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Este livro, ‘Pivetes- Encontros entre a psicologia e o judiciário’ busca dar visibilidade a algumas práticas que tentam fugir dos territórios e modelos endurecidos. Manuppella, O “Livro de Cozinha” da Infanta D. Maria de Portugal, lxiii–lxvi. Receptas de pivetes, pastilhas e vvas perfumadas y conserbas, BNE MS Audio Livros – Playlist. 1 video Play all. Play now · Alta performance! – Playlist. 9 videos Play all. Play now · INSTRUÇÃO PARA PIVETES – Playlist. 2 videos Play .

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I decided to take the recipe assignment as an opportunity to explore how early modern women engaged with materials around them, and the ways in which they transmitted and preserved the knowledge acquired in their domestic labor. I started by looking for Spanish domestic recipe books of the period, and what I first found were manuscripts authored by men addressing a female public, like the Flor del Tesoro de la Belleza. Tratado de muchas medicinas o curiosidades de las mujeres by the veterinarian!

Calatayud is perfectly pietes that he is only putting in writing the pivrtes that they already have. I was still curious to find written traces of these recipes learnt and practiced by women, and I found that four manuscripts of this kind are preserved from the early modern period in Spain, all of them belonging to the sixteenth and early seventeenth centuries: Ediciones Licro de Salamanca, ].

All these books included a mixture of cooking, medicinal, hygienic and cosmetic recipes without any separation, both in terms of their display on the page and in terms of the ingredients used for all these different areas, which often coincided. My impression is that, although at first sight they seem to be written without any clear order in mind, if there is a criteria to be found behind this order it seems to have more to do with groups of materials than with the uses and applications of the final products.

The authorship of all these manuscripts is unknown, but there are at least three different handwritings in each of them in manuscript there are even two languages, Portuguese and Spanishas if they were passed on from generation to generation. Some pages are left blank in between recipes, as if to encourage further annotations prompted by the experience of each new practitioner. I also found some small pieces written in between recipes referring to domestic events, like this note detailing the date and cause of death of a female family member or friend.

Xabón almizcado | Making Meaning: Extracting Knowledge from Matter in Early Modern Europe

For these women, sharing these recipes in written form seems inseparable from memory and affect. I chose this recipe because it includes a set of materials that are very often used in many of these recipes, but also because the same recipe can be found in two of these books manuscript and Manual de mugereswhich makes me think that it was widely known. Y pivetees heis todo muy bien en un mortero de piedra con la mano de fusta. The first challenge was to find out the names by which all these materials are actually known today.

I then had to translate the ingredients I thought the recipe was referring to into English, so that I could actually find them pivetex in Providence. Although I cannot avoid the compromises of these three-stage process, I feel that probably too many things are lost, or at least changed, in translation. Ilvro English translation of the recipe is: Take half an ounze of storax, and an ounze of liquid benzoin and one quarter of an ounze of green pivstes. All of this pulverized and very wet with deer-musk water; put it together with half a pound of white soap and with one ounze of deer marrow.

Chop it very well while spraying it with deer-musk livto, and you will chop it until it has absorbed an ounze of deer-musk water.

And then you will put this together with twelve grams of amber, and a grain of deer-musk water. And you should mix this very well in a stone mortar with a wooden pestle. As careful as I have tried to be with my translation, I feel that, even if linguistically this is the most approximate version, the triple textual translation has probably entailed a material distortion.

It probably is something quite different. Also, the recipe does not specify the state in which some of these products should be used. Should they be liquid, solid, powder? Will these materials behave in different ways when they are in different states? I was able to get most of these ingredients thanks to Amazon, and I am planning to get what I llivro need this weekend in New York even the deer marrow.


However, I realize that what I am going to do is probably not a reconstruction but an interpretation. These ingredients seem piivetes be materials that these women used precisely because they were readily available: Making this recipe from Providence with materials brought from California by Amazon or acquired in New York obviously involves an approach completely distant from both the proximity to materials and the affective process involved in these recipes.

One of the ingredients listed in this recipe is white soap. I feel that just buying the soap would be a further betrayal, so I have decided to fabricate my own. I have grown up seeing her fabricate her own white soap, which she learnt from her mother, and her mother form hers.

She does not keep a written recipe, however. Also, she has memory issues and she does not remember all the steps. However, when I was trying to make her remember, she said that the only way for her to remember it is to actually do it.

She is going to make it again today, and my hope is that pigetes embodied knowledge will be stronger than her memory.

Since Philip II of Spain moved the court to Madrid inall sorts of artistic productions livrk commissioned to promote a monumental, orderly and symbolic image of the new capital, but I am more interested in the frenzied process of construction that was behind that image. The establishment of the court attracted a wave of architects, plotters, quarry workers, joiners, bricklayers, sculptors and many other laborers involved in a process of accumulation, demolition and assemblage.

On the other hand, always in the background or in a secondary image, there is also the allusion to some sort pietes miraculous, contemplative labor: Smith and Thijs Hagendijk refer to. Even technical manuals sometimes seem to depart from an instrumental aim, forgetting for a while about results and fixating on the act of manipulation itself.

Thinking of a final project for this class, I think I would probably like to work with some of these texts, in comparison to the objects produced by their authors, to think about what the experience of manual labor could entail beyond the struggle for results. I decided to put under the microscope a mixed set of objects, some of them as unrelated as I could imagine, some natural and some manufactured: On the one hand I saw with my eyes the one-dollar bill, exposed under the microscope; on the other I saw its augmented image through the instrument; but there was also the image seen through the pivwtes screen, which was always somehow different.

I also noticed how what was artificial could look natural under the microscope, while natural objects gained some sort of artificial quality once they were augmented to the point of total decontextualization.

At maximum close-up, the red flower looked kind of glassy to me, or almost like a sequin textile. Comparing my experience of observing through the microscope both the dollar bill and the leaf, I realize how putting these two objects out of context in such a way and magnifying pivetea smallest detail have such a similar effect on me as an observer.

Carmen Urbita Ibarreta | Making Meaning: Extracting Knowledge from Matter in Early Modern Europe

While obviously they are very different objects, they pivetrs present some sort of geography, as if I was pivetss at two tortuous natural and artificial landscapes from above. While staring statically as these objects, I experience a sense of movement as I adjust each object to discover new landscapes and pathways. The act of observing these magnified miniatures seems to have a performative effect, like a thrust felt on the body, even when it never actually moves out of its stool at the Nature Lab.

Dissection is no longer the dismissed and subordinate labor of barber surgeons livvro it is the center of a spectacle orchestrated by Vesalius: What happens when the observation of and the reflection upon some sort of craft is accompanied by the undertaking of an unrelated manual labor?

Where do both intersect? Does this simultaneity of contemplation and labor matter?

At this point I think that to exaggerate the Vesalius is to read the corporis fabrica as a book about hands, forgetting about the rest of the anatomy. On a table crowded with writing and dissecting utensils, Vesalius holds the arm of a corpse as the entrypoint to his anatomical study, with his left hand firmly grasping the elbow and his right hand holding the falling veins I thinkwhich uncannily blurs the limit between the instrumental hand and the studied one.


I wonder if this emphasis on the hand is exclusively a Vesalius thing or a common obsession in anatomical books, so I try google and soon find the portrait of the anatomist Giulio Casserioalso stressing his own dexterous manipulation of bodily matter by posing rummaging under the skin of a disembodied hand.

I do some more research and find that, apparently, the flexor-muscle dissection developed into a whole motif, used emblematically in early seventeenth-century anatomy portraits, making the hand agent, instrument and patient of the demonstratio. I use mine to carefully turn the pages and compulsively scan all the hands in the book.

Taken out of context, these hands are not so much passive objects of study as they are extremely busy instruments. Even when their skin, veins, and muscle are collapsing they seem to be actively engaging with the mess — exposing, grabbing, stretching or holding it. Sometimes they point at the blank space in the page. I put them all together and their expressiveness immediately makes me think of some sort of sign language.

I find online some early modern texts about systems of representing numbers and words with hand gestures, and their illustrations look strangely similar to my own hand accumulation. What message, if any, are the hands of the Fabrica trying to convey? Are they asking me to engage with this book in the same way they engage with all that crumbling bodily matter? My hands do feel restless as they touch the surface of these black and white pages — they would like to slowly color all these illustrations, or annotate its huge, inviting margins right next to its own printed guiding notes.

Xabón almizcado

And yet this book is also intimidating, its size and luxuriousness able pivetws freeze any hand. I type some keywords on Google Books and soon find a whole book devoted to the De corporis contemporary readership The Fabrica of Andreas Vesalius: Surgeons, less highly ranked on the social ladder, generally acquired the Epitome, a book produced by the same publisher with summary information and only some illustrations, for a lower price.

However, if these private physicians were merely interested in musing about the coincidences and disparities between Vesalius and Galen and were not at all concerned with the instructions on how to guide dissection tools along an open corpse, why did this information ligro in every edition? I read that some parts pivehes the book were shortened while others were expanded, depending on the interest of their readers.

The sections about dissection and its instruments never disappeared from the Fabrica.

I look at this illustration exhibiting the pivstes of dissection instruments and my hand instinctively moves as if ready to grab one of them, but all I have with me is my reading weight. How did physicians, who were not dissectors, react to these instruments and the instructions on how to use them?

Did they read these sections with embarrassment, avoiding to annotate their pages in the way they proudly and heavily did annotate the theoretical pages? Did they read them just out of curiosity or did these pages have some other effect on them? After our last class I piveted a little bit more about the controversy between Hooke and Cavendish. If I were to continue exploring this reflection based on exaggerating Vesalius I would want to explore further the strange simultaneity of contemplation and labor.

What happens when a book on crafts or recipes is not used to replicate them? Does reading about one manual labor help in developing a completely different occupation?

What relationship is established with matter when one reads about its handling, or is the spectator of its handling, but never actually manipulates it? The ljvro I was able to get most of these ingredients thanks to Amazon, and I am planning to get what I still need this weekend in New York even the deer marrow. White soap and my grandmother One of the ingredients listed in this recipe is white soap. My lock of hair looked like wires, or dark spaghetti.