Author: Massimo Ciavolella
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3111240673
Category : History
Languages : en
Pages : 348
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Book Description
The essays examine how the study of facial features or expressions as indicative of character or ethnicity, has evolved from the crossroad of magic, religion and primitive medicine to present-day cultural concern for wellness and beauty. In this context, the discoveries of cranio-facial neurophysiology and psychology and the practice of cosmetic and reconstructive surgery have a centuries-old relationship with physiognomy. As the study of outward appearances evolved from its classical roots and self-representations through 18th- and 19th-century adaptations in fiction and travelogues, it gradually became a scientific discipline. Along the way, physiognomy was associated with phrenology and craniology and promoted eugenic policies. Tainted with racial bigotry and biological determinism, it was trapped within questions of delinquency, monstrosity and posthumanism. Throughout its history, physiognomy played both positive and negative roles in the evolution of significant aspects of the socio-cultural order in the West that merit update and in-depth study. The contributions follow a chronological and intertwining sequence to encompass physiognomic expressions in art, literature, spirituality, science, philosophy and cultural studies.
Author: Honore de Balzac
Publisher: BoD – Books on Demand
ISBN: 3734090202
Category : Fiction
Languages : en
Pages : 298
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Book Description
Reproduction of the original: The Thirteen by Honore de Balzac
Author: Honore de Balzac
Publisher: Library of Alexandria
ISBN: 1465527745
Category : Fiction
Languages : en
Pages : 19641
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Book Description
Half-way down the Rue Saint-Denis, almost at the corner of the Rue du Petit-Lion, there stood formerly one of those delightful houses which enable historians to reconstruct old Paris by analogy. The threatening walls of this tumbledown abode seemed to have been decorated with hieroglyphics. For what other name could the passer-by give to the Xs and Vs which the horizontal or diagonal timbers traced on the front, outlined by little parallel cracks in the plaster? It was evident that every beam quivered in its mortices at the passing of the lightest vehicle. This venerable structure was crowned by a triangular roof of which no example will, ere long, be seen in Paris. This covering, warped by the extremes of the Paris climate, projected three feet over the roadway, as much to protect the threshold from the rainfall as to shelter the wall of a loft and its sill-less dormer-window. This upper story was built of planks, overlapping each other like slates, in order, no doubt, not to overweight the frail house. One rainy morning in the month of March, a young man, carefully wrapped in his cloak, stood under the awning of a shop opposite this old house, which he was studying with the enthusiasm of an antiquary. In point of fact, this relic of the civic life of the sixteenth century offered more than one problem to the consideration of an observer. Each story presented some singularity; on the first floor four tall, narrow windows, close together, were filled as to the lower panes with boards, so as to produce the doubtful light by which a clever salesman can ascribe to his goods the color his customers inquire for. The young man seemed very scornful of this part of the house; his eyes had not yet rested on it. The windows of the second floor, where the Venetian blinds were drawn up, revealing little dingy muslin curtains behind the large Bohemian glass panes, did not interest him either. His attention was attracted to the third floor, to the modest sash-frames of wood, so clumsily wrought that they might have found a place in the Museum of Arts and Crafts to illustrate the early efforts of French carpentry. These windows were glazed with small squares of glass so green that, but for his good eyes, the young man could not have seen the blue-checked cotton curtains which screened the mysteries of the room from profane eyes. Now and then the watcher, weary of his fruitless contemplation, or of the silence in which the house was buried, like the whole neighborhood, dropped his eyes towards the lower regions. An involuntary smile parted his lips each time he looked at the shop, where, in fact, there were some laughable details. A formidable wooden beam, resting on four pillars, which appeared to have bent under the weight of the decrepit house, had been encrusted with as many coats of different paint as there are of rouge on an old duchess' cheek. In the middle of this broad and fantastically carved joist there was an old painting representing a cat playing rackets. This picture was what moved the young man to mirth. But it must be said that the wittiest of modern painters could not invent so comical a caricature. The animal held in one of its forepaws a racket as big as itself, and stood on its hind legs to aim at hitting an enormous ball, returned by a man in a fine embroidered coat. Drawing, color, and accessories, all were treated in such a way as to suggest that the artist had meant to make game of the shop-owner and of the passing observer. Time, while impairing this artless painting, had made it yet more grotesque by introducing some uncertain features which must have puzzled the conscientious idler. For instance, the cat's tail had been eaten into in such a way that it might now have been taken for the figure of a spectator—so long, and thick, and furry were the tails of our forefathers' cats. To the right of the picture, on an azure field which ill-disguised the decay of the wood, might be read the name "Guillaume," and to the left, "Successor to Master Chevrel." Sun and rain had worn away most of the gilding parsimoniously applied to the letters of this superscription, in which the Us and Vs had changed places in obedience to the laws of old-world orthography. To quench the pride of those who believe that the world is growing cleverer day by day, and that modern humbug surpasses everything, it may be observed that these signs, of which the origin seems so whimsical to many Paris merchants, are the dead pictures of once living pictures by which our roguish ancestors contrived to tempt customers into their houses. Thus the Spinning Sow, the Green Monkey, and others, were animals in cages whose skills astonished the passer-by, and whose accomplishments prove the patience of the fifteenth-century artisan. Such curiosities did more to enrich their fortunate owners than the signs of "Providence," "Good-faith," "Grace of God," and "Decapitation of John the Baptist," which may still be seen in the Rue Saint-Denis.
Author: Honoré de Balzac
Author: Honoré de Balzac
Author: Honoré de Balzac
Author: Honoré de Balzac
Author: Honor ̌de Balzac
Author: Honoré de Balzac
Author: Honoré de Balzac
Author: Honoré de Balzac