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Theatrical dissections and dancing cadavers : Andreas Vesalius and sixteenth century popular culture /Klestinec, Cynthia Jennifer. January 2001 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of Comparative Literature, August 2001. / Includes bibliographical references. Also available on the Internet.
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Loose bodiesAkers, Madeleine Ruth 22 November 2010 (has links)
My thesis film for the Master of Fine Arts degree is a 10-minute documentary entitled Loose Bodies. It traces my mom's recovery from knee replacement surgery, meanwhile exploring her relationship to her knees through interviews and archival footage and my own relationship to my body's ability to move. The film contains three animated sequences, using the Renaissance anatomical drawings of Andreas Vesalius. This report is an account of the filmmaking process from initial idea to finished film. / text
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Violent pedagogy : the dialectic presentation of visual knowledge in the De humani corporis fabricaKaario, Max 08 1900 (has links) (PDF)
De Humani Corporis Fabrica, produit par André Vésale au XVIe siècle, est un ouvrage anatomique composé de sept livres incluant des textes et des images. Le présent mémoire est une analyse du frontispice de la Fabrica, où l'on voit une scène de dissection située dans un théâtre construit en bois où sont placés de nombreux spectateurs représentés dans des postures diverses. L'espace représenté est encadré par une architecture que l'on peut qualifier de monumentale et de théâtrale, englobant les activités complexes de personnages au centre de la composition. L'image apparaît comme complexe, à cause de la présence d'éléments architecturaux à la fois permanents et impermanents ; sa complexité tient aussi à la représentation de la dissection et aux personnages qui l'entourent : un imposant groupe de spectateurs se pressant autour du personnage central de Vésale en train de disséquer le cadavre. L'objet de ce travail est d'analyser les différents aspects du frontispice comme un tout, en identifiant les outils mnémoniques dont nous soulignons la part de violence. Différents aspects du frontispice sont analysés dans les quatre chapitres (chapitres 2 à 5) suivant la présentation de la fortune critique sur le sujet : l'architecture permanente, l'architecture théâtrale, les spectateurs et la dissection. L'analyse de ces quatre aspects, essentiels dans l'image, permet de présenter une lecture complexe qui révèle la visée pédagogique de ce livre anatomique; celle-ci consiste à donner à voir l'anatomie humaine - telle que définie par Vesalius - comme objet de mémorisation. Nous verrons aussi que l'imagerie de la Fabrica contient des éléments appartenant à des formes plus anciennes de représentations rhétoriques, mettant également en relation violence et art de la mémoire. Ces éléments sont en lien avec un concept pédagogique voulant que, pour être mémorisables, les images doivent contenir de la violence et impliquer l'observateur dans un processus de souvenir cathartique. En prenant en considération son insertion dans la Fabrica en tant que livre, nous serons attentif aux associations du frontispice avec le théâtre, l'architecture et la violence, ces éléments contribuant à créer une tension palpable dans l'image elle-même.
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Exploring the Spectacle: Analyzing the Anatomical Prints in Andreas Vesalius' "De Humani Corporis Fabrica"Wasylkiwskyj, Larissa Ariadne January 2011 (has links)
In his innovative publication of 1543, De Humani Corporis Fabrica, the anatomist and physician Andreas Vesalius (1514-1564) transformed the traditional definition, theories, and representations of human anatomy, dissection, and anatomical theater. This particular project explores the transformation through an analysis of the Fabrica's frontispiece, osteological, and myological woodcuts, which are found in Book I and Book II. This paper argues that Vesalius conceives of his book, beginning with the frontispiece, as a theatrum, a constructed space for presenting knowledge visually to its reader-viewers. Within that space there is a tension in the Fabrica between its new empirical claims and its modes of representation, which emphasize instead the artificial, theatrical, and rhetorical. By incorporating elements of performance and spectacle and by decontextualizing the anatomical theater and its figures through the use of recognizable artistic conventions--including allegorical Dances of Death and ancient statuary--Vesalius manages to capture the viewer's unflinching visual attention while also disguising some of the more gruesome realities and destructive methods of human dissection. / Art History
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Reading between the Bloodied Lines and Bodies: Dissecting Shakespeare’s Titus Andronicus and Vesalius’s De Humani Corporis FabricaGamblin, Hillary 01 June 2014 (has links) (PDF)
Titus Andronicus is infamously Shakespeare’s first, and bloodiest, tragedy, but only a few scholars link this violence with the Renaissance culture of anatomy and dissection. Although scholars mention the anatomical language in Titus Andronicus, their analyses stop short of more fully developing the rich relationship between dissection and Shakespeare’s play. To remedy this oversight, this paper explores the debt that Titus Andronicus owes to contemporary anatomy and dissection culture by comparing Titus Andronicus (est. 1590) with Andreas Vesalius’s revolutionary anatomy textbook, De Humani Corporis Fabrica (1543). Specifically, this paper will identify four major intents of the Fabrica: 1) to display, 2) to instruct, 3) to interpret, and 4) to aestheticize the interior of the human body, and illustrate how these four traits figure in the representation of Lavinia’s body in the play. By mirroring the Fabrica’s four intents in both anatomy text and play, as well as examining the Fabrica’s images and text itself, this analysis reveals a pertinent difference. While in many ways Titus Andronicus celebrates the De Humani Corporis Fabrica, the play applies a heavy dose of skepticism to Vesalius’s underlying epistemological assumption that the body is knowable.
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A Creative Tension: Anthropocentrism and the Human-Nonhuman Boundary in Christian Europe, 1400-1700Hammett, Michael Asher January 2024 (has links)
This dissertation seeks to understand the idea of a boundary between humans and non-human creatures in the early modern era. The idea of a boundary between people and non-people, while implicit among most sixteenth-century theologians, is still an important feature of early modern history. However, the boundary, while rhetorically very important and static, did not match with the reality of the boundary in theology and culture as fluid. Theologians argued at length that humanity, being made in the “image of God,” retained a fundamental difference from animals and other nonhuman creatures, in which that boundary could not be crossed. However, they also allowed for animals to possess positive traits and even moral and legal culpability. They also accepted creatures that challenged the boundary, whether monsters (including exotic creatures and misbirths) or humans who were not thought to possess all of the constituent characteristics of the “image of God,” such as those with mental or cognitive deficiencies. Thus, they struggled to reconcile the experiential reality of a fluid boundary with the theological conviction of an anthropocentric hierarchy of creation.
This dissertation will address the inherent tension between these two views and assess the ways in which theological and cultural figures helped to resolve the tension. Using early modern commentaries on Genesis, we will first examine the rhetorical insistence on a firm boundary articulated by figures both mainstream and heterodox. Then, we will examine the popular perception of a fluid boundary, in which nonhuman creatures could be addressed and understood morally in bestiaries, saints’ lives, and trial records. Finally, we will examine how proto-scientific thinkers of the sixteenth century, like Conrad Gessner, Andreas Vesalius, Johann Weyer, and Ambroise Paré, actively challenged existing authorities and helped to resolve the tension to a state in which humans and nonhuman creatures were different, yet both existed within the broader sphere of nature. By the end of the sixteenth century, violations of the boundary between people and non-people come to be rejected more for their natural than theological implications.
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