Di che accorgendosi Ercule, a la fine prese lui; e stringendo quello e levatolo da la terra, tanto lo tenne sanza lasciarlo a la terra ricongiugnere, che lo vinse per soperchio e uccise. E questa battaglia fu in Africa, secondo le testimonianze de le scritture. Dico poi disiosamente, a dare ad intendere la sua continuanza e lo suo fervore.
Quando ragionate sono le due ineffabilitadi di questa matera, conviensi procedere a ragionare le parole che narrano la mia insufficienza. Imaginisi anco uno cerchio in su questa palla, che sia in ciascuna parte sua tanto lungi da Maria quanto da Lucia. E se uno uomo fosse in Lucia dritto, sempre che volgesse la faccia in ver lo sole, vedrebbe quello andarsi nel braccio sinistro. E voi a cui utilitade e diletto io scrivo, in quanta cechitade vivete, non levando li occhi suso a queste cose, tenendoli fissi nel fango de la vostra stoltezza!
La quale natural semenza si fa come nel sequente trattato si mostra. E in questi due luoghi dico io che appariscono questi piaceri dicendo: ne li occhi e nel suo dolce riso. Dimostrasi ne la bocca, quasi come colore dopo vetro. E impongo anche a costei che domandi parola di parlare a questa donna di lei. E che ello fosse in quel tempo, pare che ne tocchi alcuna cosa Tito Livio ne la prima parte del suo volume incidentemente.
Dico: Amor che ne la mente mi ragiona. Per che si vede che le infernali Intelligenze da lo aspetto di questa bellissima sono private. Dove sono da vedere tre cose che in questo testo sono toccate. Per le quali tre virtudi si sale a filosofare a quelle Atene celestiali, dove li Stoici e Peripatetici e Epicurii, per la l[uc]e de la veritade etterna, in uno volere concordevolmente concorrono. Lo terzo comincia: E, cominciando, chiamo quel signore. Oh ineffabile e incomprensibile sapienza di Dio che a una ora, per la tua venuta, in Siria suso e qua in Italia tanto dinanzi ti preparasti!
Maladetti siate voi, e la vostra presunzione, e chi a voi crede! Se noi consideriamo poi [quella] per la maggiore adolescenza sua, poi che da la reale tutoria fu emancipata, da Bruto primo consolo infino a Cesare primo prencipe sommo, noi troveremo lei essaltata non con umani cittadini, ma con divini, ne li quali non amore umano, ma divino, era inspirato in amare lei. E non puose Iddio le mani proprie a la battaglia dove li Albani con li Romani, dal principio, per lo capo del regno combattero, quando uno solo Romano ne le mani ebbe la franchigia di Roma? E costoro e la loro setta chiamati furono Stoici, e fu di loro quello glorioso Catone di cui non fui di sopra oso di parlare.
E di questi, che da Epicuro sono Epicurei nominati, fu Torquato nobile romano, disceso del sangue del glorioso Torquato del quale feci menzione di sopra. E questo mostrare si volea. Oh miseri che al presente reggete! Meglio sarebbe a voi come rondine volare basso, che come nibbio altissime rote fare sopra le cose vilissime. Quale di costoro si dee dicere valente? Rispondo: vilissimo. Potrebbe alcuno dicere: Come? Lo inreverente] dice privazione, lo non reverente dice negazione. E pruovo quelle essere vili per uno loro massimo e manifestissimo difetto; e questo fo quando dico: Che siano vili appare.
Onde nullo dipintore potrebbe porre alcuna figura, se intenzionalmente non si facesse prima tale quale la figura essere dee. Dico adunque: Che siano vili appare ed imperfette. Puotesi brevemente la loro imperfezione in tre cose vedere apertamente: e prima, ne lo indiscreto loro avvenimento; secondamente, nel pericoloso loro accrescimento; terziamente, ne la dannosa loro possessione.
Veramente qui surge in dubbio una questione, da non trapassare sanza farla e rispondere a quella. E per questo modo disputasi e ripruovasi contra le ricchezze per la presente canzone. Dove manifestamente pone lo primo uomo uno solo essere stato. E dico sani non sanza cagione. The Mary Wigman Book. Middletown: Wesleyan University Press, Wyatt D. Zumbusch  C.
The present essay delays going immediately to the Warburg Institute archive to research this playlet. Unlike the Duse playlet, Hamburg Art Conversations was completed and performed. Gestures from the Preface in the performance-film of Preparatory Notes for a Chicago Comedy The performance-film was created with footage of the playlet as it was performed at the Staatliche Museen zu Berlin perfor- mance, Museum Dahlem, 8th Berlin Biennale The latter character was added in the performance-film version of the Comedy.
Hopi Indian Study 28, Sensation, a show of work collected by advertising mogul Charles Saatchi, promoted a group that had come to be known as the Young British Artists YBAs. The actors are lying down across the stage, dead, between the cutouts. Aby War- burg 2 Actor 2 makes the sound of a trumpet. Aby Warburg 1 Actor 1 lies at the back of the stage, puts his glasses on, stands up, looks about and walks in and around the cutouts towards the audience.
He is wearing a white shirt and black suit. His gaze moves around the audience; he gestures with his hands and moves around, occasionally reading from his script. Ladies and gentlemen, esteemed members of the public, beloved yet oh- so elusive audience—welcome to Preparatory Notes for a Chicago Comedy. This piece -- this work of art if you will -- is the result of the collaboration between an artist and a curator; it involves acting and dancing, moving and speaking, and could be said to be one third choreography, one third lecture, one third performance.
It is a play, and meant to be playful at that: we are aiming for many different goals here, but the most ambitious of all, perhaps, is to be funny. To entertain—to both amuse and bemuse. Anyway… In this play, we set out to explore the possibility of traveling in time as well as space—the real science fi ction deal. We will go different places, and traverse different eras. We will also plunge the depths of the human mind and investigate different mental states, most notably the grey area between madness and sanity, between reason and unreason.
A comedy—yet the subject is undoubtedly, irrefutably serious. Seriously-se- rious. We—myself, the actors, the artist, the curator, many of you even— owe our livelihood to it, and here we are, appearing within the context of it. While Warburg 1 continues to speak, a dancer dressed in black, stands up and walks to Actor 2 Warburg 2 , who is dressed in a white shirt and black suit.
The dancer drags [Warburg 2] a few metres towards the center of the stage: Gestures from the Preface in the performance-film of Preparatory Notes for a Chicago Comedy ; footage from the Staatliche Museen zu Berlin performance, Berlin Biennale Warburg 2 looks bemused. Which most of us, I believe, love and hate in equal measure. Love it and hate it, all at the same time, all the time. I love it; I hate it. Needless to say, we are not the first to rack our brains about this, nor will we be the last.
My goodness, nein. Which is why we, once again, enlisted the help of a trusted old comrade here, who likewise suffered from the depressive state brought on by] these exact concerns—Abraham, or Aby, as his family liked to call him, Warburg. Warburg 2 interjects. Warburg 1 and 2 argue and gesture angrily I will be Aby Warburg. I will be playing Aby Warburg—but I will also play many more characters Fig. Indeed, sometimes it is useful.. Warburg 1 takes Warburg 2 in hand, both are smiling.. Also, I can hear voices—and I will hear voices, all the time. They both look up, Warburg 2 opens his mouth widely Aby Warburg Hello?
Binswanger who is lying down. She is dressed in a white coat. The dancer drags, then lifts her and carries her across to the centre of the stage. I was born in Hamburg in On June 13th, by the way—meaning he I?
I was also born into serious wealth—born rich. Still, rich or not, I have many talents. I could have been an actor, for instance—if only I was a little bit taller. My expertise concerned the early Renaissance I lived in Florence for quite some time —and some other things besides… Such as snake dances. Warburg 1 and Warburg 2 dance, Binswanger is looking solemnly down at the ground. She carries a script under her arm.
There are always too many blokes running around the stage—as well as running the world. Warburg 1 and Warburg 2 are walking around slowly, then come together; War- burg 2 is serious, then the two Warburgs start to lean on each other, playing around like kids, both look very pleased with themselves For some reason, the art world simply loves Aby—they just cannot get enough of Aby. We can all see why of course—Aby is quite the looker.
Just look at him! Aby Warburg Actor 2 Queen? Actor 1 Prince, rather. I never cared for banking. Instead of money I always only wanted knowledge and as many books as I could get my hands on. Binswanger looks very serious, writing notes I handed it over to my brother Felix, second in command, in return for his lifelong sponsorship of my reading habits. Books, books, books! There are many things we are not sure about—many unknowns, some of them known, some of them unknown.
The two Warburgs are together at the front of the stage and the dancers stand over Binswanger reading her notes For now our playlet consists of three scenes, but it may actually be expan- ded in the future, or be performed differently. You know those artsy-fartsy types—they can never quite make up their minds. The cheek of it all!
Well—we will see. The actors playing the roles of Jan Van der Marck and John Cage are sitting on the chairs behind the cutouts. The phone rings again Marcel Duchamp Actor 3 In a voice with a strong French accent, reading from a letter with one hand in front of the cutout as if he was on the phone Hello dear Mr. Van der Marck, this is Marcel Duchamp speaking. I am Fig. It is July 11, , meaning that Goshka Macuga is exactly twenty-six days old, and your Museum of Contempo- rary Art has yet to open. With my regrets, I hope you still understand and make a success of the show.
Sincerely yours, Marcel Duchamp. The phone starts ringing again. The actor playing Richard Artschwager moves towards the chair and sits behind the cutout. John Cage Actor 2 Played by one of the dancers, in a neutral accent. Uhm… Hi there, John Cage here. Most of what I do involves the telephone. I notice that by telephoning I do my work. The actor stands up and leaves the room. Hello, this is Richard Artschwager speaking. He unrolls the carpet in front of the audience and starts to perform the carpet choreography. Aby Warburg Actor 1 Walks towards the audience slowly while the carpet performance continues.
The actor who is doing the carpet performance dives under the carpet. Uhm, OK… Warburg pulls out a piece of paper, straightens it out, clears his throat and starts reading rather theatrically. This is in the tradition of the great Marcel. The Dadaists and Surrealists have always pushed the limits of truth and logic. Artschwager works within that tradition. No works in this exhibi- tion have failed to live up to that essential expectation. Insurance Salesman Actor 1 From behind the cutout of the large telephone in a cockney accent: Hello… Oh, hi there! Have you had an accident in the last 6 months?
The reason for my call is this. I thought it was important to let you know, and to ascertain if we could do a similar thing for yourself. Ring, ring. Marcel Duchamp Actor 3 Hello?? I peed my panties and missed the urinal. How much can I get for that ready-made? Jan Van der Marck Actor 2 Hello? Yes… Yes, if you ever call me again rest assured it will be the last call you ever make. Speaks in an American accent: Hello Is this Mister Joseph Shapiro?
Yes… Well, I was absolutely flabber- gasted when I found that Richard Artschwager has received your approval to exhibit stolen property. The dancer and the actor who will perform Angela Merkel walk towards the chairs and the dancer picks up the cutout of Angela Merkel. The Angela Merkel cutout is brought onto the stage by the dancer and the actor walks behind the cutout speaking. The second dancer with the carpet puts the carpet on his head and styles it to create the look of the Holy Mary and hops towards Angela Merkel. Barry, are you there? Is that you, Barry? Oba- ma?? Well, Angela Merkel.
OK, Frau Merkel. Listen, about this phone-tapping business… Honestly— The cutout of Angela Merkel is taken back to its chair by the dancer. The actor leaves the stage and the second dancer with the carpet on his head also leaves the stage. Warburg enters and addresses the audience. For , that is. Not so sure how it would work today though. I mean, first of all, it would probably be Art by Skype. Or Art by Email. All art is conducted by telephone these days, by the airwaves, by satellite. Or by undersea cables… Secondly, with all the snooping and spooking and spying going on… Looking up, at the sky] And all those drones flying around… Artists have unwittingly become enablers of worldwide surveillance!
Two dancers enter the stage and start voguing while Warburg quotes his own text. Extermination and whisky is his answer to it. Electricity enslaved, the lightning held captive in the wire, has produced a civilization which has no use for hea- then poetry. But what does it put in its place? With these wa- ves the civilization of the mechanical age is destroying what natural science, itself emerging out of myth, had won with such vast effort the sanctuary of devotion, the remoteness needed for contemplation. The modern Pro- metheus and the modern Icarus, Franklin and the Wright Brothers who invented the airplane, are those fateful destroyers of our sense of distance who threaten to lead the world back into chaos.
Telegraph and telepho- ne are destroying the cosmos. But myths and symbols, in attempting to establish spiritual bonds between man and the outside world, create space for devotion and scope for reason which are destroyed by the instantaneous electrical contact unless a disciplined humanity reintroduce the impedi- ment of conscience.
Since the invention of the telephone, however, we have gone on to create another global network—that of the Internet. This may not have exactly destroyed the cosmos, but it has provided us with another space that allows us to communicate with the whole world and beyond. It also gives us space for contemplation—the auratic space of the computer screen we devoutly contemplate for hours and hours on end each day of our lives. In no way does it connect you to the outside world like it pretends to—it only gives the illusion of doing so.
The worldwide web—it was supposed to be a democratic platform free from political control, and instead it has become a space in which your every idea, your every emotion and your every interaction is turned into a commodity. Van der Marck and Mr. These are both good points, and well made on top of that. But let us return to the matter of Art, shall we? Where is Art in all of this?
Indeed, artists may use technology but most often they use it to create more problems and instead of solving them and giving answers they just ask more questions. That said however, how on earth would we ever have produced this play without Skype or telephone or the worldwide inter- webs net?
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Not that that would necessarily have been a bad thing though… Why does everything have to be rushed anyway? Why does ev- eryone always want everything right now, this very minute, subito presto? Van der Marck leaves the stage. Warburg 2 walks towards Goshka Macuga cutout Goshka Macuga Actor 3 I actually side with Aby here—all of this technology business is killing the spirit of art. As well as the spirit proper—that is to say, my spirit.
I hate my phone—but I love my bison grass vodka. And I hate many more machines besides my phone. I mean, why does every living second of our life have to be recorded and registered? Why does everything have to be filmed and photographed and stored away for some delusional posterity or other? Like, why do I have to explain what I do in front of a camera, for crying out loud?
Imagine prehistoric man, or rather, prehistoric woman, sitting in her cave, stroking her Neanderthal mons and having to explain her cave paintings to a gawking film crew… Fig. There is no reprieve and no respite. Search engines run our world! Youtubes and facebooks! Twit- ters, you tweeting twits! The tyranny of immediacy! Warburg 2 walks and stands next to Warburg 1 Total visibility and total availability, all the bloody time! Honestly, I much prefer the slow, staid world of myth. Give me myth any time. Warburg 2 starts screaming in terror Scene Two: Aby Warburg on Madness and Ritual Set 2: living room, outfitted with a giant telephone The two Warburgs enter the stage.
Warburg 1 goes to sit within the audience, re- ading from a clipboard. As is well enough known, I lost my marbles for a bit there. Warburg 2 moves jerkily and shaking, scratching his head and falling to the floor I had always been quite excitable and a nervous type, but finally experien- ced a major collapse in the fall of —just in time to coincide with the collapse of the German Empire, in fact.
Binswanger enters with white coat, glasses and clipboard from the left side. Warburg 2 approaches Warburg 1, knocking him from his chair and making him fall. Then in the centre of the stage he holds the chair in front of him, following it back and forth and in a circle, nervously and with speed, as though the chair were in charge of him Fig. Warburg 2 now puts the chair down calmly and strokes it And to prove to my doctors that I was ready for the real world again, and that I had regained my mental stability, I proposed to give a lecture to my fellow patients Warburg 2 holds up his first finger, he does a snake-like dance about the Hopi snake ritual I had heard about so many years ago.
I never really saw it myself. Well, I can be more precise than that—the snake ritual I had heard about in , Warburg 2 is biting his arm as if it is a snake, then moving his hips and arms which is when I traveled to America for the first and only time in my life. And you will probably remember that is also the year I wrote the so-called Hamburg Comedy upon which this play is partly based. But how partly? Okay, granted, very partly, only very partly. Anyway my lecture on the serpent ritual… My interest in serpentine imagery across cultures and through the ages… It is a well-established trope, I would say.
What do you think I am anyway, just some fucking tourist attraction? Aby Warburg Actor 2 Rubbing his hands together nervously Apologies, my dear fellow. She is wearing a checked suit and white shirt. Aby Warburg Actor 2 Marina! I was waiting for you to pipe in. We were all waiting for you to pipe in… Now if I remember correctly, you actually have performed a sna- ke-dance-cum-serpent-ritual of your own, have you not? The two Warburgs hold up three fi ngers each.
We tried to make contact with Snake via an inventive system of sorts. We used a closed circuit made of wire, and blowing into a bottle or plucking the wire with our fingers, The snakes now roll away from Marina and start to dance rolling on ground, so- metimes legs raised. Both Warburgs are watching the snakes.
Warburg 2 is doing a soft serpentine dance we caused certain vibrations to be directed towards Snake. Was it any surprise that Snake was obviously much more interested in me than in Ulay? So I would end up lying flat in front of Snake, kind of communicating with it by mirroring its movements. To see whether it can eat you? The snake has often been construed to symbolize evil.
The snake dancers go to the ground again, going between writhing, and rolling up into yogic back bends. Marina is standing with Warburg 1 and 2 Yet it originally represented something much more positive—it symbolised the creation of the universe, no? But can I add something about performance art here? I mean, this Macuga woman, is she performance artist? This Roelstraete guy, performance expert? It cannot be put on walls. I am sick and tired of the mistreatment of performance art. Even the pop-video fuckers steal from it.
Warburg 1 goes to stand behind the Hopi Indian cutout. Though one thing I should point out seems absent from your reaso- ning is that the snake also symbolises forbidden pleasure—Adam and Eve and the snake in the Garden of Eden, remember? Aby Warburg Actor 2 What? Am I hearing voices? I think I am. I might be hearing voices. A snake lies between her legs, then comes up to a sitting position Fig. It is believed that if he drink this coffee he will never leave her.
The two Warburgs come to standing. I certainly do not think very highly of Sigmund Freud. Let us listen to Doctor Binswanger instead. Both Warburgs are trembling. She returns from the left, stands in the centre, Warburg 2 joins her. She gestures with her pen for his back to bend; she rests her clipboard on his back. Clearing her throat, reading from a letter:] Dear Professor Freud… Already in his childhood Warburg displayed vari- ous signs of anxious and obsessive behavior.
He is currently being held in the isolation ward. He remains interested in everything and absorbed in the analysis and judgment of both things and people. Warburg 1 crawls through Warburg 2 legs from behind and stands up in front of him. Warburg 2 is writing frenetically in the air His memory is excellent, but he can only focus on his scientific studies for a very limited period of time.
Please treat this information with the utmost confidence. Warburg 1 bends forward; Warburg 2 is standing I feel very sad that he will no longer continue to mine the treasure chest of Fig. Binswanger leaves to the left Aby Warburg Actor 1 wiser words were rarely spoken— Warburg 1 has taken the letter, both Warburgs bent forward though little did the good doctor know that I was eventually going to wake up from the sleep of unreason.
Only to slump back into it towards the end of my life. I eventually passed away in the peaceful setting of my own home, if you are interested to know—not in the loony bin—just two days before the whole world came to a screeching halt A snake dancer is crawling on the floor.
Warburg 1 is still bent forward, Warburg 2 is holding his collar in horror because of the first great Wall Street crash. Warburg 2 smiling But that is another story, one told in the next chapter. Warburg 1 stands up, Warburg 2 takes him by the arm and Warburg 1 moves behind the Hopi cutout. Nothing at all. You really made that one up. Warburg 1 and 2 move towards the cutouts; Warburg 1, standing in front of the Hopi cutout, is shouting at 2, standing by the Warburg cutout You crazy German.
Crazy Hamburger. Crazy art historian. Crazy Jew. Crazy heir to a banking fortune. Binswanger enters with clipboard. One snake is standing and rolls behind the set on the right hand side, the other rolls on ground towards audience Doctor Ludovica Binswanger Actor 3 Addressing first Hopi and Warburg, who have disappeared behind the cutouts, and then the audience Allow me to intervene and proffer some clinical analysis here. Is the art world in love with Aby Warburg because the art world is in love with madness?
Is the art world the only part of the world in which madness is somehow allowed—sexy even? Indeed, it seems that it is only OK to eat human fetuses if you can call it art. Otherwise, not so much. You could say that art is the one kind of madness Binswanger taps her pen with force several times on her notes the world desperately desires. Hopi Man Actor 1 Shouting and pointing his finger angrily Yeah yeah, yada yad—deep shit. Warburg, you psycho! A thieving missionary! I should never have set foot inside any museum. Coming to Warburg 2 who places his hand on his shoulder comfortingly I should calm down and let you speak a little about ritual for a change.
Hopi Indian Actor 1 What, this play? Aby Warburg Actor 2 well, not exactly. I mean this gathering. Both Warburgs move to the centre of stage Warburg 2 stands behind 1, gesturing These people gathering—for art. Warburg 2 enters and takes the Tea Party sign from Dead Dad and carrying it over his shoulder, doing a funny walk off the stage.
The dancers enter and move the dead Dad cutout to the right hand side of the stage Or over easy, depending on how you look at it. The dancers move the snake carpet and Andrea Fraser cutout forward, at the same time Actor 2 moves the Goshka Macuga cutout to the front of the stage on the left We are going to talk about art, money and politics. Actor 1 is standing Which is why we find ourselves in a bedroom, in bed. Everyone on the bed is looking either at Warburg 1 speaking or the audience The history of art, which coincides with the history of money, is full of beds, and not just for sleeping.
This may be the source, possibly, of the expression Fig. I am the artist and I like to be embedded. I am the curator and I also like to be in bed. I am the artist and I like to be em- bedded. Actor 2 walks to behind the Dieter Roelstraete cutout, arms outstretched and speaking theatrically Dieter Roelstraete Actor 2 Hello, my name is Dieter Roelstraete. Actor 1 stands up behind the Roman Abramovichh cutout which is on the bed. I love football. I have no Napoleonic dreams. I am just har- dworking and pragmatic. And, yes, I happen to have many beds—in yachts, villas, townhouses, and in private jets as well.
You know me from that photograph, Fig. I utterly abhor racism and would like to apologize to anyone who has been offended by this image. I just wanted to say that said photograph, which has been published completely out of context, is of an artwork in- tended specifically as a commentary on gender and racial politics. I utterly abhor racism, A gesture to the audience and would like to apologize to anyone who has been offended by this ima- ge.
I would like to hear An- drea Fraser speak on this issue. She has considerable experience, after all, with working in bed I believe. Actor 4 goes down to lying behind the Andrea Fraser cutout Andrea Fraser Actor 4 Actor 4 in a nasal American accent I assume you are referring to Untitled, my performance from in which I filmed myself sleeping with a collector, yes, dear Dad? Dear Dead Dad? For an undisclosed amount of money, that is… Well, my own experience of doing the piece was really very empowering and quite in line with my understanding of my own feminism.
It was my idea; it was my scenario. I was producing a piece that I would own. I was very much in control of the process. I never felt used by the collector. Actor 1, 2 and 3 are standing listening to Andrea Fraser In fact, I was much more concerned about using him. And showing it has also been empowering—terrifying, but empowering. Almost everyone I know has now seen me have sex on camera. In a way, I am now imper- vious to physical exposure and voyeurism. So, that was my experience. You know, people certainly can argue with this, but it really was a very different kind of relationship, one in which I had an enormous amount of power.
Is it any more prostitution because I happen to be having sex with a man than it would be if I were just selling him a piece? And that brings us back to the entanglement of art and money. The dancers under the sheet continue to move suggestively and vigorously Andrea, you—who else? Andrea, would you mind reading from the essay in question? In Balkans I usually only get to fiddle with snakes or skeletons.
Dead Dad Dancer Over my dead body, Marina! Actor 3 moves to the Goshka Macuga cutout. Oh, here perhaps, where I am addressing the re- lation between the booming art market and growing income inequality and the concentration of wealth in ever fewer hands. And the question is: how can we continue to justify our taking part in this deranged economy? Dead Dad Dancer Over my dead body! Aby Warburg Fig. How can we continue to justify our taking part in such an economy?
Andrea Fraser Actor 4 I believe I already answered your question. If our only choice is to partici- pate in this economy or abandon the art field entirely, at least we can stop rationalising that participation in the name of critical or political art practi- ces or—adding insult to injury—social justice. Actor 1 has been walking around the bed Roman Abramovich Actor 1 Or in theatre plays. Let me pay for this one, OK? Can I have the bill? Goshka Macuga Actor 3 Listen, this is all a little too depressing for our taste, frankly. All the actors move towards the Goshka Macuga cutout snapping the fingers of their right hand synchronously.
They form a circle and continue to click their fin- gers moving their hips back and forward, dancing with Goshka Macuga Give peace a chance! First of all, we think Andrea is primarily speaking from an American perspective here—one that may end up romanticising the so-called alternatives somewhat. Th is is just too one-dimensionally bleak a picture. I mean, why did we become artists or curators in the first place?
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And why did anyone ever start collecting art? Surely not for the love of money. You can choose to be outside of it all—you can choose to be outsiders.
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All the actors apart from Actor 3 continue dancing while moving across to the right of the stage Dead Dad Dancer What, like outsider artists? Everyone, apart from Goshka Macuga, starts to dance with the cutouts freestyle Roman Abramovich Actor 1 Let me buy it for you. You are not the only one to do so. Many give a few thousand here and there, to this museum or that art project, and instantly become part of the elite of rich, powerful and sophisticated art lovers. Everyone, apart from Goshka Macuga, is now dancing wildly across the back stage Goshka Macuga Actor 3 In the art world no one will ask you where your money came from, whether it is dirty or clean.
This is where the circle closes. Everyone, apart from Goshka Macuga, moves to dance around and on the bed. Goshka Macuga moves to the bed and raises her fist in the air. Goshka Macuga Actor 3 The cast join in with hands in the air I want to break free from this circle and become a square! I know your pain—I, too, had to break free and give away mine. It was dri- ving me crazy. All the actors sit around Warburg 1 at the front of the bed And so I gave my life to art instead. Starts screaming, lying on the bed In the moment of my death I regained my voice. Warburg 2 stand up walks towards the front of the stage and falls down, curling into a fetus position away from the audience Actor 1 playing Warburg 2 Mary!
Marry me, Holy Mary! A dancer moves to behind Dead Dad. There is no denying the reality of the world we are in, mad or not. We are the world we have created, and when we cease to exist this world we have created will also cease to exist. The actor playing Goshka Macuga moves from the bed to behind the cutout Goshka Macuga Actor 3 But death is not the end. The dancers get up and lift the Andrea Fraser cloth into a curtain at the front of the stage. The actors get up one at a time and move into a line behind the curtain Roman Abramovich Actor 1 Popping out from behind the curtain Hello, waiter?
How much? Can I have a discount? The actors Kurt W. Si tratta di model- li spettrali incorniciati per sempre in tele immaginarie, o sono immagi- ni viventi di un atlante immemorabile in cerca di nuove sincronizzazioni? Cosa sorreggono, ora, i cavalletti, i sostegni e i puntelli? Digitized via Googe Books. Lucerna fratrum minorum et Expositio Bullae eugenianae Leipzig, This work can be read and downloaded via the digital collections of the Munich State Library. Madrid, V, nos. Observant friar and provincial vicar of the Tuscany province, as well as guardian of the Jerusalem friary.
Juan de San Antonio also mentions a quadragesimale collection and a Gospel commentary, but I have not yet been able to trace those works. Milan Bibl. French friar and member of the Lyon province. Preacher and prolific author and polemicist on matters of moral theology, demonic influences, mendicant life, etc.
Amour and the mendicants in the 13th century. Seuerin, Jacques d'Autun, L'amour eucharistique victorieux des impossibilitez de la nature et de la morale, contenant plusieurs discours pour l'octave du S. Par le R. Jacque d'Autun Accessible via Archive. La Vie de S. Magnificat [ trad. In versi volgari del Magnificat ]: Naples, Naz.
Tavola per trovare le lettere Domenicali : Naples, Naz. Born at Coutances Manche. Entered the Capuchin order in the Normandy province in Was active in his province as a lector of theology, definitor, and long-time novice master. Prolific author of exegetical, theological and polemical works. He died at the age of 76 in Rouen: J. Le Boullenger, , , , The edition is available on Google books. Concordantia Breviarii Romani, ubi omnes materiae praedicabiles in solo breviario contentae rediguntur et indicantur Paris, Elucidatio paraphrastica Apocalypsis beati Joannis Apostoli , 2 Vols.
Sermons sur les 22 chapitres d'Apocalypse Rouen, I have not yet been able to trace his work. L'honneste femme , 2 Vols. The work also was issues in Italian: La dama onesta divisa in tre parti tradotta dalla lingua francese Turin, At least the second volume accessible via Google Books. Paris: L. Boulaner, L'Eglise outragee par les nouateurs condamnez et opiniatres Paris: Florentin Lambert, He also translated from Spanish a sermon collection by the Franciscan Sebastian de Avenda and a quaresimal collection of the Capuchin Girolamo da Narni.
Taught at Paris in the last decade of the thirteenth century, where he reached the magisterium theologiae , and acted as regent ca. He still figures as master of theology in June , when he refused to support a summon of the French king Philippe le Bel to sign a document directed against pope Boniface VIII, as a result of which Quesnoy together with John Duns Scotus and a range of other Parisian masters who also refused to sign had to leave France within three days.
Doucet has provided arguments to assign to Quesnoy some quodlibetal questions. In a forthcoming article, Sylvain Piron will argue that an ascription to Raymond Rigaud is the most plausible option. The Thirteenth Century , ed. Allegedly the author of a Tractatus de Immaculata Conceptione Virginis.
Primera parte de el Arbol chronologico de la Arbol chronologico de la Santa Provincia de Santiago , 3 Vols. Reprint Editorial Cisneros, This work drew out a reaction by the Franciscan friar Jose de Madrid: Examen de la verdad en el fiel de la razon: respuesta a otra respuesta Antiprologetica, Appologetica, Chronologica, y Sumulistica Madrid: Antonio Marin, Spanish friar, theologian, preacher and provincial definitor from the Navarra province.
Several of his works have survived, namely: sermons, a confessional handbook, a summa of moral theology, a treatise on the sacrament of penance, and a short devotional guide. Pratica del confessionario, e spiegazione delle proposizioni condannate Jacobo de Corella, Petro Francisco de Como, Francisco Maria Gradiscano typis J. Cassini, Several Spanish, Italian and Latin editions now accessibla on various digital portals. Suma de la theologia moral: su materia, los tratados principales de los casos de consiencia , 3 Vols. Several volumes of different editions nw accessible on several digital portals.
Jacobus de Forosarcinio fl. Rome, Jacobus de Grumello early sixteenth cent. Italian friar from Grumello Bergamo. Taught theology at the Bergamo convent before he became vicar of the Observant province of Brescia. During this period, he obtained a name as public preacher. Giacomo died in the convent of Feltre. Serena conscientia in Regulam Fratrum Minorum?
Mentioned by Juan de San Antonio. Might be the same work as the Miscellanea Iuris Franciscalis. Wadding, Annales , an. Jacobus de Gubbio - Italian friar, canonist. Not to be identified with two Dominican friars with the same name active in the late 14th-early 15th-century. French friar, possibly from Lens in Artois.
Author of several sets of model sermon collections, which were published in Paris between and Editions available via Google Books. Ante S. Voorstudies Nieuwe reeks. Filips van Meroni; V. Jacobus de Lenda', Franciscana 27 p. Born in Monteprandone Ascoli Piceno. Entered the Observant branche of the Franciscan order c. Maria degli Angeli after studies of the liberal arts at Ascoli, and studies of canon and civil law at the university of Perugia.
Took his profession under the name of Giacomo on August 1, Et incepi predicare in festo sancti Antonii de Padua in sancto Salvatore prope Florentiam Maria La Nuova at Naples. In the same manuscript BAV Vat. Lat , Giacomo states f.
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Bernardino, these qualifications of the preacher are elaborated further ed. Pacetti, AFH 36 , 84ff. Franciscus duo notabilia. Secundo, non scandalizosum contra proximum, verbis simulatis infamando aliquem,vel ex invidia vel odio unus predicator contra alium, quia tales depredicationibus Dei effecti sunt predicatores blasfemie. Paulus nolebat quod fierent collectas in predicatione … Quarto, non predicet adulando, ut placeat populo. Unde Ysaie … Quinto, non predicent res inutiles sibi et populo.
Unde Ysidorus …. Sexto, non predicent subtilia, que non possunt capi a populo, sed ut se ostendat valentem hominem. Unde Ieronimus … Septimo, quod predicatio sua non sit contra seipsum cum mala vita. Unde Paulus ad Romanos 2 cap. Quod sunt quatuor: Primum predicare contra vitia; secundum predicare virtutes; tertium penam; quartum gloriam vite eterne. Numquam defecit expugnare divinas offensas; numquam defecit dirigere devios ad vitam eternam; numquam defecit defensare Ecclesiam Dei; numquam defecit manifestare gloriam Dei.
Known for his many preaching journeys, and his attempts to reform the morals of Italian city life.
Bibliographia Cardani (tertia editio)
Founder of several lay confraternities and of institutions meant to subvert illegal money lending activities so-called Montes Pietatis. Active as inquisitor alongside of John of Capistran, against remnants of the fraticelli, in , and independently in Hungary and Italy in , crusade preacher against the Turcs, and commisioner of the order in Bosnia , Hungary and Italy. He tried in vain to reconcile the conventuals and the observants on request of Calixtus III. Eventually, Pope Pius II had to order both parties both inquisitors to keep silent on the subject. Giacomo was an avid book collector.
His personal library counted no less than manuscripts. See on this esp. Giacomo died at Naples on 28 November Just like the other foremen of the Italian Observance, Giacomo left a large number of sermons, in which he developed his moral theology, expressed his themes of reform, and fulminated against the sins of his time luxuria, vanitates mulierum, sodomia, ludi, usuria, etc. On the basis of his own sermon manuscripts, written and compiled during his preaching career, Giacomo eventually distilled a more or less finalized series of Sermones Quadragesimales and Sermones Dominicales Latin model sermons, following the main rules of the Artes Praedicandi , and no direct witnesses of his vernacular preachingstyle.
For his preaching style, we might refer to the surviving reportationes of two sermons held at Padua in The Latin Sermones Dominicales have been edited by Lioi. The Sermones Quadragesimales still await their first critical edition. Alongside of his sermons, he engaged in the production of treatises mostly reworked sermons for the preparation of the sacrament of penance.
Isidore library, the Bib. An exhaustive listing of his works is made in Dionysius Lasic, De vita et operibus S. Iacobi de Marchia. Studium et Recensio Quorundam Textum Falconara, Campus Florum October : Monteprandone Lioi, Picenum Seraphicum 7 , Summula Iuridico-moralis : Cf. Lasic, De Vita et Operibus , [Moral theological summa for confession and instruction purposes meant for incumbent priests, with guidelines for consecration of the altar, the rites of baptism, rules for confession, papal dispensations, excommunication].
II, sermons. Iacobi de Marchia in cod. The Vat. Post 70am ff. Feria post LX, ff. Xle, ff. In XLam, ff. XLe, ff. Post I. Maria Magdalena feria 5 post dom. Passione feria 6 post dom. Central Cod. Monasterii S. Michaelis Cod. Ascona , Biblioteca Francescana Cod. Comunale cod. G ff. For editions of these sermons the vernacular version is known as the Regola per ben confessarsi , see below.
Sermones Domenicales. Iacobus de Monte Prandone or. Etate viginti duorum annorum in nomine Domini ingressus sum in ordinem s. Francisci, de mense iulii Et incepi predicare in festo s. Antonij de Padua in S. Salvatore prope Florentiam Et dimisi predicationem in festo s. Bernardini, de mense madii , manu propria: - habens etatem septuaginta quinque annorum. Among the 98 topics listed in this alphabetical index Lasic, , which refer to the 85 sermons in the manuscripts, the following are directly geared to straightforward catechistic issues although many of the other items in the list touch on comparable themes of moral and religious instruction, and on social issues that were the hallmark of Observant preaching and have connections with the guidebooks for living a Christian life that stem from the same period : De baptismo refers to sermon on f.
De fide refers to sermons on ff. After this list, the sermons themselves start on f. Francisco ff. Bernardino ff. Bernardini f. Petro Apostolo ff. Pauli ff. Secundum sententiam apostoli Pauli I. Animalis homo non percipit … Ubi de isto ineffabili et mirabili sacramento faciemus Ve contemplationes, quarum: 1. Quantum ad eius honorificationum; 2. Quantum ad eiusdem figurationem; [3a. Quantum ad eiusdem amirationem, later addition]; 3b.
Quantum ad eiusdem institutionem; 4. Quantum ad eiusdem sustentationem; 5. Quantum ad eiusdem beneficii receptionem. Ad primum dico … ; De Eodem ff. Maria Magdalena ff. Tria namque quelibet oratio seu petitio, ut acceptabilis fiat, ante largitorem continere debet: 1. Acaptare benevolentiam apud largitorem; 2. Quod petitio sit utilis honesta et necessaria; 3. Quod sit brevis et generosa. Et ista tria continet sancta Oratio Dominica … ; De peccato originali ff. The remainder of the manuscripts contains some extracts of the Koran, papal bulls on the blood of Christ, Johan Climacus etc ff. Lasic, De Vita et Operibus , ff, , Lasic, De Vita et Operibus , [mentions thirteen manuscripts with sermon collections that do not constitute full Sunday and Quaresimal cycles.
These seem to be autograph manuscripts containing varies series of sermon skeletons written down by Giacomo in the course of his preaching career between the late s and the s. Giacomo used many sermons from these manuscripts to construct his final Quadragesimale and Dominicale. Bernardino ], as well as S. Iacobus de Marchia, Sermones Dominicales , ed. Lioi Falconara M.
Clemente 54 ff. Francisci : Sydney, Univ. Nicholson 20 ff. Lasic, De Vita et Operibus , , De Confessione In Latin and in the Italian vernacular : See the eleventh sermon in the Quadragesimale, which circulated widely on its own as well and was edited repeatedly. Lasic, De Vita et Operibus , Lasic, De Vita et Operibus , , , , Liber Miraculorum fr. Gabrielis Anconitani : Cf. Censura in fr. Mariae Gratiarum iuxta Montem Brandonum : Cf. Lasic, De Vita et Operibus , Ex Praelectionibus A. Jacobu de Marchia SS. Josephum Defendendas susceperunt VV. Lasic, De Vita et Operibus , , , See also the editions below.
Sermones Dominicales, ed. Renato Lioi, 4 Vols. See also: Robert J. I and MS Monteprandone 38 as point of departure, contains 99 sermons: 1. Dominica prima de adventu: De iudicio I, ; 2. In eadem dominica: De signis adventus antechristi I, ; 3. Dominica secunda adventus: De iudicio I, ; 4.
In eadem dominica: De vanitate mulierum I, ; 5. Dominica 3 adventus: De baptismo I, ; 6. In eadem dominica: De modestia I, ; 7. Dominica 4 adventus: De ruina superborum I, ; 8. In eadem; De iudicio et consummatione seculi I, ; 9. Dominica infra octavam nativitatis: De sancta virginitate I, ; In eadem dominica: De ludo I, ; Dominica infra octavam Epyphanie: De honore parentum I, ; In eadem: De reverentia et honore parentum I, ; Dominica 2 post Epiphanyam: De matrimonio I, ; In eadem: De nuptiis I, ;Dominica 2a post Ephipaniam: De sacramento confessionis: utilissimus I, ; In eadem dominica; De confessione I, ; Dominica 3 post Epyphaniam: De luxuria I, ; In eadem: De furto et restitutione utilissima I, ; Dominica 4 post Epyphaniam: De blasfemia I, ; In eadem dominica: De sanctissima pace et unitate I, ; Dominica in LXX: De perseverantia ; In eadem: De predestinatione I, ; In eadem: De temptatione I, ; Dominica Le; De sacramento confessionis I, ; In eadem: De passione I, ; Dominica XLe: De sortilegiis I, ; In eadem dominica XLe: De influentiis constellationum I, ; Dominica 2 XLe: De sodomia I, ; In eadem dominica: De matrimonio I, ; In eadem dominica: De usuris II, ; In eadem dominica: De adventu Missie II, ; In eadem dominica: De fide II, ; Dominica resurrectionis Domini: De resurrectione II, ; In eadem Dominica: De resurrectione II, ; In eadem dominica: De fide catholica II, ; Dominica 2 post Pasca: sermo ad clerum II, ; In eadem dominica: De iniquitate peccati mortalis II, ; Dominica 3a post pasca: De sancta obedientia II, ; In eadem: De excellentia et utilitate sacre religionis II, ; In eadem dominica: De impedimentis illorum qui non possunt credere veritati II, ; In eadem dominica: De septem petitionibus et oratione dominica II, ; Dominica in octava Ascensionis: De horrendo peccato homicidii II, ; In eadem dominica: De sancto martirio II, ; In eadem dominica: De perfecta dilectione proximi super epystolam II, ; De excellentia elimosine et eius merito: Dominica 2a post Pentecosten II, ; Dominica eadem: De mercantia et contractibus super evangelium II, ; Dominica 3a: De honorificentia et benevolentia angelorum II, ; In eadem dominica: De similitudine et beneficiis anime II, ; Dominica 4a: De mirabilibus significationibus navis II, ; In eadem dominica: De miseria humana II, ; De gloriosa iustitia: Dominica 5 II, ; In eadem dominica: De honorificentia pacis et indulgentie II, ; Dominica 6: De iniquitate peccati mortalis II, ; Dominica eadem: De elimosina et eius excellentiis II, ; Dominica 7: De orribilitate mortis peccatoris II, ; Dominica octava: De immortalitate anime II, ; Dominica eadem: De reddenda ratione bombardarum II, ; Dominica 9: De factuchiariis II, ; In eadem dominica: De signis exterminii II, ; Dominica X: De sancta humilitate et virtutibus eius II, ; In eadem dominica: De gratia et eius virtute III, ; In eadem dominica: De amore divino et eius signis III, ; Dominica De sacramento sancte confessionis III, ; Dominica De inani gloria et eius vitio III, ; Dominica De celebratione et honore diei dominice III, ; Dominica De iniustitia querela conquerentium de bonis fortune III, ; De vera spe et eius dulcedine: in eadem Dominica III, ; Dominica De detractione et eius iniquitate III, ; Dominica De honorificentia et virtute sacre comunionis III, ; De voto et eius obligatione: Dominica 21  III, ; De pace et remissione iniuriarum: in eadem Dominica III, ; De periuro et eius malignitate: Dominica 20  III, ; Dominica 22 post Pentecosten: sermo gloriosus de anima III, ; Dominica De septem vitiis III, ; Dominica De antechristo III, ; In addition, we find in an appendix to volume III a Sermo de malignitate peccati mortalis: Dominica eadem III, ; a sermo de mirabili virtute patientie dominica 17, III, ; and a Sermo de mirabili gloria et beneficio angelorum erga homines:in eadem dominica [resurrectionis] III, Et hoc ex multis de causis.
Primo, ut ab omnibus sciatur; secundo, ut melius memoretur; tertio, ut frequenter dicatur; quarto, ut orans tedio non afficiatur; quinto, ut nemo de eius ignorantia excusetur; sexto, ut Dominus cito exaudire ostendatur; septimo, ut magis corde quam ore legi debeatur. Secundo, assuefacere eos ad minus in septennio et ante et post ad confessionem et ecclesiarum visitationem, ut devotos et reverentes circa spiritualia se habeant. Jacobi de Marchia de Excellentia Ordinis S.
Francisci ex codice autographo , ed. Bernardino , ed. Pacetti, AFH 36 , ; ed. Predica sulla bestemmia , ed. Sermo Secretus ad Clerum , ed. Pacetti, Collectanea Franciscana 11 , [In this sermon, held in the context of his function of examinator of the clergy, Giaccomo complains that he has found sermonists and clerics who were ignorant and did not know the Ten Commandments and the articles of faith.. Studi sulla predicazione medievale , ed. Olschki Editore, , Dialogus Contra Fraticellos, ed. Also edited by E. Baluze in Idem, Miscellanea , ed. Mansi Lucca, II, Preface edited in L.
La Confessione del B. Francesco a. Regola per ben confessarsi. Massi, Regola per ben confessarsi di S. Giacomo della Marca , Unpublished Diss. From ca. Iacobi de Marchia an. For other letters, see: E. Giacomo alla Compagnia di S. See also the interpretatory corrections of M.
Venantius Fabrianensis, Vita. Edited on the basis of ms BAV Vat. Giacomo della Marca per fra Venanzio da Fabriano , ed. Marino Sgattoni Zara, ; La vita di S. Giacomo della Marca secondo gli antichi codici di Fr. Venanzio da Fabriano , ed. Umberto Picciafuoco Monteprandone, See on this vita also: T. Giacomo della Marca scritta da Fr. Venanzio da Fabriano O. For other vitae , see L.
Crivellucci, I codici della libreria raccolta da S. Giacomo della Marca nel Convento di S. Giacomo della Marca pubblicati in occasione del Il Centenario della sua canonizzazione , 2 Vols. Ascoli Piceno-Offida, ; G. Caselli, Alcuni codici di S. Bernardino recitato a Padova nel da S. Girolamo in Perugia fondata da S. La Nova, Naples, , ; Cenci, Napoli! Giacomo della Marca', Picenum Seraphicum 10 , ; D. Lasic, De vita et operibus S. Giacomo della Marca , due opuscoli Naples, ; S. Giacomo della Marca taumaturgo del regno di Napoli Naples, ; U.
Picciafuoco, Giacomo de Marchia Uomo di cultura-apostolo-operatore social-taumaturgo del sec. Picciafuoco, La vita di S. Giacomo della Marca secondo gli antichi codici di fr.
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