Proceedings Of Fstp3 Congress A Sustainable Durum Wheat Chain For Food Security And Healthy Lives

»Roman Charity« investigates the iconography of the breastfeeding daughter from the perspective of queer sexuality and erotic maternity. The volume explores the popularity of a topic that appealed to early modern observers for its eroticizing shock value, its ironic take on the concept of Catholic »charity«, and its implied critique of patriarchal power structures. It analyses why early modern viewers found an incestuous, adult breastfeeding scene »good to think with« and aims at expanding and queering our notions of early modern sexuality. Jutta Gisela Sperling discusses the different visual contexts in which »Roman Charity« flourished and reconstructs contemporary horizons of expectation by reference to literary sources, medical practice, and legal culture.

This work is a comprehensive history of wheat across all its main areas of production. New techniques such as in vitro culture now enable the development of a greater level of understanding of the genetics of wheat.

Are we in a post-feminist era? Has the term, feminist, grown out of its resisted stance? What from today's standpoint is an appropriate concept of feminist philosophy? And is it not the case that all people thinking democratically must share its central concern? In this book internationally acclaimed philosopher Herta Nagl-Docekal discusses and critiques the theories of today. Her study ranges across philosophical anthropology, aesthetics, philosophy of science, the critique of reason, political theory, and philosophy of law. Continually confronting the persistent problem of the hierarchical relations of the sexes, Nagl-Docekal affirms the importance of feminist thought as she presses for effective approaches to common problems.

02 In this fourth volume of the Art of the Twentieth Century series, the contributors address a fascinating variety of themes relating to art from the 1960s to the end of the century—the period of “postmodernism.”The first of the book’s seven chapters deals with the emergence in the 1960s of what has been called an “expanded field” for art activity. Other chapters discuss the consequences of Conceptual art for notions of the aesthetic; the Post-Conceptual practice of painting; practices of Post-Conceptual photography; video, performance, and installation art; and women’s practice and the question of gendered and nongendered objects. The final chapter explores the globalization of art at the end of the twentieth century. Full color illustrations are featured throughout the volume. Gill Perry is senior lecturer in art history, The Open University. Paul Wood is senior lecturer in art history, The Open University. In this fourth volume of the Art of the Twentieth Century series, the contributors address a fascinating variety of themes relating to art from the 1960s to the end of the century—the period of “postmodernism.”The first of the book’s seven chapters deals with the emergence in the 1960s of what has been called an “expanded field” for art activity. Other chapters discuss the consequences of Conceptual art for notions of the aesthetic; the Post-Conceptual practice of painting; practices of Post-Conceptual photography; video, performance, and installation art; and women’s practice and the question of gendered and nongendered objects. The final chapter explores the globalization of art at the end of the twentieth century. Full color illustrations are featured throughout the volume. Gill Perry is senior lecturer in art history, The Open University. Paul Wood is senior lecturer in art history, The Open University.

The premise of this volume is that the ubiquity of lactation imagery in early modern visual culture and the discourse on breastfeeding in humanist, religious, medical, and literary writings is a distinct cultural phenomenon that deserves systematic study. Chapters by art historians, social and legal historians, historians of science, and literary scholars explore some of the ambiguities and contradictions surrounding the issue, and point to the need for further study, in particular in the realm of lactation imagery in the visual arts. This volume builds on existing scholarship on representations of the breast, the iconography of the Madonna Lactans, allegories of abundance, nature, and charity, women mystics' food-centered practices of devotion, the ubiquitous practice of wet-nursing, and medical theories of conception. It is informed by studies on queer kinship in early modern Europe, notions of sacred eroticism in pre-tridentine Catholicism, feminist investigations of breastfeeding as a sexual practice, and by anthropological and historical scholarship on milk exchange and ritual kinship in ancient Mediterranean and medieval Islamic societies. Proposing a variety of different methods and analytical frameworks within which to consider instances of lactation imagery, breastfeeding practices, and their textual references, this volume also offers tools to support further research on the topic.

Find original research and interpretive studies of the relations between homosexuality and the visual arts. Evidence for the role of homosexuality in artistic creation has often not survived, in part because the direct expression of homosexuality has often been condemned in Western societies. Gay and Lesbian Studies in Art History presents examples of contemporary art historical research on homoeroticism and homosexuality in the visual arts (chiefly painting and sculpture) of the Western tradition from the ancient to the modern periods. Chapters explore the dynamic interrelation of sexuality and visual art and emphasize problems of historical evidence and interpretation and the need to reconstruct social and cultural realities sometimes quite different from our own. Gay and Lesbian Studies in Art History addresses contemporary art historians’interest in studying sexuality in the visual arts, examining such questions as: What are some of the present-day reasons for, and problems of, this research? How is it related to other research areas within art history and to wider public debates about the meaning, value, and propriety of works of art? While the book examines a variety of research problems and theoretical perspectives, most chapters focus on the historical interpretation of a particular work of art, artist, or visual convention. Chapters present new documentation of the importance of homosexuality in the production and reception of artworks in the Western tradition, develop models for approaching the question of how sexuality and visual creation are related, and explore researchers’experiences and obligations in working in the area of gay and lesbian studies in art history today. Contributing authors stress problems of historical evidence and reconstruction; the social and cultural construction of homosexuality; and the active role of visual conventions in shaping perceptions of homosexuals, homosexuality, and homosexual desire. They discuss both the biography of artists and the significance of individual works of art and the social reception and circulation of works of art in the context of wider religious, legal, medical, political, and economic relations. The book may revise readers’beliefs about the significance and value of a number of works of art hitherto forgotten, neglected, under-appreciated, or misinterpreted. Gay and Lesbian Studies in Art History is an enlightening and informative book for art historians, museum professionals, scholars in the field of lesbian and gay studies, and art history students and professors.

What is cultural about vision--or visual about culture? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls "visuality" is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A General Theory of Visual Culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures--that is, to visual culture as a worldwide phenomenon.