to this day and has acquired a wide range of connotations associated with identity, meditation and integration, as well as a number of aspects of every-day life. This study outlines the history of mate from “diabolic ritual” to cultural heritage, focusing on the evidence provided by literary sources and the visual arts.

In the context of cinema and visual arts, contemporary installations and digital projects, there is a growing interest in the aesthetic transformation of control images, traditionally used in crime prevention, for military use, or as recognition techniques in the context of police and legal services. Borrowing some symbolic aspects of such procedures, numerous artists have recently reworked some of the same tropes to redefine the representation of the migrant, the refugee, the illegal citizen, the subject at the margins, or the outcast, critically reading the related stereotypes and formulas. They range from the ironic staging of processes of identification (Self Portrait, Mekas 1980), to the denial of the somatic coherence of the individual (The Reincarnation of Saint Orlan, Orlan 1990-93), to the use of passports in self-portraits (Daniel Isaac Spoerri-Feinstein, Spoerri 1977), to the commercialization of one’s own body in order to gain civil rights and citizenship (Looking for a Husband with an EU Passport, Ostojić 2000-05). Against this backdrop, this contribution focuses on the aesthetic use of identification and control techniques within a contemporary visual context, crucial not only for understanding the more recent forms of life-writing but also for rethinking identity in a historical and cultural perspective.

In this paper we analyze culture as integral aspect of everyday life and the ways culture is actualized through cultural participation. The research presented in this paper is part of the Center for Designing the Everyday project, which aims to explore the current state and possibilities for establishing a new model of participatory governance in culture based on the model of participatory democracy. In this research, designed and conducted to assess the state of cultural participation at two intervals over a two-year period, the aim was to determine whether there are differences in the types of participation and motivations for participation in cultural events and activities before and after initiatives aimed at reinforcing the model of participatory governance. The paper draws on three conceptual turns, namely postmodern, cultural, and participatory, to examine the repositioning of cultural participation in everyday life. Two surveys were undertaken in 2018 and 2020 in Zagreb, targeting an intentional sample of visitors to cultural institutions and associations operating in the field of visual arts. Given the specific timeframe, the results are interpreted in the context of the pandemic. Results imply strengthening of cultural participation connected to cultural consumption, while participation connected to cultural production is decaling. Furthermore, interactive cultural participation in digital and virtual environment indicates inequalities among different social groups especially when it comes to elderly population that has proven to be vulnerable in terms of frequency and availability of interactive cultural participation.

This paper will focus on decorative arts and issues associated with their research. The discussion will move beyond studies at the crossroads of different disciplines. It will consider the «web revolution» and the way new paradigms and data sharing strategies may foster new digital art histories of collaborative nature.

The Liberal Arts deal with the human being as a whole and hence with what lies at the essence of being human. As a result, the Liberal Arts have a far greater capacity to do good than other fields of study, for their foundation in philosophy enables them to bring students into contact with the ultimate questions which they are free to accept (or reject). Even if these questions have little or no ‘market value’, it should be obvious that the way they are taught and learned is going to have a powerful impact upon the future of the students and society. It is suggested here that mathematics has an integral role in the study of the liberal arts in a first degree at a university where the ‘meal ticket’ is subsequently studied in the graduate or professional school.

The ꞋLong 19th CenturyꞋ saw the development of modern arts policy in many European countries and also in the Habsburg monarchy. Although the creation of national codes was not yet completed at that time, the measures adopted for the promotion of the arts did play an important role in the cultural development of Central Europe at the turn of the century. In fact, the efforts of various generations of politicians and administrators aiming at creating some sort of cultural identification patterns, which were oriented to the common State, left their mark in the collective memory. Most notably, a remarkable effort was made to give broader parts of the population access to the arts. Hence, the promotion of the arts soon became one of the tasks of the modern "cultural State", whose effects were going to last beyond the end of the Monarchy. The basis for these common communication spaces was not to be found in a Habsburg-Austrian "Leitkultur" (core culture) focused on Vienna, but in the acceptance of the cultural diversity existing in this area.

In this paper, I discuss certain criteria for classifying the substantive arts. In the first section, I explain the idea of substantive arts and then put forward sociological, historical, thematic and metaphysical criteria for classifying the arts that I deem to be external to the classified materials. I subsequently outline five classification criteria internal to works of art, themselves understood as techniques. Such criteria take into account the materials used in the works, the degree of destruction exercised therein, the degree of disconnection between the artist and the artwork, the sense organs involved in perceiving these works and the scope of the analogies between them and the other parts of reality. To end, I draw final corollaries in line with the discussion.

The 1960s and 1970s are major periods in the reconstruction of African American identity. This recreation can be seen in the way such Black Arts Movement-era authors as Amiri Baraka, William Melvin Kelley and Ishmael Reed have reinvented the collective memory of the African American community. They did so either by destroying the facts previously established by the Whites or by manipulating them to make them correspond to their own ideas of self-determination and cultural pride. They used legends and legendification, heroization or again, empathy toward oppressed people to achieve their goal. Among the practices, there are also the subversion of stereotypes, the use of African and African American folklores, as well as the transfers of places and topoi to create an overlapping of the two continents to favor this identity reconstruction of the Black minority of the USA.

In 1907, the English architect Charles Robert Ashbee (1863-1942) was in Taormina, invited by his friend, Colonel Thomas Bradney Shaw-Hellier (1836-1910), to design the house he wanted to build in the Sicilian town. Trained at King's College, he is known to have been one of the principal protagonists of the Arts and Crafts movement. When Ashbee arrived in Sicily, we was immediately enthusiastic about Taormina, the ancient monuments and, of course, he was enchanted by Mount Etna. This trip also gave him the opportunity to visit some of the most important archaeological sites and other island towns. Through his Memoirs, preserved at the Victoria & Albert Library in London, which tell in diary form part of his life and activities between 1884 and 1923, it is possible to trace the places, the monuments, and the landscapes that excited him, without neglecting the many suggestions of the cultural and traditional aspects of Sicily. With an acute spirit and unfailing English humour, he described the landscape as well as the anthropological aspects of the Island, the habits and the character of the inhabitants.Between January and February 1907, Ashbee visited Syracuse, Agrigento. At the end of this brief but intense journey among the most important monuments of the island, he wrote: "Sicily is a land for Architects". During his Sicilian journey, he lived through the dramatic earthquake in the Strait of Messina of 1908, noting the horror of the destruction and desperation of the inhabitants. He was to return to his homeland in the following April, after the conclusion of the works on the villa he had designed for his English friend, which, transformed over the past few decades into a hotel, is now called Ashbee Hotel.

The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used as distinctive features to define the substantive arts. I subsequently put forward an alternative intensional criterion to characterize the substantive arts. To end, I draw some corollaries following from the application of this criterion.

The construction of tombs in the era of Islamic architecture is usually considered as being a manifestation of beliefs and rituals related to the honoring of the dead, along with other religious buildings, including mosques. The various structural methods of the tombs have been influenced by varied cultural and material factors. However, contrasting opinions and votes have been allocated to the issue of tombs laws in Islamic jurisprudence. At any rate, a foregone conclusion is that the presence of a large number of these buildings in many Islamic countries emphasises their special position in the Islamic society. Different types of Islamic decorative arts can be studied in accordance with the importance of the most beautiful historical domes of Iran, namely Kabood and Ghafarieh domes. This research is based on the study of some applied elements, such as tiling (Kashi Kari) and brickwork, as well as some of the architectural elements in the domes of Maragheh, like polo, which have not been observed in other Iranian buildings.

Review of the book: Bokus Barbara – Kosowska Ewa (eds.), Truth and Falsehood in Science and the Arts (Warszawa: Wydawnictwa Uniwersytetu Warszawskiego 2020). Pp. 299. ISBN 978-83-235-4220-9

This essay brings Edgar Allan Poes Masque of the Red Death into dialogue with Giovanni Boccaccios Decameron, a fourteenth-century Italian text. Though different in scale, both texts start with an experience of plague and follow a group of people who withdraw into a restricted community to survive the disease through art. The outcomes are wildly different, however: death, for Poes characters; a return to their homes, for Boccaccios. Firstly, I consider Boccaccios text for its justification of the characters decision to escape the city, their manner of living together, and their stories content. Crucial here is that the Decameron is, in its fuller title, cognominato Prencipe Galeotto [surnamed Prince Galehaut], an Arthurian and Dantean reference that highlights arts potential to be morally dangerous. Secondly, I examine Poes story as a kind of tragic, deviant Decameron, lacking the reason, order, and constraints that Boccaccio stresses in the construction of his ideal community. I read Poes Prince as another Galehaut: a seductive intermediary who leads his followers via art to death. Thirdly, I reflect on our experience of a studentstaff book club at SELCS in UCL, to consider what sort of story-telling community we created in the time of Covid-19, in the wake of this Boccaccian tradition. Ultimately, I see our activities as having been most similar to a third text, Marguerite de Navarres Boccaccio-inspired Heptam豯n, given Marguerites reflections on the role of art in a crisis and the unfinished nature of her text.