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Journal articles on the topic 'Pictorial references'
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1
Wierzbowska, Ewa M. "« Elle peint comme elle chante... »." Quêtes littéraires, no. 5 (December 30, 2015): 79–87. http://dx.doi.org/10.31743/ql.240.
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The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.
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Bertho, Sophie. "Dominando a imagem: funções da pintura na narrativa." Caligrama: Revista de Estudos Românicos 20, no. 1 (2015): 109. http://dx.doi.org/10.17851/2238-3824.20.1.109-124.
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<p> Este artigo tem por objetivo examinar as referências ao pictural na literatura e, especialmente, definir as funções da presença do quadro de pintura na narrativa. Com base na obra de Marcel Proust, <em>À la Recherche du temps perdu</em>, são analisadas as referências à pintura para se definir quatro tipos de função: psicológica, retórica, estrutural e ontológica, que são exemplificadas com excertos de Proust e comparadas a outras obras da literatura francesa. Conclui-se que as diferentes funções que a referência ao pictural exerce em um romance se distinguem por operarem no nível da recepção ou da produção, sendo que a função ontológica, a mais complexa, ultrapassa essa distinção e atinge o metadiscurso, revelando em uma outra arte, a pintura, a essência da arte primeira, a literatura. </p><p>This essay investigates the pictorial references in literature and especially defines the role of the presence of paintings in the narrative. These pictorial references are analyzed in order to define four types of functions: psychological, rhetorical, structural and ontological, which are exemplified with Proust excerpts and compared to other works of French literature. The different functions of the pictorial references are operating in the novel at reception or production level, and by Proust the ontological function, more complex, beyond this distinction reaches metadiscourse, revealing in another art, painting, the essence of the first art, literature. </p>
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Bednarski, Aleksander. "Ekphrastic Insets in Welsh-Language Fiction 1992-2016: An Overview." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 27. http://dx.doi.org/10.17951/lsmll.2020.44.2.27-39.
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<p>Compared with Anglophone literatures, Welsh-language fiction has to date received little attention in the context of the rapidly developing intermedial and interart studies. The purpose of the article is to provide a preliminary mapping of pictorial insets in Welsh-language fiction in the period 1992-2016. The novels considered in the article include some of the milestones in the development of Welsh fiction and provide a representative sample of the literary production from the period in question. The article identifies and lists the sources of ekphrastic insets scattered throughout the texts, grouping them into descriptive ekphrases, references, pictorial models and spatio-contextual ekphrases.</p>
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Giusti, Giulio L. "Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 159–79. http://dx.doi.org/10.1515/ausfm-2015-0021.
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Abstract This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of elaborate camerawork and disjunctive music and sound. Specifically, this article seeks to complement these studies by arguing that such a stylistic and technical achievement in the film is also rendered by Argento’s use of a specific art-historical repertoire, which not only reiterates the Gesamtkunstwerk-like complexity of the director’s audiovisual spectacle, but also serves to transpose the film’s narrative over a metanarrative plane through pictorial techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American Hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I will demonstrate how and to what extent in the film Argento manages to break down the epistemological system of knowledge and to disrupt the reasonable order of traditional storytelling through the technique of the trompe-l’oeil in painting.
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Schwind, Jean. "The Benda Illustrations to My Ántonia: Cather's “Silent” Supplement to Jim Burden's Narrative." PMLA/Publications of the Modern Language Association of America 100, no. 1 (1985): 51–67. http://dx.doi.org/10.2307/462200.
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The publishing history of My Ántonia emphasizes what is implicit in the novel's numerous references to pictorial art: the pictures in the first edition of My Ántonia are not dispensable decorations but an essential part of Cather's text. The Benda illustrations (which Cather independently commissioned against the strong opposition of her publishers at Houghton Mifflin) reinforce the central fiction of the novel, in which “editor” Cather introduces My Ántonia as the work of “author” Jim Burden. Presenting My Ántonia as a critically edited or “supplemented” text, Cather hints that W. T. Benda's series of drawings is her most important addition to the “substance” of Jim's text. In her introduction to Jim's narrative, Cather suggests that Jim Burden's literary vision is faulty and in need of correction. Cather offers this corrective by providing a pictorial subtext that offsets the romantic bias of My Ántonia and exposes Jim Burden's limitations as an author.
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Bryl, Mariusz. "Obraz Artura Grottgera „Modlitwa konfederatów barskich przed bitwą” (pod Lanckoroną?): historia, literatura, ogląd." Artium Quaestiones 31, no. 1 (2020): 369–400. http://dx.doi.org/10.14746/aq.2020.31.12.
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The subject of the paper is a painting by Artur Grottger, which has not yet been the subject of close art historical analysis, hindered by the complicated history of the painting as a material object: from its creation (1861–63) and being exhibited in Vienesse Kunstverein in 1864 (titled Das Gebet vor der Schlacht. Episode aus der vergangenen Zeit in Polen), via its appearances and disappearances in the arena of history, till its present status of an object in a private collection, whichlimits its accessibility. The reconstruction of the process of constituting its present title (The Bar Confederates Pray Before the Battle of Lanckorona), reveals the problematic status of the reference to the specific battle fought during the Bar Confederation (1768–1772). The confrontation of the pictorial presentation with a real course of the battle of Lanckorona (23 May 1771) proves that it was not Grottger’s imperative to reconstruct in a probabilistic manner neither the place nor the course of the specific historical event. The analysis of the common for the artist and its public cultural competence, whose basis during that epoch was literature, does not yield an unequivocal identification of specific historical figures or literary motifs as references for the painting. This probabilism of heteronomous, historical and literary references, increases the autonomy of Grottger’s painting as a visual medium. Following the tenet of art historical hermeneutics that it is not contextual references but the pictorial potential activated by the artist that defines the actual status of the represented event, the subject of the next part of the text is the vision-oriented logic of the painting. The main reference is Michael Brötje’s theory, according to which the surface of the painting (not the material, covered with paint, picture plane – die Flache – but immaterial, invisible instance – die Ebene) constitutes the ultimate instance for both represented reality, which it transcends and whose boundaries it establishes, and for the spectator, who confronts this reality in the process of viewing with the pictorial surface and its boundaries. In the process of viewing, which consists in the interaction between structural properties of the painting and the postulated by the viewer relating to the surface, the spectator experiences, as his or her own, the truth about the confederates’ origin, their connection with nature, their religiosity, rootedness in the motherland, death as their destiny, and their devotion to the ultimate absolute instance. The very experience, residing in the medium, ultimately determines the status of the heteronomous in relation to the painting, historical and literary references.
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MASSETI, MARCO. "Pictorial evidence from medieval Italy of cheetahs and caracals, and their use in hunting." Archives of Natural History 36, no. 1 (2009): 37–47. http://dx.doi.org/10.3366/e0260954108000600.
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Cheetahs (Acinonyx jubatus) and caracals (Caracal caracal) have been used for hunting in the Near and the Middle East since antiquity. In Iran and India the caracal was mainly trained for hunting birds, but in Europe this practice was rare, and is documented only in southern Italy and Sicily by iconographic evidence as far back as the eleventh and twelfth centuries. However, no bone remains of the species have been found so far by the archaeozoological exploration of Italian medieval sites, nor are there any known literary references for the use of caracals for hunting.
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Brisman, Shira. "Nachrichten aus Nürnberg: The Annunciation as an Epistolary Address." Zeitschrift für Kunstgeschichte 79, no. 2 (2016): 193–210. http://dx.doi.org/10.1515/zkg-2016-0017.
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Abstract When, around the turn of the fifteenth century, the art of northern Europe developed a pictorial motif whereby an angel delivers the news of the Incarnation in the form of a sealed document, the material properties of ink and wax metaphorically evoked the unique properties of the inscription of divine form upon Mary’s virginal body. The social impact of this communication, the dissemination of the message to a community of recipients, could be strengthened by references to the re-transmittable nature of the announcement, as enforced by other indicators of sociability detectable in different portions of the narrative scheme. The Tucher Altarpiece in Nuremberg and Michael Wolgemut’s altarpiece for the cathedral of St. Mary in Zwickau present two examples of uses of the epistolary Annunciation that may have influenced Albrecht Dürer, who employs the motif in his woodcut series The Life of the Virgin, which also contains, along with this pictorial form of broad address, more narrowly articulated messages to his contemporaries in the form of written words.
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García Santos, José María, Sandra Sánchez Jiménez, Marta Tovar Pérez, Matilde Moreno Cascales, Javier Lailhacar Marty, and Miguel A. Fernández-Villacañas Marín. "Tracking the glossopharyngeal nerve pathway through anatomical references in cross-sectional imaging techniques: a pictorial review." Insights into Imaging 9, no. 4 (2018): 559–69. http://dx.doi.org/10.1007/s13244-018-0630-5.
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Sari, Ecy Kartika, Zahtamal Zahtamal, Nurlisis Nurlisis, Novita Rany, and Winda Septiani. "EFEKTIVITAS MEDIA BERGAMBAR DAN PENYULUHAN METODE CERAMAH TANYA JAWAB (CTJ) TERHADAP PERILAKU MAKAN, AKTIVITAS FISIK DAN POLA TIDUR REMAJA UNDERWEIGHT TAHUN 2019." Al-Tamimi Kesmas: Jurnal Ilmu Kesehatan Masyarakat (Journal of Public Health Sciences) 8, no. 2 (2020): 118–30. http://dx.doi.org/10.35328/kesmas.v8i2.542.
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Underweight or lack of weight is state of being caused by the lack of energy intake compared with the amount og eergy expended. A lack of energy intake or consumption of essential nutrients needed by the body can be lowered activity was done by teenager. The result of the preliminary survey they that were undertaken in the senior high school 13 and 1 At Pekabaru, would be in the low teens 33 should be run as soon as many as 20 a teenager slipped to only their second underweight. The study aims to know about the effectiveness of media pictorial and counseling with the methods talk question and answer to behavior eat, physical activity dan sleep patterns undeweight teenagers in 13 and 1 Senior High School At Pekanbaru City. the kind of research used is (quasi experiment) with nonequivalent group pre-test post-test design. The Research is done at the July 2019. The population in this research is the entire fourth grade VII, VIII and IX. Use sampling tehniques is non random sampling. Instrumen on the study using by questionnaires, and data anlysis be done in univariat and bivariat. The results of study by test wicolxon and Mann Whitney test, and showed there were differences in the effectiveness of the pictorial media and counseling on question and answer lectures on changes in eating behavior, physical activity and sleep patterns of underweight adolescents in 13 and 1 Senior High School At Pekanbaru City. Schools should provide adequate outreach facilities such as picture books and powerpoints. So that counseling can be carried out smoothly and without obstacles.
 
 Keywords : Eating Behavior, Physical Activity, Sleep Patterns, Underweight
 References : 49 References (2010-2016)
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Menache, Sophia. "Dogs and Human Beings: A Story of Friendship." Society & Animals 6, no. 1 (1998): 67–86. http://dx.doi.org/10.1163/156853098x00069.
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AbstractThe wide consensus in research with regard to the modernity of keeping companion animals lies behind the prevailing conclusions about attitudes toward the canine species in pre-modern societies. These were reviewed mainly from a utilitarian perspective. Characterized, in part, by the protective shelter of the extended household and, as such, free of the tensions affecting the nuclear family in industrial cities, pre-modern societies supposedly lacked in the emotional stress and indigence that condition or encourage dog keeping. A careful examination of the sources, both narrative and pictorial, however, suggests more ambivalent attitudes thus challenging widespread research premises and justifying further analysis. This study, covering rural and urban societies in the ancient and medieval periods, examines references to dogs as companion animals in traditional societies.
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Alabousi, Mostafa, Nanxi Zha, and Michael N. Patlas. "Predictors of Citation Rate for Original Research Studies in the Canadian Association of Radiologists Journal." Canadian Association of Radiologists Journal 70, no. 4 (2019): 383–87. http://dx.doi.org/10.1016/j.carj.2019.06.004.
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Objective This study is aimed to identify predictors of citation rate of original research published in the Canadian Association of Radiologists Journal (CARJ). Methods A search of MEDLINE was conducted from January 1, 2000-June 30, 2013 to identify all studies published in the CARJ. Original research studies were included. Reviews, pictorial essays, guidelines, case studies, case series, and original studies with a sample size <10 were excluded. Variables assessed for association with citation rate included number of authors, study design, sample size, multi-institutional study, multi-national study, study type, presence of statistically significant result, presence of funding, and number of references. Statistical analysis was completed using linear regression and Pearson correlation coefficients ( r). Results A total of 714 studies were published in CARJ, of which 181 were original research publications that were cited a total of 1517 times. Twelve original research studies were uncited, while the most-cited one was cited 58 times. Sample size ( r = 0.177, P = .017) and number of references ( r = 0.164, P = .028) demonstrated statistically significant weak positive correlations with citation rate. Number of authors, study design, setting, statistically significant results, and funding were not associated with citation rate. Conclusion Only a very small number of original research studies published at the CARJ remained uncited 5 or more years after the publication. Sample size and number of references were identified as significant, but weak predictors of citation rate in CARJ.
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Conte, Angelo Lo. "Sadeler and Procaccini: The Secular Decoration of Castello Visconti di San Vito in Somma Lombardo." Explorations in Renaissance Culture 44, no. 1 (2018): 27–46. http://dx.doi.org/10.1163/23526963-04401002.
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The paper investigates the pictorial decoration of Castello Visconti di San Vito in Somma Lombardo, one of the finest examples of Lombard aristocratic villa of the first half of the seventeenth century. Built on a pre-existent medieval structure, the castle was richly decorated by a secular iconographic program that, drawn from Flemish sources, was executed in the period 1604–1609 by an équipe of painters gravitating towards the bottega Procaccini: the most important Milanese workshop of the time. The study, for the first time, retraces the genesis of this commission as well as the execution of the decorative program. Specifically, it individuates the complex series of iconographic sources used by Carlo Antonio Procaccini and his assistants, highlighting a coexistence of both Emilian and Flemish artistic references that is unprecedented in Lombard early Baroque art.
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Gaber, Dr Intidhar Ali. "La relación entre lo artístico de la poesía de Arseni Alexandrovich Tarkovski y las imágenes visuales de Andrei Tarkovski en la película El espejo." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (2017): 1–18. http://dx.doi.org/10.36473/ujhss.v221i1.413.
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This work is devoted to theoretical issues applied to the film The Mirror for the russian writer and director Tarkovsky. His work is considered a good example to study the relationship interartistic of arts in general and the visual culture of cinema in particular, where all the arts (music, painting, poetry and image) are grouped. The study includes an overview of the scenes of the film, and a structural analysis of some theoretical phenomena that show the relationship between both verbal arts (the poetic image) and visual (pictorial image - the film image), and how these arts are combined through the remedies that indicate events and references by the same ways, as ekphrasis, metaphor, synesthesia, metaimagen, etc. ... this seems to be prepare the film for the population, intensifying a certain mood or certain feelings.
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Tamisier, Thomas, and Fernand Feltz. "Intelligent Agent for Modeling and Processing Decisional Workflows in Logistics." International Journal of E-Entrepreneurship and Innovation 2, no. 4 (2011): 49–57. http://dx.doi.org/10.4018/jeei.2011100104.
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The authors present the design and some implementation trials of Atlas, a new reasoning and decision making assistant used for processing complex and heterogeneous procedural workflows. Benefiting from a multicore implementation, Atlas includes different solving engines that are selected according to the intrinsic complexity of the problem being processed. The operational knowledge of Atlas is accessed through 2 different views. In an analytical view, the knowledge is modeled on elementary if-then rules, which are processed by a resolution engine written in the Soar architecture. A synthetic view offers a pictorial representation of all the knowledge, and in particular, shows the inter-dependence of the rules and their procedural references. In addition to allowing an efficient processing, the system checks the coherence of the knowledge and produces a justification of the decision with respect to relevant operational procedures.
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Garbe, Otfried. "Die fünfteilige Schöpfungsgeschichte Michelangelos und Platons Timaios." Zeitschrift für Kunstgeschichte 82, no. 1 (2019): 32–70. http://dx.doi.org/10.1515/zkg-2019-0002.
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Abstract Michelangelo based the design of the architectural frame of the Sistine Chapel ceiling on an underdrawing in a watercolor by Piermatteo d’Amelia, but he chose to subdivide it into nine bays. He then depicted the biblical story of Creation in five, rather than six, pictorial fields and made references to the number five in the fresco. This structure was intended to allude to the five Platonic bodies, which are a further development of the four elements and, according to Plato, explain the creation of the world. In the views of Augustine and of Christian Neoplatonists, there are close similarities between the creation story and the creation process as described in Plato’s Timaeus. They believed that Plato had imitated the story of Genesis. The remaining four panels would then symbolize the history of the human race and the classic four elements.
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Maharany, Gundara Tiara, Martinus Pasaribu, and Andar Bagus Sriwarno. "The Study of Gaze Movement Patterns in Identifying Toilet Sign Pictorial Forms Using Eye Tracking." IMOVICCON Conference Proceeding 1, no. 1 (2019): 116–22. http://dx.doi.org/10.37312/imoviccon.v1i1.13.
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People’s confusion in interpreting the gender of the toilet sign has caused a hesitation to the people in determining the toilet’s cubicle. In this study, the toilet’s pictorial sign were examined and depicted as stylized forms of men and women. The aim of this research is to collect the data of the people’s eye gaze movement in order to identify the toilet’s sign system. Other related data were also collected through literature to obtain the theories that support the study. Three volunteers were participated in this study. In the first experiment, they had to identify 6 signs with different shapes presented at the same location with their central visual field using an “Eye-tracking” device without being told in advance. In the second experiment, they had to mention the type of gender in the three pairs of 6 toilet signs displayed. The result of the study indicated a difference between the pattern of human’s eyes movements in observing the sign unconsciously and the zoning at the middle represented as the “body” was the most viewed part. This research is expected to provide informations and references for academics, designers and governments in order to create sign system and universal design services.
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Vitagliano, Maria A. "Painting and Poetry in Early Modern Spain: The Primacy of VenetianColorein Góngora’sPolyphemusandThe Solitudes*." Renaissance Quarterly 66, no. 3 (2013): 904–36. http://dx.doi.org/10.1086/673586.
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AbstractLuis de Góngora’sFable of Polyphemus and Galatea(1612) andThe Solitudes(1613) have inspired comparisons to painting ever since they first appeared in manuscript form at the Court of Philip III. Engaging the doctrine ofut pictura poesis, which notes the kinship between painting and poetry, Góngora creates pictorial conceits modeled in color as if using a painter’s palette, and thus his poems read like imaginary art galleries. By way of both plastic and discursive references to the Venetian school, Góngora inserts his poetry into one of the most salient polemics of his time, theparagone tra colore e disegno, the debate over the supremacy of Venetian color versus Florentine draftsmanship. This essay seeks to provide a reading of Góngora’s major poems in light of theparagoneas it played out in seventeenth-century Spain among art theorists and painters such as Francisco Pacheco and Domenico Theotocopoulis (El Greco), and intertwined with related discourses pertaining to artistic progress and innovation, including the link between aesthetics and religious reform.
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Guerini, Andreia, and Antonia Sales. "A representação das artes nos contos de Clarice Lispector." Revista Épicas E4, no. 2021 (2021): 27–39. http://dx.doi.org/10.47044/2527-080x.2021vne4.2739.
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Clarice Lispector is a multifaceted writer, who excelled in narrative forms. Novels, short stories and chronicles are some of the modalities used by the skilled author. Based mainly on the considerations of Oliveira (2019) on art in the fiction of Clarice Lispector and the “pictorial description”, proposed by Louvel (2006), this article aims to present and analyze the presence of the arts in her stories, published in Todos os Contos (2016), organized by Benjamin Moser. The question that permeates the discussion is: how do the arts appear and how are they represented in Clarice Lispector's short stories? And how does it materialize in stylistic procedures? After analysing the selected corpus, we can say that Clarice Lispector uses procedures such as ekphrastic description, synesthesia and hypotypes to highlight the most varied artistic manifestations through countless references to music, dance, cinema, painting, sculpture, among others, to point that these elements are (co)adjuvant to the singular Clarician narrative.
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Kirkham, Anne. "Saint Francis of Assisi’s Repair of the Church." Studies in Church History 44 (2008): 46–61. http://dx.doi.org/10.1017/s0424208400003478.
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A round 1230 Burchard of Ursperg, a Premonstratensian canon, writing about the Fourth Lateran Council (1215), reported that ‘with the world already growing old, two religious orders arose in the Church – whose youth is renewed like the eagle’s’. The success of the Franciscans in contributing to what Burchard saw as the renewal of the Church’s youth was simultaneously assisted and celebrated by documenting the life of the founder, Francis (1182–1226), in words and images soon after his death and throughout the thirteenth century. Within these representations, the pivotal event in securing Francis’s religious ‘conversion’ was his encounter with the decaying church of San Damiano outside Assisi. His association with the actual repair of churches in the written and pictorial accounts of his life was a potent allegorical image to signal the revival of the Church and the role of Francis and his followers in this. This essay focuses on how references to the repair of churches were used to call attention to the role of the Franciscans in the revival of the Church in the thirteenth century.
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Maxwell, Susan. "The Pursuit of Art and Pleasure in the Secret Grotto of Wilhelm V of Bavaria." Renaissance Quarterly 61, no. 2 (2008): 414–62. http://dx.doi.org/10.1353/ren.0.0004.
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AbstractThe Grottenhof is a small garden surrounded by painted loggias in the Munich Residence, a palace that served as the seat of the Wittelsbach Dukes of Bavaria beginning in the sixteenth century. Completed between 1582 and 1589, the garden contains an elaborate grottoed fountain, sculpture, and paintings based on Ovid’s Metamorphoses. The pictorial program of the painted loggias combines images of mythological ardor with illusionistic interlopers from everyday court life who make punning references to the pursuit of love. The sources for the garden can be found in Italian and French prototypes, yet the program of decorations creates a variety of associations that were unique to the patron, Duke Wilhelm V of Bavaria. The material and subject matter also reflect contemporary theories about art, nature, and the ordering of knowledge that informed the earliest cabinets of curiosities, where collections of art and natural objects were brought together in the so-called Kunstkammer. The garden was meant to engage all of the senses in a sanctuary that stimulated sensual thoughts while provoking broader contemplation about creativity and art.
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Kuczyńska-Koschany, Katarzyna. "Wat, poeta orficki." Colloquia Litteraria 12, no. 1 (2012): 123. http://dx.doi.org/10.21697/cl.2012.1.7.
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Wat, an orphic poet The most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, somehow more “orphic”: did Wat soften a book version of the poem due to personal reasons (a soften phase of the illness) or was it because of censorship’s intervension? Referring to Orpheus, the author also indicates significant painting contexts (Moreau, Delville, Redon) and sculpture contexts (Rodin); it becomes useful during Wat’s interpretation – his very pictorial illustration (e.g. in the poem Na wystawie Odilon Redona) is also “orphic”, full of blackness. Nevertheless, it seems that Wat’s orphic descent into blackness, inside oneself, into death is even more acute than Rilke’s – since Wat writes about himself, his own death and his own funeral (Wiersz ostatni).
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Rath, Markus. "Substanzaktivität. Farbe als prima materia im Andachtsbild der Frühen Neuzeit." Zeitschrift für Kunstgeschichte 83, no. 3 (2020): 334–59. http://dx.doi.org/10.1515/zkg-2020-3004.
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AbstractIn devotional pictures of the Quattrocento by Giovanni di Francesco Toscani, Fra Angelico, Zanobi Strozzi, Benozzo Gozzoli, and Bartolomeo Caporali, floor and wall fields repeatedly appear as non-representational color grounds. They refer to a hitherto rather insufficiently analyzed multi-layered reflection of the design modes of the time. These surfaces only superficially resemble natural stone structures. Rather, they are coloristic protoforms of the pictorial figurations, which is why these color fields, apart from a theological sub-iconography, can also be understood as references to the substrate character of the color. By evoking spiral and snail shapes in addition to completely amorphous spots, they also seem to reflect the processes of rock formation as explored in Albertus Magnus’s De mineralibus. As a fluid matter that can develop spontaneously into any form in the sense of a painterly generatio spontanea, color finally approximates the Aristotelian concept of hylē. This contribution seeks to explore the exciting and dynamic relationship between matter and form in the quattrocentesque devotional picture. The color substance of the amorphous grounds is understood as an activated source material that is transformed into vivid forms by way of the respective artistic technē.
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Faustino, Maria João. "Digital Pygmalion: the symbolic and visual construction of the feminine in CoverDoll online magazine." Comunicação e Sociedade 32 (December 29, 2017): 251–68. http://dx.doi.org/10.17231/comsoc.32(2017).2760.
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This study aims to question and problematize the construction of gendered meanings and visual codes in the digital context. Rooted in the theoretical framework of cyberfemism, it analyzes the visual and linguistic content of CoverDoll, a monthly e-zine thematically devoted to sex dolls. The Pygmalion myth is proposed as the symbolic framework of CoverDoll, since the linguistic and pictorial devices that support a simulated subjectivity seem to reproduce its main backdrop: the feminine is constructed as alterity and a product of male desire. The analysis of CoverDoll’s portfolio and fictional discourses suggests the persistence of symbolic and aesthetical conventions despite technological ruptures. The operating mechanisms in the tradition of painting described by John Berger seem resiliently translated into the visual construction of the feminine in CoverDoll: the portrayed feminine figure addresses a masculine voyeur which is absent from the picture. The camera replaces the mirror as a symbolic device of the projected female’s narcissism, as the multiple references to the camera in the fictional discourses forge the idea of female vanity. The images displayed overall eroticize and objectify the artificial female bodies. The fictional narratives mobilize and intertwine a set of stereotypes that associate femininity with futility, seduction and caring.
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García González, Andrea. "Le Corbusier. La dualidad "architecure mâle" y "architecture femelle"." VLC arquitectura. Research Journal 3, no. 2 (2016): 119. http://dx.doi.org/10.4995/vlc.2016.5259.
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<p><em>In the 50´s, Le Corbusier publishes two books, Le Modulor (1950) and Le Poème de l´Angle Droit (1955). They are extremely important given that they represent the synthesis of his architectural thought at the height of his career. In both, references can be observed to the duality of male-female, which do not seem to have been previously part of the architect´s consistent theoretical body. One decade later, duality imbues the architectural critics, who interpret it as the opposition between two residential projects from early 1920´s, the Maisons Monol and the Maisons Citrohan. Both projects are proclaimed as a germ of two genealogical lines which come to an end with the Villas Sarabhai and Shodhan in the 50´s. They are related respectively with two concepts "architecture femelle" and "architecture mâle", cited by Le Corbusier in Le Modulor. However, the exhaustive analysis of the paradigm of both architectures through different periods, a complete reading of both texts and its relationship with Le Corbusier´s pictorial production, brings to light the importance of ambiguity and polysemy in the architect's work, which is difficult to divide in hermetic categories.</em></p>
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Abramova, K. V. "“Reviving Pictures” in “The Adolescence of Luvers” by B. Pasternak." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 472–89. http://dx.doi.org/10.25205/2410-7883-2020-2-472-489.
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We consider the features of the images’ construction in the story “The Adolescence of Luvers” by Boris Pasternak. In this regard, we turn to the analysis of individual episodes in the story, which, in our opinion, become key for revealing the theme of the main character’s growing up. The narrative itself in the poet’s prose texts is constructed in such a way that all its components are endowed with special internal dynamics, owing to which the images lose their outlines, transform, receive additional, not always decipherable meanings. We dwell on three points in detail: the collision of Zhenya Luvers with Motovilikha – the moment of the end of her infancy – and the two meetings of the heroine with Tsvetkov, an “stranger” whose figure influences Zhenya’s consciousness, her transition to growing up. In the episodes under consideration, there is a hint of an “ecphrastic mark”: the images and objects in the story seem to add up to a kind of description of the picture, although there are no direct references to pictorial or sculptural images in the story. We analyze how the similarities of the ecphrase appear in Pasternak’s text and how they transform the space of the story. The pictures appearing in the story are often enclosed in a kind of frame (visual or symbolic, for example, acoustical), they freeze for a moment, but then come back into motion. The objects that appear in these descriptions and the boundaries between them become unsteady, everything in the space of the text oscillates between static and dynamic. We dwell in detail on the analysis of images and motives that accompany the turning points for the heroine of the transition from infancy to childhood, and then to adulthood, and we come to the conclusion that they are filled with pictorial allusions, all objects are in a complex relationship: objects lose their outlines and endow internal dynamics – paintings “come to life”. Thus, we can speak of an “ecphrasis mark” that supports the internal dynamics of the text of the story “The Adolescence of Luvers”, and “reviving pictures” become an important element of the artistic world of the story by Boris Pasternak.
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Diep, Dion, Abnoos Mosleh-Shirazi, and Joel Lexchin. "Quality of advertisements for prescription drugs in family practice medical journals published in Australia, Canada and the USA with different regulatory controls: a cross-sectional study." BMJ Open 10, no. 7 (2020): e034993. http://dx.doi.org/10.1136/bmjopen-2019-034993.
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ObjectiveTo assess if different forms of regulation lead to differences in the quality of journal advertisements.DesignCross-sectional study.ParticipantsThirty advertisements from family practice journals published from 2013 to 2015 were extracted for three countries with distinct regulatory pharmaceutical promotion systems: Australia, Canada and the USA.Primary and secondary outcome measuresAdvertisements under each regulatory system were compared concerning three domains: information included in the advertisement, references to scientific evidence and pictorial appeals and portrayals. An overall ranking for advertisement quality among countries was determined using the first two domains as the information assessed has been associated with more appropriate prescribing.ResultsAdvertisements varied significantly for number of claims with quantitative benefit (Australia: 0.0 (0.0–3.0); Canada: 0.0 (0.0–5.0); USA: 1.0 (0.0–6.0); p=0.01); statistical method used in reporting benefit (relative risk reduction, absolute risk reduction and number needed to treat; Australia: 6.7%, n=2; Canada: 10.0%, n=3; USA: 36.6%, n=11; p=0.02); mention of adverse effects, warnings or contraindications (Australia: 13.3%, n=4; Canada: 23.3%, n=7; USA: 53.3%, n=16; p=0.002); equal prominence between safety and benefit information (Australia: 25.0%, n=1; Canada: 28.6%, n=2; USA: 75.0%, n=12; p=0.04); and methodological quality of references score (Australia: 0.4150 (0.25–0.70); Canada: 0.25 (0.00–0.63); USA: 0.25 (0.00–0.75); p<0.001). The USA ranked first, Canada second and Australia third for overall quality of journal advertisements. Significant differences for humour appeals (Australia: 3.3%, n=1; Canada: 13.3%, n=4; USA: 26.7%, n=8; p=0.04), positive emotional appeals (Australia: 26.7%, n=8; Canada: 60.0%, n=18; USA: 50.0%, n=15; p=0.03), social approval portrayals (Australia: 0.0%, n=0; Canada: 0.0%, n=0; USA: 10.0%, n=3; p=0.04) and lifestyle or work portrayals (Australia: 43.3%, n=13; Canada: 50.0%, n=15; USA: 76.7%, n=23; p=0.02) were found among countries.ConclusionsDifferent regulatory systems influence journal advertisement quality concerning all measured domains. However, differences may also be attributed to other regulatory, legal, cultural or health system factors unique to each country.
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Uchman, Jadwiga. "Decoding visual and acoustic signals: Epistemological uncertainty in Tom Stoppard’s 'After Magritte' and 'Artist Descending a Staircase'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/4 (December 28, 2018): 87–100. http://dx.doi.org/10.26881/bp.2018.4.05.
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The paper discusses two plays of Tom Stoppard, After Magritte and Artist Descending a Staircase, from the perspective of the uncertainty pertaining to the possibility of perceiving and adequately describing the reality. The plays employ intertextual references to two modern painters whose names are included in the titles of the dramas and who are known to have experimented in their artistic ventures. In two series of pictures, The Key of Dreams and The Use of Words, Ma-gritte dealt with the difficulties connected with representing reality in pictorial and linguistic terms, while Beauchamp tried to present not only three dimensionality but also movement on the two dimensional canvas. Apart from referring to art, Stoppard’s pieces are also a kind of who-done-it, with each of them trying to solve a mystery. After Magritte discloses the solution of the identity of the strange figure the characters saw in the street and also logically explains the strange opening and closing stage images. Being a radio play, Artist Descend-ing a Staircase, teaches the audience to decode aural signals and demonstrates that, similar to objects of visual perception, they may be decoded in different ways. The two dramas discussed thus deal with the relative quality of reality, whose perception and description depends on individual sensitivity of a concrete person.
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Mezinski, Zenon. "L’arbre de la Raison – La fabrique d’un motif pictural au début du XIXe siècle." RACAR : Revue d'art canadienne 40, no. 1 (2015): 61–70. http://dx.doi.org/10.7202/1032756ar.
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The nineteenth century witnessed the rise of a specialized body of writing that ascribed a central place to the tree as object of knowledge and that contributed to the development of a pictorial motif that I call the “tree of Reason” (“l’arbre de la Raison”). Appearing in Europe in the early nineteenth century, the first “landscape lessons” aimed at beginner artists and amateurs rested on a new pedagogy that promised the reader and student quick results, regardless of their artistic talent. Their approach was based on an extreme form of rationalisation and simplification, which followed from the theoretical and aesthetic principles of Neoclassicism. Behind the word “landscape” (paysage) found in the titles of these successful manuals lay the motif of the tree, which constituted their main subject. This article begins with an examination of Principes raisonnés du paysage, published in 1804 by Nicolas-Alphonse Michel Mandevare, and analyzes the drawing method that it proposes. Regarded as the result of a construction, of an arrangement of its different parts, this “tree of Reason” highlights the end of a big artistic cycle, which was paradoxically to have little influence on the tenets of modern landscape that took hold in the 1830s. This rationalistic and reasoned practice thus ended in an impasse, in which both tree and landscape became petrified in a set of codified rules and references.
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Dass, Ervilla. "An observational study of various drug promotional advertising brochures: with an emphasis on World Health Organization ethical criteria for medicinal drug promotion." International Journal of Basic & Clinical Pharmacology 7, no. 7 (2018): 1280. http://dx.doi.org/10.18203/2319-2003.ijbcp20182425.
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Background: Drug promotional literature (DPLs) is an integral approach of pharmaceutical marketing strategy, which can almost influence a physician to prescribe definite variety of medicine from a particular company. The objective was to evaluate the accuracy, consistency, and validity of the information in accordance with the World Health Organization (WHO) ethical criteria for medicinal drug promotion.Methods: This was an observational study, in which total 100 DPLs were sorted out to evaluate whether the information is consistent/relevant with that presented by the criteria laid down by the WHO guidelines; such as nature of claims, pictorial content presented, cited references, the indication and significance of various data such as figure, graphs, table and clinical data.Results: From all the 100 promotional literatures sorted out, all showed the INN name and brand name, amount of active ingredient, dosage form and name and address of manufacturers/distributers was shown in all; adjuvants known to cause problem were not shown. Moreover, approved therapeutic uses were clearly mentioned in 35, 48 were having pictures presented, scientific graphs and clinical data were shown in 19.Conclusions: The results reveal that, majority of DPLs satisfied only half of the WHO criteria for rational drug promotion and none of them fulfilled all the specified criteria. Incomplete or exaggerated information in DPLs may mislead and result in irrational prescription. Therefore, physicians should critically evaluate DPLs regarding updated scientific evidence required for quality patient care.
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Girón, Jennifer C. "Status of knowledge of the broad-nosed weevils of Colombia (Coleoptera, Curculionidae, Entiminae)." Neotropical Biology and Conservation 15, no. 4 (2020): 583–674. http://dx.doi.org/10.3897/neotropical.15.e59713.
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Broad-nosed weevils in the subfamily Entiminae (Coleoptera: Curculionidae) are highly diverse, not only in terms of number of species, but also in their sizes, forms and colours. There are eight tribes, 50 genera and 224 entimine species recorded from Colombia: seven genera and 142 species are considered endemic and only a handful of species, which are recognised as pests of Citrus or potatoes, are broadly known. The large diversity of this subfamily in the country is only superficially known and even though genus level identifications are generally achievable, species identification remains quite challenging, due in part to limited access to broadly-scattered basic information. Summaries of available information and bibliographic resources for each of the tribes represented in Colombia are offered, along with a checklist of the species of Entiminae recorded from the country, obtained from literature and a pictorial key for tribal recognition. New combinations are proposed for eight species of the genus Lanterius Alonso-Zarazaga &amp; Lyal. Information on the distribution of entimine species in Colombia is compiled for the first time, including complete references to each original description and available taxonomic revisions. About a third of the species of Entiminae remain as recorded from the country without specific locality information. In addition, genus level distributional maps are presented, generated from data obtained from four Colombian entomological collections. Lastly, some challenges for entimine identification in Colombia, which likely extend throughout the Neotropical region, are briefly discussed. This contribution aims, in part, to facilitate and promote entimine research in northern South America.
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Vankeerberghen, Griet. "Choosing Balance: Weighing (quan) as a Metaphor for Action in Early Chinese Texts." Early China 30 (2005): 47–89. http://dx.doi.org/10.1017/s0362502800002182.
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Texts from the Zhou and Han periods regularly use the term quan “to weigh” when describing or prescribing human action. This essay seeks to determine precisely which concrete acts of weighing underlie the metaphoric application of the term to human action. A survey of the available textual and archaeological evidence shows that even before the Eastern Han, when steelyards became the most common weighing device, the act of weighing might have been executed and conceptualized in multiple ways. A similar conclusion is drawn from a survey of pictorial and literary references to metaphoric weighing in non-Chinese traditions. More precisely, I suggest three distinct possibilities: matching the object to be weighed with a known standard, determining which of two objects weighs heaviest, and, lastly, seeking the point at which the balance beam will gain or recover balance.Early Chinese texts provide examples of all three (quan A, B, and C). Quan B became prominent especially during the 3rd century B.C.E., when persuaders discussed how every choice had negative as well as positive consequences. Quan A and C are attested in texts usually dated to the 4th century B.C.E. or before. In this essay I argue that it is quan C that became the dominant metaphor in moral-political discourse, and that it had two competing interpretations: it could refer either to the multiple ways in which a sage adapts his actions to the circumstances, or to a temporary lifting of moral standards during an emergency. Whereas scholars in the Han and Qing dynasties generally accepted that moral rules were not absolute, Song scholars were scandalized by the notion that deviations from the rule were part and parcel of moral action.
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Mitkowski, N. A., and N. Jackson. "Subanguina radicicola, the Root-Gall Nematode Infecting Poa annua in New Brunswick, Canada." Plant Disease 87, no. 10 (2003): 1263. http://dx.doi.org/10.1094/pdis.2003.87.10.1263c.
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Poa annua frequently is found as the dominant turfgrass species on golf course putting greens grown in the range of cool-season grasses. While not intentionally established, it is an aggressive weed in stands of bentgrasses (Agrostis spp.). When significant encroachment of P. annua occurs, it often is maintained indefinitely. In May 2003, P. annua putting greens at the Riverside Country Club in Rothesay, New Brunswick, Canada showed signs of an unidentified disease. Putting greens were slow to green up and large chlorotic patches were evident across affected areas. When roots were examined, extensive galling was observed. Galls were slender and often twisted in appearance. Upon dissection of washed galls, hundreds of eggs were exuded into the surrounding water droplet, and mature male and female nematodes were observed. Further morphological examination of males, females, and juvenile nematodes demonstrated that they were Subanguina radicicola (Greef 1872) Paramanov 1967 (1,2). Each P. annua plant had an average of four galls (with a range of two to nine) primarily located within the uppermost centimeter of the soil. Of 18 P. annua putting greens, four were affected by the nematode and displayed the same damage symptoms. S. radicicola has been identified from American beachgrass in Rhode Island and from P. annua in Oregon, but to our knowledge, this is the first report of the nematode affecting P. annua on a golf course in eastern North America. References: (1) W. F. Mai and P. Mullin. Plant-Parasitic Nematodes: A Pictorial Key to Genera. Cornell University Press, Ithaca, New York, 1996. (2) G. Thorne. Principles of Nematology. McGraw-Hill Book Company, Inc., New York, 1961
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VOLTOLINI, ALBERTO. "HOW DEMONSTRATIVE PICTORIAL REFERENCE GROUNDS CONTEXTUALISM." Pacific Philosophical Quarterly 90, no. 3 (2009): 402–18. http://dx.doi.org/10.1111/j.1468-0114.2009.01347.x.
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Somhegyi, Zoltán. "Desde vistas densamente llenas hasta la ciudad vacía de Piazzas. Imágenes que interpretan los dinamismos oscilantes de la realidad urbana." on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 4 (2021): 3–35. http://dx.doi.org/10.1344/waterfront2021.63.4.01.
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Cities have been inspirational for the creators of visual art works long since, first as mere secondary, additional motifs to indicate the “urban” environment of the main scene, then as subject-matters in their own right. Those images could depict both imaginary and actual cities of the past and of the future, including mythological and Biblical locations, documenting distant lands and fantasizing on the appearance of utopian cities. In some of these aspects, the history of city representations shares significant similarities with the history of landscape depictions. In the present paper, however, I aim to focus on a curious and particular detail in this pictorial tradition. Following and further investigating a brief reflection by Michel Makarius from his 2004 book on Ruins, I would like to compare the visuality and aesthetic effects of dense and empty cityscapes, of which two classical examples could be the capriccios – imaginary views of cities completely filled with aesthetically pleasing elements, including magnificent remnants of the Antique heritage – and representations of cities in which their emptiness is highlighted to such extent that the observer tends to assume that the real subject-matter of the image is not the city, its buildings, forms and physical components but exactly its being “empty”. These “extremities” on the broad range of cityscapes, i.e., the densely-filled and the extremely depopulated are, however, not merely historical sub-genres of long-gone centuries. These typologies have survived to this day, in various versions and with diverse accents; what’s more, they seem to be more relevant than ever in understanding not only the nature of these artistic representations and their aesthetic references, but also in learning more of our contemporary reality itself. It is enough to think of the numerous ways in which artists approach the convoluted issues and challenges of urban life today, with the classical references and visual vocabulary in mind, either unconsciously creating occasional parallels or using them as explicit forerunners to their own works. The density of the global megapolises are represented in artistically novel ways often with socially critical overtones, while the images of empty cities – not long ago, for example, during the recent pandemics and lockdowns – are again resulting in aesthetically inspiring and insightful works incentivizing us to reflect on the oscillating dynamisms of our present urban realities. Therefore, it is particularly beneficial to observe such renderings of our cities and hence to raise more our awareness of the multiple global issues that are often very strongly manifested in the everyday life in large metropolises. Pieces of art thematising the extreme forms of city life can become very efficient ways of constantly reminding us of our duties of taking care of both our cities and our life.
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Gokasan, Gurkan, and Erdal Aygenc. "Visualisation of Written Culture with Digital Collage and Woman Representation: Visualisation of Woman Figure in the Mountain and Sea Themed Turkish Cypriot Legends." Mediterranean Journal of Social Sciences 8, no. 3 (2017): 45–54. http://dx.doi.org/10.5901/mjss.2017.v8n3p45.
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Abstract This study aimed to visualise the written versions of legends, which can transform the intangible culture as one of the significant parts of culture covering human facts and some habits like art, customs, traditions, into the tangible culture which is the other part of culture, through certain theme/s. Within this perspective, the study aimed to transform the women and discursive representation styles given in the Turkish Cypriot legends into visual representation in addition to creating an absolute language through the use of homogenous indicators. The study discussed the woman described with the ‘passive’, ‘oppressed’, ‘victim’ and ‘sinful’ features, in brief her marginalisation with the patriarchal legend structure through the use of semiotics. For the visualisation of legends, regardless the positive or negative consequence of woman, the ‘torn paper - collage with its popular name - texture was used to create a common language and the emotions to be reflected were symbolised with various colours. The content references of colours were taken into account; for instance, purple was used in the images that woman was downtrodden and blue in the images with the dominant male hegemony. Since the themes covered generally referred to the ‘mother nature’, the woman figures were illustrated as naked delivering the woman in her purest, simplest and most natural self without the social status indicators symbolised by the clothes. The main scene and woman figures, mountain and sea motifs in the selected legends were re-fictionalised in the digital environment and finalised with the illustration. As the effectiveness of pictorial elements in teaching and facilitating to remember the legends, as a cultural element within the main scope of this study is known, the legends were illustrated through the digital collage method. Therefore, the contribution was aimed to be reflected on the permanence and popularity of legends as a cultural product and verbal asset with the benefits of visual and artistic language.
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Roberts, P. D., R. Urs, and R. J. McGovern. "First Report of Aerial Blight Caused by Pythium myriotylum on Tomato in Florida." Plant Disease 83, no. 3 (1999): 301. http://dx.doi.org/10.1094/pdis.1999.83.3.301a.
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In September 1996 and 1997, diseased tomato seedlings were observed with symptoms of an aerial watery rot on leaves, petioles, and stems. Tomato cvs. Sanibel and 10097 from commercial fields in southwest Florida (Collier and Lee counties) and west central Florida (Manatee County) exhibited similar symptoms that occurred at an incidence of 15 to 18% about 4 weeks after transplanting and resulted in plant death. Microscopic examination of symptomatic tissue revealed the presence of mycelium and oogonia typical of Pythium spp. A fungus was consistently isolated from four plants sampled from each site onto a medium selective for Pythium spp. and maintained in pure culture on V8 juice agar at 28°C. The isolates were identified as Pythium myriotylum Drechs. based on the following morphological data: lobate sporangium, 12 to 13 μm wide; vesicle 15.4 to 19.4 μm in diameter; exit tube 54 to 90 μm long, oogonium 23 to 30 μm in diameter; and oospore 21 to 26 μm in diameter (1,2). Pathogenicity tests were conducted with two isolates from diverse regions within Florida by spray inoculating the leaves and shoots of 6- to 8-week-old tomato seedlings with a sporangial suspension of 1 × 104 sporangia per ml. Noninoculated plants served as controls. Plants had 24 h of pre- and post-dark period, day/night temperatures of 28/21°C, a 14-h photoperiod, and near 100% relative humidity in a growth chamber. The foliage of inoculated tomato plants exhibited symptoms identical to those observed in field samples 24 h after inoculation and 100% mortality within 72 h. The reisolated fungus was morphologically identical to the original isolate. Noninoculated plants remained asymptomatic. The unusual rainfall recorded at some sites, such as in Manatee County in September 1997, was 36% higher than the 40-year average and may have contributed to the incidence of this previously undescribed foliar blight. References: (1) Anonymous. C.M.I. Descriptions of Pathogenic Fungi and Bacteria No. 118. (2) T. Watanabe. Pictorial Atlas of Soil Fungi. Lewis Pub., London. p. 71.
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Chasid, Alon. "Why The Pictorial Relation is not Reference." British Journal of Aesthetics 44, no. 3 (2004): 226–47. http://dx.doi.org/10.1093/aesthj/44.3.226.
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NIKOLENKO, K., and O. NIKOLENKO. "CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY." Philological Studies, no. 33 (April 19, 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2020.33.228193.
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The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.
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SOFFER, AYA, and HANAN SAMET. "Pictorial Query Specification for Browsing Through Spatially Referenced Image Databases." Journal of Visual Languages & Computing 9, no. 6 (1998): 567–96. http://dx.doi.org/10.1006/jvlc.1998.0091.
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García Varas, Ana. "Images with Power: Representations of War. Reference, sense and pictorial acts." Enrahonar. Quaderns de filosofia 50 (March 1, 2013): 11. http://dx.doi.org/10.5565/rev/enrahonar/v50.110.
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Maciel, C. G., M. F. B. Muniz, P. M. Milanesi, et al. "First Report of Fusarium sambucinum Associated on Pinus elliottii Seeds in Brazil." Plant Disease 97, no. 7 (2013): 995. http://dx.doi.org/10.1094/pdis-11-12-1045-pdn.
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An elevated incidence of the fungal genus Fusarium was ascertained during a health quality analysis of a batch of Pinus elliottii Englm. seeds obtained from the Florestas Institute for Agricultural and Forest Research (Fundação Estadual de Pesquisa Agropecuária [FEPAGRO] Florestas) in Santa Maria (29° 39′ 55″ S and 53° 54′ 45″ W), state of Rio Grande do Sul, Brazil. This genus comprised about 75% of all fungal genera observed in a blotter test. The fungus was then isolated and purified to perform pathogenicity tests. Healthy seeds of P. elliottii were inoculated by contact with fungal mycelium for 48 h (3). Forty-two days after inoculation, a reduction was observed in the germination potential of the seeds; however, those seeds that germinated developed normally until, as seedlings, they suffered damping-off. Fusarium was isolated from the affected vegetal material by transferring mycelium tips to potato dextrose agar (PDA) medium in petri dishes in order to morphologically identify the species. After 72 h, a tan mycelial pad 5.5 cm in diameter had formed. After transfer to carnation leaf agar (CLA), pale orange sporodochia that formed macroconidia could be observed. The macronidia were relatively short and narrow (40.2 × 4.7 μm), each containing a mean of 5 septa; the apical cell was pointed, while the basal one was foot-shaped (2,4). The chlamydospores formed in clusters, while the conidiogenous cells could be seen on top of monophialides. Primer pairs ITS1 and ITS4, EF1-T and EF1-567R, and βtub-F and βtub were employed to amplify the three regions ITS1.8S ITS2, elongation factor – 1α (TEF 1-α), and β-tubulin, respectively. The sequences of these three regions showed 97, 95, and 99% of similarity with Fusarium sambucinum Fückel, respectively. The pathogen was reinoculated on P. elliottii seeds in order to complete Koch's postulates. The pathogenicity test was repeated with the same conditions described before and the results were confirmed. No occurrence of damping-off was observed in the control seedlings. The inoculated seedlings showed, besides damping-off, a visible reduction in root system expansion as well as reductions in fresh and dry tissue weight. F. sambucinum has already been reported on P. radiata D. Don in New Zealand, causing root rot and dieback (1); however, in Brazil, the present study is, to the best of our knowledge, the first to report the association of this pathogen with P. elliottii. References: (1) M. A. Dick and K. Dobbie. N. Z. Plant Prot. 55:58, 2002. (2) W. Gerlach and H. Nirenberg. The Genus Fusarium – A Pictorial Atlas. Biologische Bundesanstalt für Land – und. Forstwirtschaft, Berlin, 1982. (3) M. Lazarotto et al. Summa Phytopathol. 36:134, 2010. (4) J. F. Leslie and B. A. Summerell. The Fusarium Laboratory Manual, 1st ed. Wiley-Blackwell, Hoboken, NJ, 2006.
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Laarmann, Frauke. "Hendrick Cornelisz. van Vliet: Het gezin van Michiel van der Dussen." Oud Holland - Quarterly for Dutch Art History 113, no. 1-2 (1999): 53–74. http://dx.doi.org/10.1163/187501799x00599.
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AbstractSince I998 the Stedelijk Museum Het Prinsenhofin Delft owns a family portrait by Hendrick Cornelisz van Vliet. Signed in full and dated I640, the painting shows a wealthy and — in view of the details—Catholic family with five children. It predates Van Vliet's well-known architectural paintings by more than a decade, and is therefore very significant for our knowledge of his early oeuvre. In this article, however, attention is focused on the painting's unusual position in the pictorial and iconographic tradition of the North Netherlandish family portrait. We see a husband and wife with their five children, the sons making music with their father. Contrary to what is frequently stated in the literature, i.e. that music is an important attribute in the depiction of harmonieus family life, music hardly features at all in North Netherlandish family portraits of the first half of the seventeenth century. Highly exceptional in Van Vliet's painting is the circumstance that only the males are making music, as is the choice of instruments. The recorders, popular instruments but unique in the tradition of the group portrait, suggest that the sitters were fond of the instrument and wished to be portrayed while engaged in their favourite pastime. The instrument and the music book of the two sons, combined with the other children's attributes, hint at a representation of the five senses. The daughters are respectively depicted with a pecking parakeet (touch), a basket of fruit (taste) and flowers (smell). In this context the sons' attributes stand for hearing and sight, the two most highly ranked senses. With the aid of details in the painting — the obvious references to Catholic religion, the precise dating of the work and the name 'Michiel' in the piece on the music stand — the sitters have been identified as Michiel van der Dussen and Willemina van Setten with their five children: Cornelis, Otto, Anna, Maria and Elizabeth. This insubstantiates the traditional identification of another painting in the Koninklijk Museum voor Schone Kunsten in Antwerp as Michiel van der Dussen's family. The Van der Dussens were prominent regents in Delft; however, Michiel's branch of the family was Catholic and thus excluded from holding official executive positions in Delft. They must therefore have been active in other spheres. They are not recorded as having pursued a particular profession; their wealth seems to have accrued from their ownership of property and land. The Van der Dussens are likely to have been of independent means due to the family's erstwhile noble status. Their higher ambitions were confirmed by the marriage of a granddaughter of Michiel van der Dussen to a Baron van Leefdael. This family portrait with its extremely rich imagery, painted in a period when repression of the Catholics in Delft was at its strongest, represents the selfconndence and ambitions of a Catholic family.
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Pichugina, Olga K., and Denis V. Ilitchev. "“THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 172–83. http://dx.doi.org/10.17223/22220836/40/14.
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The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.
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Garibaldi, A., G. Gilardi, G. Ortu, and M. L. Gullino. "First Report of Damping-off Caused by Pythium aphanidermatum on Leaf Beet (Beta vulgaris subsp. vulgaris) in Italy." Plant Disease 97, no. 2 (2013): 292. http://dx.doi.org/10.1094/pdis-08-12-0746-pdn.
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During July 2010, symptoms of crown and root rot were observed on leaf beet (Beta vulgaris L. subsp. vulgaris) grown in a commercial field near Torino (northern Italy). The first symptoms developed 25 days after sowing with temperatures ranging from 25 to 30°C, and 20% of plants were affected. Affected plants were stunted and leaves showed chlorosis and suddenly wilted. The collar and young stems were affected first and appeared brown, water-soaked, and were characterized by a soft rot. Eventually, all affected plants collapsed. Thin aerial mycelia were visible on the surface of the infected plants if maintained at a high relative humidity. Tissue fragments of 1 mm2 were excised from the margins of the lesions, dipped in a solution containing 1% sodium hypochlorite, and plated on potato dextrose agar (PDA) and on a medium selective for oomycetes (2). Plates were incubated under constant fluorescent light at 22 ± 1°C for 5 days. Five isolates, grown on V8 medium (vegetable mix 300 g; agar 15 g; CaCO3 1.5 g; distilled water 1 liter) and observed under light microscope showed the morphological characters of Pythium aphanidermatum (3). This result was confirmed by PCR and sequence analysis. The internal transcribed spacer (ITS) region of rDNA of a single isolate (Py 7/10) was amplified using the primers ITS1/ITS4 and sequenced. BLAST analysis (1) of the 815 bp segment showed a 99% homology with the sequence of P. aphanidermatum (GenBank Accession JN695786). The nucleotide sequence has been assigned to the GenBank Accession JX462954. Pathogenicity tests were performed twice on B. vulgaris subsp. vulgaris grown in 2-liter pots, containing a steam disinfested organic peat substrate (70% black peat, 30% white peat, pH 5.5 to 6, N 110 to 190 mg L–1, P2O5 140 to 230 mg L–1, K2O 170 to 280 mg L–1), infested with wheat and hemp kernels colonized with a strain of P. aphanidermatum at a rate of 1 g L–1. Ten seeds per pot were sown in four pots filled with the infested medium, while the same number of seeds were sown in non-infested substrate. Plants were kept in two growth chambers, at 20 and 27°C. The first symptoms developed 7 days after the artificial inoculation. After 20 days, 70% of plants were infected at 27°C, while 10% were affected at 20°C. Control plants remained healthy at both temperatures. P. aphanidermatum was consistently reisolated from the lesions. To our knowledge, this is the first report of damping off of B. vulgaris subsp. vulgaris caused by P. aphanidermatum in Italy. The importance of the disease, at present limited, could increase in areas where leaf beet is intensively grown. References: (1) S. F. Altschul et al. Nucleic Acids Res. 25:3389, 1997. (2) H. Masago et al. Phytopathology 67:425, 1977. (3) T. Watanabe. Pictorial Atlas of Soil and Seed Fungi. CRC Press, Florida, 2002.
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Czienskowski, Uwe, and Stefanie Giljohann. "Intimacy, Concreteness, and the “Self-Reference Effect”." Experimental Psychology 49, no. 1 (2002): 73–79. http://dx.doi.org/10.1027//1618-3169.49.1.73.
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Abstract. Reference to oneself during incidental learning of words frequently results in better recall performance than reference to other persons. However, this effect occurs under different conditions with differing strength, and sometimes it is even reversed. Meta-analyses and further experimental studies suggest that increased recall performance under a self-referential encoding task occurs only if it is compared with a nonintimate other person and if abstract material is presented, irrespective of the type of previously presented words (adjectives or nouns). In the current paper, two experiments are reported which support the assumption that this intimacy effect on memory only occurs if no pictorial or concrete features of the material (nouns) to be learned can be exploited for an improvement in encoding or remembering the material. All results agree with predicted effect sizes, which were drawn from a meta-analysis and subsequently conducted experimental studies. This suggests that a recall advantage of referring to oneself compared to other persons is subordinate to the effects of concreteness or imageability. Moreover, the current results offer a theoretical explanation of some previously reported but nevertheless puzzling results from imagery instructions, which indicate decreased recall performance for self-reference compared to other-reference.
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Żyszkowska, Wiesława. "Levels and properties of map perception." Polish Cartographical Review 49, no. 1 (2017): 17–26. http://dx.doi.org/10.1515/pcr-2017-0002.
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Abstract Map perception consists of numerous processes of information processing, taking place almost simultaneously at different levels and stages which makes it conditioned by many factors. In the article, a review of processes related to the perception of a map as well as levels and properties of perception which impact its course and the nature of information obtained from a map is presented. The most important process constituting the basis of a map perception is a visual search (eye movement). However, as stated based on the studies, the process is individual depending on the purpose of map perception and it may be guided by its image (visual search guidance) or by the knowledge of users (cognitive search guidance). Perception can take place according to various schemes – “local-to-global” or “global-to-local”, or in accordance with the guided search theory. Perception is divided into three processes: perceiving, distinguishing and identifying, which constitute the basis to interpret and understand a map. They are related to various degrees of intellectual involvement of the user and to various levels of questions concerning the relations between signs and their content. Identification involves referring a sign to its explanation in the legend. Interpretation means transformation of the initial information collected from the map into derivative information in which two basic types of understanding take place: deductive and inductive. Identification of geographical space objects on the map and the interpretation of its content constitute the basis to introduce information into memory structures. In the brain a resource of information is generated called geographic knowledge or spatial representation (mental map) which may have a double nature – verbal or pictorial. An important feature of mental maps is organization of spatial information into hierarchical structures, e.g. grouping towns into regions as well as deformation of spatial relations between individual elements and their groups independent of consciousness. The process of map perception depends on various factors, including the nature, scale and map content, the degree of its complexity and compliance of the map language with cartographic principles. Important factors also include cartographic competencies of the recipient of a map conditioned by age, education and the task type. It is related to types of information about geographical space: semantic – concerning spatial references of particular objects and structural – connected to relations between elements of a map. Such relations may be determined at the regional or global level, they may concern qualitative or quantitative features as well as changes in time. Nowadays, an important factor impacting the nature and consequences of map perception is the situation in which the process occurs. Traditionally, static and unchanging maps are used under other conditions than computer maps and navigation systems, making it possible to freely zoom in and zoom out the image and its spatial scope as well as to quickly go from one image to another. Today, when the predominant way of map use is their perception on the screens of navigation systems, processes of map perception and factors conditioning it are also significant to understand the process. In the analysis of map perception, also tasks which are implemented using the map and the nature of information obtained by the map user must be taken into account.
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d'Errico, G., A. Crescenzi, and S. Landi. "First Report of the Southern Root-Knot Nematode Meloidogyne incognita on the Invasive Weed Araujia sericifera in Italy." Plant Disease 98, no. 11 (2014): 1593. http://dx.doi.org/10.1094/pdis-06-14-0584-pdn.
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Moth plant, Araujia sericifera, is native to South America and was exported to many other countries as an ornamental plant. However, it is now considered an invasive, perennial, noxious weed in Italy. Because of the ability of this plant to spread rapidly and invade natural ecosystems, A. sericifera has been included on the Alert list by the European and Mediterranean Plant Protection Organization (EPPO). In September 2013, numerous plants of A. sericifera with chlorotic leaves and large root-galls were observed in agricultural fields, gardens, and uncultivated locations in Nocera Inferiore, Salerno Province, Italy. Ten samples were collected from a vegetable farm (40°45′40.8″ N, 14°38′18.4″ E) and nematodes were extracted from soil and root samples using standard procedures (1). Meloidogyne sp. was found in all soil and root samples, with nematode population densities ranging from 420 to 1,270 eggs and J2s/10 cm3 of soil and 84 to 2,200 eggs and J2s/5 g of fresh roots. The morphological identification of the nematode was based on characterization of second-stage juveniles (J2s), males, eggs, and females (2). Measurements of J2s (n = 30) include: mean body length (L) = 403 ± 3.7 μm; L/maximum body width = 27.5 ± 0.3; L/esophageal length = 6.2 ± 0.1; stylet length = 12.8 ± 0.1 μm; L/tail length = 9.5 ± 0.1; tail length = 42.5 ± 0.3 μm. Males (n = 10): L = 1,491 ± 0.04 μm; L/maximum body width = 44.4 ± 0.8; L/esophageal length = 16.1 ± 0.3; stylet length = 22.1 ± 0.7 μm; spicules length = 30.1 ± 0.8 μm. Eggs (n = 30): length = 96.6 ± 1 μm; width = 45.1 ± 0.5 μm; length/width ratio = 2.1. Females (n = 20): L = 909.5 ± 38.4 μm; body width = 588.3 ± 19.3 μm; stylet length = 17.0 ± 0.2 μm. Perineal patterns of females had a high dorsal arch with wavy striae bending toward the lateral lines and the absence of distinct lateral line incisures. All measurements conformed to the description of Meloidogyne incognita (Kofoid & White, 1919) Chitwood 1949. DNA was extracted from five individual adult females from each sample and morphological identification was confirmed by a sequence-characterized amplified region (SCAR)-PCR technique using species-specific primers. The amplified product obtained was 1.2 kb in length, demonstrating proper amplification of the species-specific, length variant SCAR marker (3). Weeds are known to serve as hosts for nematodes in the absence of crop plants and to affect the success of nematode management programs. Meloidogyne spp. have been reported to survive and even thrive on weeds; among them, M. incognita is considered the most economically important agricultural nematode pest worldwide as it causes severe yield losses on many hosts. Thus, the invasive plant A. sericifera can be a potential reservoir for M. incognita in Italy and elsewhere. To our knowledge, this is the first report of M. incognita parasitizing A. sericifera. References: (1) K. R. Barker. Page 19 in: An Advanced Treatise on Meloidogyne. Vol. II, Methodology. K. R. Barker et al., eds. North Carolina State University Graphics, Raleigh, 1985. (2) J. D. Eisenback et al. A Guide to the Four Most Common Species of Root-Knot Nematodes (Meloidogyne spp.), with a Pictorial Key. North Carolina State University, Raleigh, 1981. (3) C. Zijlstra et al. Nematology 2:847, 2000.
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Lazarotto, M., M. F. B. Muniz, R. F. dos Santos, E. Blume, R. Harakawa, and F. A. Hamann. "First Report of Fusarium equiseti Associated on Pecan (Carya illinoinensis) Seeds in Brazil." Plant Disease 98, no. 6 (2014): 847. http://dx.doi.org/10.1094/pdis-09-13-0976-pdn.
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Pecan [Carya illinoinensis (Wangenh.) K. Koch] is an important producing nut tree that has been intensively cultivated in the state of Rio Grande do Sul (Brazil) in recent decades. This species is commonly grown in association with other crops and more often with cattle or sheep. An elevated incidence of the fungal genus Fusarium was observed during a quality control seed assay of pecan seeds obtained from orchards in the city of Anta Gorda (28°53′54.7″ S, 52°01′59.9″ W). Concomitantly, seedlings of this species, cultivated in a nursery, showed foliar necrosis, wilt, and root rot. The fungus was thereafter isolated from the seeds (from original seeds lots) and subcultured from single spores. Cultures were purified in order to perform pathogenicity tests. The isolated Fusarium sp. was increased on autoclaved wet corn kernels that were incubated for 14 days (1), and then were mixed with commercial substrate (sphagnum turf, expanded vermiculite, dolomitic limestone, gypsum, and NPK fertilizer) in plastic trays (capacity 7 L), with drainage holes. Twenty seeds were sowed and 90 days later, evaluations were undertaken. Forty percent of the seedlings presented symptoms, i.e., foliar necrosis and wilt owing to root rot. Fusarium sp. was re-isolated from the affected roots by transferring hyphal tips to potato dextrose agar (PDA) and carnation leaf agar (CLA) medium in petri dishes in order to identify the species morphologically. On PDA, the colony pigmentation was yellowish brown and the aerial mycelium was whitish to peach; macroconidia were relatively long and narrow (31.75 × 4.02 μm), with 5 septa on average, and whip-like bent apical cells (2). Chlamydospores were not observed on PDA or CLA. Primer pairs ITS1 and ITS4 (3) and EF1-T and EF1-1567R (4) were employed to amplify the internal transcribed spacer (ITS) and elongation factor-1α (TEF 1-α) regions, respectively. The resulting DNA sequences showed 99% for ITS and 98% for TEF 1-α similarity with Fusarium equiseti (Corda) Sacc. and phylogenetic analysis grouped it with sequences of this species. The consensus sequence was submitted to GenBank and received the accession numbers KC810063 (ITS) and KF601580 (TEF 1-α). The pathogen was re-isolated on PDA and CLA substrate in order to complete Koch's postulates. The pathogenicity test was repeated with the same conditions described before and the results were confirmed. No symptoms were observed on the control seedlings. This species is considered a weak parasite (2); however, it has been reported causing wilt in Coffea arabica in Brazil (5). This pathogen could cause serious damage and high losses to seedling in commercial nurseries. Besides that, it could also carry the disease to the field causing further damage on established plants. To our knowledge, this is the first to report of F. equiseti causing foliar necrosis and wilt on C. illinoinensis in Brazil. References: (1) L. H. Klingelfuss et al. Fitopatol. Brasil. 32:1, 2007. (2) W. Gerlach and H. Nirenberg. The Genus Fusarium – a Pictorial Atlas. Biologische Bundesanstalt für Land- und Forstwirtschaft, Braunschweig, Germany, 1982. (3) T. J. White et al. Page 315 in: PCR Protocols: A Guide to Methods and Applications, Academic Press, San Diego, CA, 1990. (4) S. A. Rehner and E. A. Buckley. Mycologia 97:84, 2005. (5) L. H. Pfenning and M. F. Martins. Page 283 in: Simpósio de Pesquisa dos Cafés do Brasil, 2000.
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Sanogo, S., B. F. Etarock, S. Angadi, and L. M. Lauriault. "Head Rot of Sunflower Caused by Rhizopus oryzae in New Mexico." Plant Disease 94, no. 5 (2010): 638. http://dx.doi.org/10.1094/pdis-94-5-0638c.
Full textAbstract:
Head rot was found in cultivated sunflower (Helianthus annuus) in eastern New Mexico in Tucumcari in 2007 and Clovis in 2007 and 2009 and in south-central New Mexico near Las Cruces in 2009. The disease was also observed in wild sunflower near Clovis in 2008. Disease incidence was 10 to 40% in cultivated sunflower and ~30% in wild sunflower. Heads were brown to dark brown with discoloration extending down the sepals and peduncles into the stems. The basal parts of the heads were shredded and had grayish, fluffy mycelial mats visible in the lumen, and kernels were mostly seedless. Three to five diseased heads were collected from cultivated sunflower in 2007 and 2009 and wild sunflower in 2008. Plant tissues from heads and peduncles were surface sterilized for 3 min in 0.5% NaOCl, rinsed once in sterile distilled water, cut into 0.5-cm pieces, and plated on acidified potato dextrose agar (PDA). Within 3 to 7 days, mycelial colonies with abundant aerial growth and black sporangia emerged and were identified as Rhizopus oryzae on the basis of the presence of pale brown sporangiospores with bluish stripes (3) and mycelial growth at 36°C on PDA (1). PCR amplification of the internal transcribed spacer (ITS) region of rDNA from two isolates, one from cultivated and one from wild sunflower, using primer pair ITS4/ITS5 (1) was followed by sequencing and showed a 99% homology with the sequence of the ITS region of rDNA from R. oryzae (GenBank No. FJ654430). Each isolate was tested for pathogenicity on inflorescences (5 to 6 cm in diameter) of sunflower cvs. Hysun 511 and Triumph 820 HO grown for 4 to 5 weeks in a growth chamber at 26°C with a 14-h photoperiod. To obtain inoculum, a sterile toothpick was passed through a culture of R. oryzae until a ~3-mm mycelial mat was collected at the tip. The toothpick was dabbed into the center of an inflorescence or into the peduncle. A cotton boll was placed over the inoculation and sprayed with sterile distilled water. Control inflorescences were dabbed with toothpicks with no mycelium mat. Each inoculated and noninoculated inflorescence was covered with a plastic bag that was sealed around the peduncle. Plants were kept in the growth chamber for 3 weeks. In each of two experiments, 13 plants were used per cultivar and inoculation type, with 5 plants inoculated per isolate, and 3 control plants. Symptoms observed on inoculated sunflower were similar to those on field infected sunflower. There was no difference between the two cultivars. On inoculated inflorescences, dark discoloration developed at the inoculation site and expanded over the inflorescences, and grayish mycelium with black sporangia was observed within 2 weeks. On inoculated peduncles, dark discoloration was also observed extending down the peduncle and up into the inflorescences. R. oryzae was reisolated from all inoculated heads. To our knowledge, this is the first report of R. oryzae causing head rot on sunflower in New Mexico. It is unknown what factors lead to head rot outbreaks. This disease has been reported in other U.S. regions and has been demonstrated to reduce sunflower yield and quality (2). The potential negative impact from Rhizopus head rot should be considered when determining whether to expand cultivation of this crop. References: (1) G.-Y. Liou et al. Mycol. Res. 111:196, 2007. (2) C. E. Rogers et al. Plant Dis. Rep. 62:769, 1978. (3) T. Watanabe. Pictorial Atlas of Soil and Seed Fungi: Morphologies of Cultured Fungi and Key to Species. CRC Press, Boca Raton, FL, 2002.