When fat people are depicted in popular media, we often take their behavior to be representative of all fat people. How one fat person acts becomes representative of a broader pattern of behavior that all fat people are presumed to share, shaping the way we understand fatness. This way of generalizing presents fatness as a singular experience, reducing fat people to a monolithic narrative that often reinforces anti-fat bias. How do we avoid this reduction? How can we responsibly depict fat (...) characters without perpetuating negative stereotypes about real fat people? Using the case of “Fat Thor” from Avengers: Endgame, I propose the beginnings of an account of responsible artistic agency which can be used to improve the ways that marginalized communities are depicted in art, with a particular focus on fat communities. Central to this account are two features: inclusion of and deference to members of the communities depicted from a variety of backgrounds throughout the production process, and mindfulness of the preexisting narrative web built around the communities depicted. I will use this discussion to highlight the need for a drastic shift in how we consider marginalized populations in art—in reimagining both who tells their stories, and what stories are told on their behalf. (shrink)

In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions and policies. (...) As such, we argue that the ‘body positivity’ movement ultimately marginalises further the bodies for which it initially sought justice and acceptance. (shrink)

Tato studie pojednává o rané fázi mikroskopického zkoumání přírody, které ve svém díle Micrographia představil Robert Hooke. Vzhledem k obsáhlosti díla se zaměřuje na pasáže, které Hooke věnoval výzkumu hmyzu. Předmětem analýzy je především metodologie Hookova výzkumu: způsob, jakým tento experimentátor využíval mikroskop ke zkoumání mravenců, much, komárů a jiného hmyzu. Dále je pozornost věnována způsobu, jakým Hooke představoval výsledky svého pozorování, tedy popisům a ilustracím hmyzu. A konečně, příspěvek se také pokouší vyložit vybrané záznamy mikroskopických pozorování v Micrographii a (...) objasnit jejich vazbu na filosofickou a náboženskou interpretaci přírody sedmnáctého století. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

I. Introduzione. I.1. Un’editio minor come sfida aperta. I.2 Per una più selettiva eliminatio. II.1 Sulla storia del problema : l’eredità del XIX secolo (Brandis 1823, Christ 1885, Gercke 1892) nelle edizioni del XX (Ross 1924, Jaeger 1957). II.2. Studi recenti : la necessità di un superamento. II.3. Lo stemma di riferimento : Harlfinger (1979). II.4. L’applicazione dello stemma nel libro Alpha edito da Primavesi. II.5. La revisione dello stemma, proposta per Kappa e Lambda (2009, 2010). II.6. La reazione : (...) discussioni sul ruolo della tradizione β in Kappa e Lambda (2015). III. Una verifica dello stemma in agenda : la divisione delle due famiglie. III.1 Fra i codici β : L’Ambrosianus F 113 Sup. come codex descriptus ? (libri I-IX inc.). III.2. L’ipotesi dell’ interpositus ε e le sue implicazioni sistematiche. III.3 Allievo e maestro nel XV secolo : Matthaios Chamariotes (C) e Giorgio Scholarios, Gennadeios II (Vk). III.4. Il non liquet sulle parti inferiori dello stemma e il concetto di contaminazione. IV.1. Rivedendo lo stemma dall’interno : il problema critico degli errori-guida (Leitfehler). IV.2. Iudicium e valutazione degli errori. IV.3. Errori separativi ed errori congiuntivi secondo la Textkritik di Paul Maas. IV.4. Una verifica importante : il ruolo di γ. V. Un’ipotesi alternativa . V.1. Il testo della Metafisica nei codici poziori. V.2. Un ritorno alla sigla ". V.3. Un nuovo stemma dei codici principali della Metafisica. Appendice : una verifica sull’ipotesi γ. (shrink)