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Edited by Jorunn Svensen Gjerden, Kari Jegerstedt and Željka Švrljuga

Exploring the Black Venus Figure in Aesthetic Practices critically examines a longstanding colonial fascination with the black female body as an object of sexual desire, envy, and anxiety. Since the 2002 repatriation of the remains of Sara Baartman to post-apartheid South Africa, the interest in the figure of Black Venus has skyrocketed, making her a key symbol for the restoration of the racialized female body in feminist, anti-racist and postcolonial terms.

Edited by Jorunn Gjerden, Kari Jegerstedt, and Željka Švrljuga, this volume considers Black Venus as a product of art established and potentially refigured through aesthetic practices, following her travels through different periods, geographies and art forms from Baudelaire to Kara Walker, and from the Caribbean to Scandinavia.

Contributors: Kjersti Aarstein, Carmen Birkle, Jorunn Svensen Gjerden, Kari Jegerstedt, Ulla Angkjær Jørgensen, Ljubica Matek, Margery Vibe Skagen, Camilla Erichsen Skalle, Željka Švrljuga.

Claudio Pogliano

in favor of Blacks, De la Littérature des Nègres (1808). While not a scientist himself, he had the vision to propose in 1794 to the members of the Convention Nationale the foundation of the Conservatoire des Arts et Métiers, and in the following year the establishment of the Bureau de Longitudes

Agricultural Science in Napoleonic Universities

Didactic and Research in Pavia, Bologna and Padua

Martino Lorenzo Fagnani

. 28 He detected the black rust, the bunt and the loose smut. He added the rickets, that is the irregular growth of vegetables suffering from parasites or neglected cultivation. He described the symptoms, the causes, the prevention measures and the remedies of all these diseases, but he openly

Lucia Raggetti

والافلاك العالية والى حلا اقدر اسمّيه والى الملائكة والجن والشياطين ‭[116 r ]‬ والى اقاصى الدنيا والى سائر المواضع التي تطلّع عليها باذن الله تعالى.‬‎ When you want this, take copper, iron, lead, black lead, silver, gold, qarṭūlas 21  – that is, crushed glass – mould everything, and

A Dig through Archives and Depots

Rediscovering the Inlay Workshop of Tebtynis and Its Materials

Cinzia Bettineschi, Giulia Deotto, Donald James Ian Begg, Gianmario Molin, Paola Zanovello, Alessia Fassone, Christian Greco, Matilde Borla and Ivana Angelini

campaign for the partage and the other prepared in view of a first exhibition planned after their arrival in Italy. The majority of the finds were given inventory numbers directly in the field; their codes are also recorded in black or red ink on the objects themselves or on the boxes which contained

“… It Was Highly Desirable They Should Be Illustrated”

Images from the U.S. Navy Astronomical Expedition in Chile (1849–1852)

Catalina Valdés and Magdalena Montalbán

identify the birds collected by Sada di Carlo and Salinas, which were then described and reproduced in John Cassin’s annex. We know thus that a pair of black-chinned siskins were prepared and sent by Sada di Carlo to Gilliss, so that it is very probable that this plate (Fig. 6 A ) is a portrait of these

John Davis

that Nicholas of Lynn’s Kalendarium , first written in 1386 and one of the sources which Chaucer quoted in his Treatise on the Astrolabe , was specifically dedicated to him. 66 His sister-in-law, Joan “the Fair Maid of Kent” (wife of John’s elder brother, Edward of Woodstock, “the Black Prince” and

Lavinia Maddaluno

” as he thought to have seen them under the microscope. 23 The drawing can be found on the left margin of the recto of the folio sheet (Fig. 3). As we will see, the visual element, which here appears both as verbal description of vivid colours (“reddish globules”) and as an image sketched in black ink

Why Look at Plants?

The Botanical Emergence in Contemporary Art


Edited by Giovanni Aloi

Why Look at Plants? proposes a thought-provoking and fascinating look into the emerging cultural politics of plant-presence in contemporary art. Through the original contributions of artists, scholars, and curators who have creatively engaged with the ultimate otherness of plants in their work, this volume maps and problematizes new intra-active, agential interconnectedness involving human-non-human biosystems central to artistic and philosophical discourses of the Anthropocene.

Plant’s fixity, perceived passivity, and resilient silence have relegated the vegetal world to the cultural background of human civilization. However, the recent emergence of plants in the gallery space constitutes a wake-up-call to reappraise this relationship at a time of deep ecological and ontological crisis. Why Look at Plants? challenges readers’ pre-established notions through a diverse gathering of insights, stories, experiences, perspectives, and arguments encompassing multiple disciplines, media, and methodologies.


Marion Romberg

in the form of a brown maiden […]. Asia has a hat on her head, also full of towers, and in the right a golden vessel […]. America is a black woman, dressed like a Gypsy woman […] at her feet are parrots and other things peculiar to these lands. 2 Pope Gregory XIII encountered a relatively young