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Sonic Elements announce New Bundle Options (up to 50% savings)
25th March 2012
25th March 2012
Sonic Elements has announced new Bundle options, offering savings of up to 50%.
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subset: commoncrawl


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Change Catalyst Donna Woodwell shows you how to tap into your unique genius and live with purpose and joy. Blending astrology, business acumen and metaphysical training, Donna helps her clients find creative strategies for achieving their full... read more
During these last six days of November, the gremlins of the universe still have some shenanigans up their sleeves with... read more »
Be Alert! Your relationship life turns interesting this week, thanks to a harmonious trine from Venus to Uranus on... read more »


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Leaking ice machine shuts down county phones
Date: August 28, 2009
by: Robin Roy | City Editor
A malfunctioning ice machine in a county building has shut down phone service to the sheriff's, tax collector, property appraiser, supervisor of elections, clerk of court, Sarasota County Judicial Center, law library and Payne Park tennis center offices.
The ice machine is on the second floor of the Terrace Building at 101 S. Washington Blvd. It began leaking after business hours Thursday, Aug. 27 and continued leaking all night.
The water dripped through the floor and onto the first floor below. The floor below the ice machine happens to be where the building's phone equipment is kept.
Repairs were expected to be complete by the early afternoon Friday, Aug. 28, but will now take until at least Monday, Aug. 31.
Emergency 911 service is not affected.
Contact Robin Roy at email@example.com.
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27 Thanksgiving Free Public Talk & Veggie Potluck
10:00 am - 3:00 pm
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29 Light Up Siesta Village and Holiday Parade
5:00 pm - 9:00 pm
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30 Advent Procession
6:00 pm
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3 Rachel's Challenge Anti-Bullying Event hosted by The Cal Ripken, Sr. Foundation
6:30 pm - 8:30 pm
Cops Corner: Sarasota
Enjoy this week's edition of Cops Corner.
World on a string
The exchange of goods and chatter are the usual soundtrack for the Saturday morning Downtown Farmers Market on Orange Avenue.
Read all about it
Bookstores across the state celebrated Florida Bookstore Day Saturday. Bookstore1 held an all-ages literary party and read-a-thon for customers and members of the community.


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Posts Tagged 'Parks and Recreation ratings'
February 28th, 2014 at 1:55 pm
Thursday Final Ratings: 'The Big Bang Theory', 'Scandal', 'Grey's Anatomy', 'American Idol' & 'Parks & Recreation' Adjusted Up; 'The Millers' Adjusted Down
Thursday's final ratings.[Read-More]
February 28th, 2014 at 9:03 am
'Hollywood Game Night' Topped the Show's Final Thursday Original of Last Summer
With its first telecast in five weeks, "Parenthood" averaged a 1.1/3 in 18-49 and 3.6 million viewers overall[Read-More]
February 28th, 2014 at 8:36 am
TV Ratings Thursday: 'Community', 'Reign' & 'American Idol' Hit Lows + 'Scandal' & 'Grey's Anatomy' Return Up
CBS was number one with adults 18-49 and with total viewers.[Read-More]
February 12th, 2014 at 10:23 am
31st Annual Paleyfest Talent Announced Including Casts from 'Veronica Mars', 'Pretty Little Liars', 'Sleepy Hollow' & More
The Annual Two-Week Festival Once Again Features a Star-Studded Lineup[Read-More]
February 10th, 2014 at 11:35 am
NBC Entertainment Digital Announces 'Chicago Fire', 'Parenthood', 'Grimm' and 'Parks and Recreation' Original Digital Series in February
Jesse Plemons, Derek Phillips Reprise 'Friday Night Lights' Roles in 'Parenthood' Crossover[Read-More]
February 4th, 2014 at 10:35 am
NBC Is Up Versus the Same Week Last Year by 8 Percent in Adults 18-49
For the week of Jan. 27-Feb. 2, NBC averaged a 1.3 rating, 3 share in adults 18-49 and 4.7 million viewers overall,[Read-More]
January 31st, 2014 at 2:09 pm
'Parks and Recreation' Earns Top Rating Since January 9
Updated Thursday Primetime Results[Read-More]
January 31st, 2014 at 1:47 pm
Thursday Final Ratings: 'Big Bang Theory', 'American Idol', 'The Taste', 'Vampire Diaries', 'Parks & Recreation', 'Two and a Half Men' Adjusted Up; 'The Millers', 'Elementary', & 'Reign' Adjusted Down
Thursday's final ratings.[Read-More]


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The big question isn't why El Olvido closed, but how this Jaliscan eatery stayed open as long as it did. No sooner had it taken over the former home of Hades at 2200 South Broadway in the spring of 2011 than the city started a massive street project outside. And this stretch of Broadway is still a ... More >>
Mark MangerCarne en su jugo in the bottom right corner with accoutrements.For this week's review, I visited El Olvido, a five-month-old restaurant on South Broadway that owner Jorge Pingarron calls "Mexican, but not Mexican." By that he means not Colorado Mexican, because his place specialize ... More >>
Hunter StevensIn a town full of Mexican restaurants that serve enchiladas, tacos and green chile-smothered burritos, Jorge Pingarron was certain about one thing: He wanted to open something different.
Carne en su jugo at El OlvidoAlmost two months after Jorge Pingarron first told Cafe Society that he was opening a "Mexican, but not Mexican" restaurant on South Broadway, the native of Acapulco has made good on his word: El Olvido opened last night with a fiesta, and when we stopped by today ... More >>
Lori Midson"It's gonna be Mexican, but not Mexican." So says Jorge Pingarron, who's opening El Olvido in the former Hades Bar & Grill (and South Broadway Grill, and El Ranchito, and, long ago, Mr. Steak) spot on South Broadway. And what he means by "not Mexican" is that he's not going to ser ... More >>


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Posts tagged: infractions
CIUDAD JUAREZ, Mexico (AP) — Police in the Mexican border city of Ciudad Juarez ticketed a 6-year-old boy for reckless driving, driving without a license and not having his toy motorcycle registered after he crashed it into an SUV.
The boy's mother, Karla Noriega, says police also impounded the child-sized motorbike that her son got for Christmas after he ran into an SUV at a park on Dec. 27.
Noriega says she decided to go to the media and make the case public after finding out she would have to pay what she calls a "ridiculous" $183 in fines before she could recover the toy motorbike.
She says authorities dropped the fines and released the motorcycle to her son Gael on Wednesday after local newspapers published her story.
Appellate judges have refused to hear an appeal by the city of Spokane after a Superior Court judge ruled that the way it had been printing tickets from red-light cameras violated state law.
At issue was the way the city had a police officer in Spokane review a photo of a car either running a red light or not coming to a complete stop and determining whether an infraction occurred. The officer then punched an "accept" button, sending an electronic signal to Arizona-based American Traffic Solutions to affix the officer's electronic signature on the $124 ticket it sent to the driver.
The late John Clark, and later Dean Chuang, represented three clients who argued that state law requires those signatures to be written in Washington. After one judge ruled for the city, Superior Court Judge Jerome Leveque reversed that decision, which the city appealed to the Division III Court of Appeals. On Thursday, that court declined to hear the case.
City spokeswoman Marlene Feist said after Leveque's ruling, the city now has officers print out their signatures at the Public Safety Building, thus complying with state law. Red-light runners ticketed under the old system will ahve to challenge the ticket in court if they want a remedy.
The city now operates 15 cameras that officials estimate will generate about $750,000 next year.
The grace period will end tonight for red light runners caught on camera at the three latest Spokane intersections to be equipped with the surveilance devices, police warned today.
Starting first thing tomorrow, anyone caught on camera running a red light will receive a ticket in the mail.
The three new intersections are at southbound Browne St. at Third Ave., southbound Maple St. at Second Ave. and westbound Second Ave. at Walnut Street. The three cameras went live on July 1 and officers have sent out 500 warning notices since they were installed, said police spokeswoman Teresa Fuller.
The city has issued more than 25,000 citations for running a red light since the first cameras were installed, Fuller said. The fine that goes with the citation is $124.
A 30-day warning period begins today for new red-light cameras at three intersections in the downtown Spokane area.
Beginning at 8 a.m., drivers caught on camera running a red light will earn a warning notice for the vehicle owner. No fine is attached, but red-light runners will begin receiving $124 citations on July 31.
The new cameras are at westbound Second Avenue at Walnut Street, southbound Maple Street at Second and southbound Third Avenue at Browne Street.
Spokanealready has seven intersections equipped with cameras that have captured more than 23,000 violations since Oct. 1, 2008:
Browne Street southbound at Sprague Avenue, Hamilton Street northbound at Mission Avenue, Division Street north and southbound at Francis Avenue, Wellesley Avenue eastbound at Ash Street, Freya Street northbound at Third Avenue, Thor Street and Second Avenue both westbound and southbound, and Division Street northbound at Sprague Avenue.
The warning period for those intersections ended long ago.
A retired Spokane County sheriff's sergeant blamed for a crash that destroyed a new patrol car Sunday will receive a $175 ticket, officials said today.
Clifford Berry, 63, will be cited for failing to yield right of way after he turned in front of Deputy Chuck Sciortino's westbound patrol car about 7:15 p.m. on Sunday.
Berry was eastbound on Francis when he attempted to turn onto Freya. He had a green light, but the light called for him to yield to oncoming traffic before turning, said Sgt. Dave Reagan.
Sciortino and Reserve Deputy Kathleen Hurst were responding to a threat complaint at the time of the crash and did not have the car's emergency lights or sirens activated.
Computer information from the wrecked patrol car showed Sciortino was driving at or under the 45 mph speed limit eight seconds before the crash and was traveling at 25 to 28 mph at impact.
Sciortino and Hurst were treated for back and neck pain at a local hospital. Berry, who retired from the Sheriff's Office in 1997, was not injured. His ticket will be mailed to him, Reagan said.
The patrol car, which had been in service for about a month, will be replaced next fall when new police vehicle models are introduced. Ford no longer accepts orders for Crown Victorias.


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Courtesy Kim Kardashian
She might be blowing up her social media feeds with concerns about losing the last of her postpartum weight, but that didn't stop Kim Kardashian from going with her sister Kylie Jenner to the pasta temple La Scala Beverly Hills Tuesday night.
Read More
Courtesy Gallery Books
If you've ever wondered what it would be like to have dinner with the Kardashians, well, you're a little bit closer to finding out.
Read More


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At Relay
we make meetings that matter. We are an event management and corporate communications company that provides campaign and event services including strategic development, creative development, creative production, presentation direction, staging and technical, speechwriting/coaching and on-site management. Relay is built around a core team of industry veterans and experts, based in Toronto and serving all of North America.
engage. experience. inspire.


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Pronunciation: белвица
Added on: 2010-10-05 Listened: 6 timesin: Nouns in Macedonian
Pronunciation in Macedonian [mk]
- Pronunciation by katika (Female from Macedonia, the former Yugoslav Republic of )
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- Random word: Експертите
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белвица = belvica
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Medievally Speaking
July 28, 2014
Nagel: Medieval Modern
Reviewed by Anne F. Harris (firstname.lastname@example.com)
In Medieval Modern: Art Out of Time, Alexander Nagel unlocks the doors of the museum and the archive and dislodges works of art from an art history driven by periodization. Here, in the cross-temporal interpretive space the book creates, the 13th-century silver-gilded reliquary bust of Saint Yrieix looks across a page break to the diamond-studded skull of Damien Hirst's 2007 For the Love of God (66-67). Here, in the findings of Nagel's meticulous research, Robert Smithson's earmarked and annotated pages from the December 1966 issue of Scientific American link the artist's fascination with the form and entropy of ice crystals to his writings comparing the form and entropy of Minimalist sculpture to those of Mannerist art (146-47); and student notes from Joseph Albers's 1946 design course proclaim a haptic Middle Ages in the memorable phrases, "Renaissance afraid of texture. Gothic much more care of matière" (161). Here, through the book's sustained concern for how modern artists joined forces with medieval art to resist the certitude and boundary of the frame, Moholy Nagy writes about medieval stained glass and its "spatial-reflective radiation" as a solution to the element of movement in his construction of the Licht-Raum-Modulator from 1922-1930 (255-57). The possibilities of interpretation, research, and debate that Nagel presents engage works of art, artists and theorists, and materials in a series of encounters between medieval and modern visual cultures that energizes contemporary discussions of works of art and the work of art history.
Pursuing the possibilities of studying the "plural temporality" of art explored in Anachronic Renaissance, co-authored with Christopher S. Wood (Zone Books, 2010), Nagel's book joins the endeavors of Bruce Holsinger's The Premodern Condition: Medievalism and the Making of Theory (University of Chicago Press, 2005), and Amy Knight Powell's Depositions: Scenes from the Late Medieval Church and the Modern Museum (Zone Books, 2012), in arguing for the transformative presence of the Middle Ages in modernity. This is not just a book about how modern artists are inspired by medieval art; it is a book about how modern artists use medieval art to critique institutional standards of modern art; more specifically, it is a book about how artists in the 1960s and 1920s dedicated to the "open" work of art as an interactive, provocative, and boundary-shifting experience for an involved audience used principles of open-ness and interaction in medieval art to critique, indeed tear down, the "closed" work of art exemplified by autonomous easel paintings and sculptures displayed in museums and galleries. Broadly speaking, as Nagel himself puts it, it "is a study of how art responds when the old ordered cosmos has fallen apart" (169).
From its opening pages, Nagel positions Medieval Modern as a book of artistic and art historical practice. The first three chapters are devoted to the principles and methodology that will guide the interpretations to follow. A series of claims makes clear that this approach strives towards a new understanding of artistic interaction between past and present, and a new way of practicing art history. The interest of the book is in how "encounters with medieval art mark the whole history of modernism" (8) rather than in tracing a history of influence or development; the focus is on "structural analogies" rather than iconography (10); it seeks to delineate "patterns and themes," not just disparate episodes. Medieval art is joined to the endeavors of modern art not by formal elements, but rather by five practices that render the pre-modern a powerful resource for the critique of framed and stilled art performed by the 1960s and 1920s modern avant-gardes that Nagel selects for study: these are installation, indexicality, replication and the multiple, collage, and conceptual art. In advocating for "cross-temporal surfacings" (26) and an acknowledgment of a "decenteredness" (33) shared by medieval and modern cultures, the book opens up both the time/history and space/geography of medieval art to include modern art's ambitions.
Chapters 4 through 8 perform a series of smaller-scale recursions that establish interests in evocative surfaces, interactive spaces, and engaged audiences in medieval and modern art. A series of "unlikely pairings" (40) guide these chapters and seek to dislodge modern art from an art history that has made it largely antithetical to the Middle Ages. Modern art, these chapters argue, participates in more medieval practices than has been previously acknowledged. Early 20th-century airplanes are likened to altarpieces through the processions and potential mysticism of both; pre-museum spaces of medieval and Renaissance chapels link with the dislocation of museum space effected by modern site-specific works; the medieval relic proves an apt framework within which to understand the avant-garde's critique of value; and medieval wall painting's involvement with the (physical) space and (spiritual) experience of its viewers proves resonant with Minimalism's dematerialization of the worldly art object in favor of large, meditative surfaces. Nagel works nimbly through these suggestive correlations, acclimating the reader to a cross-temporal, recursive art history and its possibilities of interpretation. His succinct and pertinent evocations of Deleuze and Guattari, Foucault, and Derrida made me eager for him to engage with Bruno Latour's critique of periodization and temporal demarcation in We Have Never Been Modern (trans. Catherine Porter, Harvard University Press, 1993). The absence of a response to Latour's sociological critique signals Nagel's prioritization of theorists of visual culture. In this, Medieval Modern becomes a book about the practice and debates of art and art historiography, and indeed matters of social history are displaced in favor of a history of ideas; Leo Steinberg entertains more discussion than Meyer Schapiro.
Chapters 9 through 11 focus on the problem of space and site through a correlation between medieval art recollecting the Holy Land and late 1960s Robert Smithson's Non-Site works. These chapters form the first of three in-depth explorations of modern artists' explorations of the Middle Ages. The second exploration shapes chapters 12 through 14, in which the arrangement and multi-perspective viewing of the Justinian and Theodora mosaics at San Vitale in Ravenna feature prominently in a rethinking of painting as installation, and as "a surface for operational processes" (186) spearheaded by Jasper Johns's 1960s transformations of the surface of painting. The third, in chapters 18 through 20, traces the shifting enthusiasms of the 1920s Bauhaus for the process-oriented, utopic and transformative "cathedral thinking" (241) of the Gothic cathedral.
The breadth of the recursive loop between medieval and modern becomes apparent here. The displacement of stones from the Holy Land and their reconfiguration as relics in the Sancta Sanctorum of medieval Rome functions as the "topographical destabilization" (121) that Smithson advocates in his Non-Site works. This medieval practice "brings us full circle" (125) in Smithson's own displacement of red clay from Hebron arranged to form the number 1969 in Hebrew letters on the soil of Mount Moriah for a 1969 Jewish Museum poster (the poster was ultimately rejected in favor of an image of Smithson's Mirror Trail from Patterson Quarry in New Jersey, revealing the continuing controversy of Holy Land topography and its multiple displacements). In the chapter linking the mosaics of Ravenna and to Johns's concern to shift painting to considerations of surface, Nagel proposes a brilliant rethinking of Marshall McLuhan's famous phrase "the medium is the message," arguing that McLuhan is not only signifying that the means of communication are as important as the content, but rather that the means of communication matter because of the appropriation, re-investment, absorption, engagement, and adoption of old forms by new ones. This point will prove important in the final page of the book, when Nagel presents medievalism as "now encoded (usually unrecognized) in the DNA of contemporary art" (278), denoting a hidden life of forms (to paraphrase Henri Focillon). It also intersects provocatively with work by Graham Harman that has emerged since the publication of the book, notably "The Revenge of the Surface: Heidegger, McLuhan, Greenberg" (Paletten 291/292 (2013): 66-73) and "Greenberg, Duchamp, and the Next Avant-Garde" (Speculations V (2014): 271-54). The Bauhaus's self-conscious appropriations of the processes and forms of collectivity (but only quasi-religious content) of Gothic cathedral building are traced in their shifts and changes from utopia to lived experience. The emblematic image discussed here, indeed the cover of the book itself, is Lyonel Feininger's Cathedral of the Future, a print whose woodcut production hews to medieval practice, and whose use for the cover of the 1919 Bauhaus manifesto projects its critical importance. (On the print that Nagel identifies as the trial block for what would become this cover of the 1919 Bauhaus manifesto is a date which reads distinctly as "1922" – an explanation of this discrepancy would have been appreciated.) Feininger's own decision to expand the image of the cathedral from a first print showing it as a framed image to a full-page cover signals the prominence of "cathedral thinking."
At stake in these in-depth explorations of modern recursions to medieval practices is the heated contest between the elite autonomous work of art (rendered separate from the world by a frame or pedestal within the specific and prescriptive viewing space of the gallery or museum) and the pre-modern and avant-guard practices that presented art as contingent upon the viewer's space and experience, and therefore more accessible, interactive, and transformative. The artists of these pages (with close analyses of Robert Smithson and Jasper Johns in the 1960s, and László Moholy-Nagy, Lyonel Feininger and Kurt Schwitters in the 1920s) and their theorists (Marshall McLuhan and Leo Steinberg in the 1960s, and Wilhelm Worringer and Adolf Behne in the 1920s) use the open-ness of medieval art (the decenteredness and displacement of works referencing the Holy Land; the multi-faceted surfaces of mosaics; and the process-oriented communal methods of cathedral construction) to shake the certitude and institutions that preserved the autonomous work of art. And yet Nagel argues throughout the book that the reign of the autonomous work of art was neither as assured nor prolonged as avant-garde artists believed: "It is difficult, now, to imagine that the museum picture could have loomed as such a mighty enemy in the eyes of the avant-gardes" (57). This remains a point of disagreement for me. On the one hand, I would very much like to believe that the pressures of pre-modern and avant-garde artistic practices squeezed the reign of elite, autonomous art to a negligible existence; on the other, I have a hard time denying the power of the institution of the museum and the economics of the market that autonomous art greatly benefitted from for well over two hundred years. (Nagel himself is vague about the reign of the autonomous work of art, at times setting its ascendancy in the 15th century, at others, in the 18th.) Seen from a cross-temporal perspective in which the pre-modern and the avant-garde forge a strong alliance, the autonomous work of art may not seem a mighty enemy; but seen within the historical specificity of its own institutions in the 1920s and 1960s, the autonomous work of art indeed seems formidable. The continuing politics of the museum and the place of the avant-garde today open up these chapters to welcome and vigorous discussion.
There are times within these chapters when the book's title favors a reading in which "medieval" is but an adjective to "modern," and the investigations of the book tip the balance between the two periods decidedly in favor of the modern. Medieval art is then presented almost exclusively for how it aids and abets avant-garde projects rather than with an eye to the debates that might have provoked artists, patrons and audiences in the Middle Ages. Describing Cage's Fontana Mix, for example, as "Pollock rerouted, as it were, through Duchamp's Three Standard Stoppages" (178) takes a certain degree of modern art expertise that may not be available to some readers. Strange, small mistakes skew the analysis, most notably placing the thirteenth-century Roman de la Rose in the fourteenth century and, from within an otherwise brilliant analysis of Umberto Eco's 1962 Opera aperta, positioning Jean de Meun as writing within a stable (closed) system of allegorical signification. Nagel goes on to use Eugenio Battisti's critique of Eco to re-establish a "more 'open' reading of medieval material" (172), but there is a missed opportunity here to discuss the radical semiotic open-ness of the "couilles/reliques" discussion in the Rose, in which Reason claims that meaning (and moral value) are ascribed and not at all inherent to language, and that she could say "balls" as easily as "relics" to signify the thing in the world known as "relics."
It is to Nagel's credit that disagreeing with aspects of his book itself prompts further interpretation, in this instance of the ways in which his discussion of relics and reliquaries (from Damien Hirst's For the Love of God to the dynamic of the reproducible) might intersect with further medieval sources which, like Jean de Meun's Rose, question closed systems of signification. Nagel's book opens up a challenge for medievalists to more vigorously question medieval artists' own recursions to antiquity, not simply as appropriations of the past but as concerted efforts within debates of the Middle Ages. Linda Seidel's book Songs of Glory: The Romanesque Façades of Aquitaine (University of Chicago Press, 1981) and its analysis of the use of visual forms of Roman imperial antiquity in both Carolingian reliquaries and Romanesque architecture comes to mind. Another recursive loop worth revisiting is that of gender exclusion. Of the 139 illustrations in the book, only two are by women artists. Gender is in some ways too much of a social history issue for the emphases of this book (a point of debate in itself), but the virtual absence of women should at least prompt further thinking about the hyper-masculinity of the history of the Middle Ages and the avant-garde presented here. Doing so would perpetuate one of the values of the book: to open works of art closed by institutions.
Nowhere does Nagel's cross-temporal virtuosity shine as brightly as in his chapter on Jean-Antoine Watteau's L'Enseigne de Gersaint. It is surprising that in a book devoted to the medievalism of modernism a painting from 1720 should have such a pivotal role, and yet the claims of chapter 15 (and those that follow in the next two chapters) are crucial to Nagel's meta-argument about the open work of art. Painted at the height of the Académie Royale de Peinture et de Sculpture (for which Watteau had painted his Embarkation for Cythera as his reception piece in 1717), and during the first flourishes of the gallery system and art market, L'Enseigne de Gersaint is nonetheless presented here as a critique, "a commentary on a new system of art, offered from a position just outside the system" (201). Nagel's agility is such that by the end of the chapter, the reader can understand L'Enseigne de Gersaint both within a very (very) long medieval tradition and a (very) nascent avant-garde critique. The painting's placement (even if only for fifteen days) outside Gersaint's painting gallery, its concerns with visuality in and out of the painted frame, and acknowledgement of the painting as surface (in "two-dimensional contingencies" (203) such as its elision of the female clients of the gallery and the women painted in the works of art they wish to buy) make it a meeting point of medieval art's interactivity with a curious public and the avant-garde's critique of the static image. L'Enseigne de Gersaint becomes a temporally hybrid image: not chronologically medieval (yet as a street sign participating in medieval visual culture of the public sphere), not chronologically avant-garde (yet as literally on the margins of the gallery, critical of the institutions of autonomous art). The re-appearance of figures from L'Enseigne de Gersaint within a photomontage of Watteau's clients in cathedral space within chapter 19 (251) then becomes a tour-de-force of recursion. The next two chapters continue troubling limits Watteau had begun to push: of visibility with the diaphane and Duchamp and The Bride Stripped Bare by her Bachelors from 1915-23 in chapter 16, and of originality with the idea of the reproducible, relics and acheiropoieta (art not made by human hands) linked to Duchamp's readymades in chapter 17.
Nagel's conclusion articulating the effects of a powerful dynamic of entropy which pulls consistently towards the Middle Ages is worth quoting in full for the power and presence that it credits to medieval art, and the momentum of medievalism in modernity's confrontation of its objects of critique: "Medieval art flared into view amidst the breakdown of belief in the system of fine arts, in the museum object, in mimetic naturalism, in the idea of artistic originality and the unique work of art, in Enlightenment aesthetics, in linear history and rationalist models of time, and in a modern, colonialist concept of Europe" (275). In a cross-temporal art history prizing the presence of medieval artistic practices in the subversive tactics of modern art, medieval art is always already avant-garde. This is both the argument and the invitation of this provocative book.
Anne F. Harris
DePauw University
Posted by Ilse Schweitzer at 9:10 AM
July 25, 2014
Montoya: Medievalist Enlightenment
Alicia C. Montoya. Medievalist Enlightenment: From Charles Perrault to Jean-Jacques Rousseau. Cambridge: D.S. Brewer, 2013. 256pp.
Review by: Kathryn E. Fredericks (email@example.com)
The subject of Medievalist Enlightenment: From Charles Perrault to Jean-Jacques Rousseau by Alicia C. Montoya is medieval literature, and this book is the second volume in the series Medievalism. Volume I of the series is entitled Anglo-Saxon Culture and the Modern Imagination, edited by David Clarke and Nicholas Perkins.
In Medievalist Enlightenment: From Charles Perrault to Jean-Jacques Rousseau, Alicia C. Montoya provides an in-depth study of the period 1680-1750. She explains that in this time frame "portions of the secular, vernacular literature of the Middle Ages – the romances, troubadour lyric and other narrative works we consider today as the age's literary classics – came to the fore: the late seventeenth and early eighteenth centuries, or the period spanning late classicism through early Enlightenment" (2). Reiterating the fact that the presence of medieval literature in the seventeenth and eighteenth centuries has already been documented, Montoya states that "the decades from the 1680s through to the 1750s have almost invariably been overlooked or addressed only in passing" (2). She presents here, therefore, "the first book-length study addressing the literary medievalism of the decades from the 1680s to the 1750s" (2), and in this book, she sets out her intention specifically to "make the argument that modernity arose in part out of literary medievalism" (4). In the abstract to her book, Montoya says that this 'literary medievalism' "played a vital role in the construction of the French Enlightenment; Starting with the Quarrel of the Ancients and Moderns, it influenced movements leading to the Romantic rediscovery of the Middle Ages, and helped to shape new literary genres, from the epistolary novel to the fairy tale and opera." Concerning the overall purpose of the book, Montoya writes: "From the re-evaluation of the medieval thus emerged not only the seeds of a new poetics, but also the central questions that preoccupied Enlightenment thinkers from Montesquieu to Rousseau", and "[a]t the centre of these debates was the notion of historical progress." Montoya shows in this work that a careful examination of how this particular period of history considered the Middle Ages provides us with a better understanding of conceptions of modernity.
Medievalist Enlightenment is divided into three main parts, and is comprised of an Introduction, six chapters, and a Conclusion. The first two chapters are found in 'Part I: Conceptualizing the Medieval', which discusses "late seventeenth-century conceptualizations of the medieval" (8) to "the reflections on the medieval of the philosophes and their critics of the 1750s" (8). Montoya examines the following three authors in great detail: Charles Perrault, Jean Chapelain, and Jean-Jacques Rousseau.
In 'Chapter 1: A Sense of the Past: Ancients, Moderns, and the Medieval', Montoya presents a discussion of Perrault's Parallèle des Anciens et des Modernes. She chooses Perrault's Parallèle "because this was the most complete and systematic text to appear during the initial phase of the Quarrel addressing the issues it raised (25). Chronologically speaking, the "issues," she later explains, are two opposing ideas: "If, on the one hand, the medieval was moving closer to the present day, on the other hand modernity was encroaching on the medieval, for there was not always a sense, in Perrault's Parallèle, of a strict separation between the two" (32). Montoya provides a particular example in Perrault's work: "The last volume of the Parallèle, which argued for the technical superiority of the Moderns over classical Antiquity, was perhaps the most surprising, for time and again Perrault resorted, for his examples, to the medieval period" (32-33). Ideas regarding considerations of the relationship between the past and the present, and the question of where to place the Middle Ages in history, or how to label it as its own historical classification, are of central importance in this opening chapter.
'Chapter 2: The Medievalist Rhetorics of Enlightenment' explores considerations of medieval literature specifically by Jean Chapelain and Jean-Jacques Rousseau. Chapelain's dialogue La lecture des vieux romans and Rousseau's Discours sur les sciences et les arts are directly compared. Montoya points out that "at first sight, the two texts may appear to convey diametrically opposed viewpoints. While Rousseau ostensibly condemned the medieval, Chapelain's dialogue on the contrary argued for a rehabilitation of medieval romans, on moral rather than stylistic grounds" (47-48). Montoya dedicates this chapter to showing how the two texts, though different in methodology, can both be viewed as favorable considerations of medieval literature. Montoya concludes that "Chapelain and Rousseau drew on humanist precedents in order to propose a vision in which modernity could be perceived not as the result of a process of historical progress, but, rather, as moral and political degeneration" (68). Montoya writes that the "[a]ges previously viewed as dark" (68) – as well as "barbaric" (68) – "were now viewed in terms of moral exemplarity" (68) during the time of the philosophes, the Enlightenment, the Age of Reason, or, the Age of Light.
Chapters three, four, and five are found in 'Part II: Reimagining the Medieval'. This part treats "concrete examples of literary medievalism" (8). In 'Chapter 3: Survivals: Reading the Medieval Roman at the Dawn of the Enlightenment', Montoya opens by explaining that here she "will explore how, during the early period covering the 1680s to the 1700s, the roman or chivalric romance (roman de chevalerie) was read by contemporary readers, and how these readings related to other conceptions of the medieval" (71). She takes as her prime example the letters of Marie de Rabutin-Chantal, marquise de Sévigné and "relates Sévigné's remarks on medieval romans to other traces of early Enlightenment readers and readings of medieval texts, and beyond these, to the critical debate on the significance of the medieval past for literary modernity" (72). In this chapter, Montoya primarily discusses the existence of romans de chevalerie in eighteenth-century libraries, which ones were being read and by whom. Montoya points out a "more interesting question" (83) as to "how [these texts] were actually read by contemporary readers" (83). Here she mentions specifically "correspondences, journals, and other autobiographical works" (83), and takes the letters of Madame de Sévigné as a powerful example of "opening literature to new social groups" (95) – to a female audience and to different classes of society, for example.
In 'Chapter 4: Continuities: The Medieval as Performance', Montoya shows how two genres, the opera and the fairy tale, "invite us to think of the medieval not so much as text, but as performance: not primarily as content, but as a kind of musical mode" (12). This argument is particularly strong with reference to the opera, where Montoya provides several detailed examples within the context of theatricality and performativity (117). While the "performing authorship" (128) discussion of the fairy tales is indeed an interesting and novel approach, other considerations of the later influence of fairy tales could also be explored further, such as the evolution and development of the conte to the conte philosophique genre so characteristic of the Enlightenment and of the literature of the eighteenth century, including different European authors, and especially Voltaire.
In the final section of Part II, 'Chapter 5: Reconfigurations: Medievalism and Desire, Between Eros and Agape' Montoya focuses primarily on the letters of Madame de Sévigné and the fiction of Jean-Jacques Rousseau. Here, she "[explores] Sévigné's and Rousseau's rewriting of the Abélard and Héloïse myth" (12). The purpose of this is to show "that these authors deployed medieval references in an attempt to secularize older notions of Christian agape, seeking to attain a new, distinctly modern reconciliation between secular and divine varieties of love" (12). Specific topics discussed include "Earthly and Divine Love" (147), "The Role of the Heroide" (150), "Desire as an Instrument of Religious Realization" (154), " Sévigné: The Mother as Lover" (157), "Motherhood and Agape" (160), "Rousseau's Nouvelle Héloïse and the Héloïsian-Ovidian Model" (165), and "New Ideals of Marriage" (173).
The third and final part of Montoya's text is entitled 'Studying the Medieval' and includes the sixth chapter and the Conclusion. Part III "argues that the professionalization of medieval studies coincided with broader philosophical shifts marking the beginning of modernity – and defining, too, the conceptual parameters within which we continue to speak of the medieval today" (8). In 'Chapter 6: The Invention of Medieval Studies', Montoya "focuses on the ideological contest between academic medievalists, and aristocratic scholar-amateurs" (12). Montoya begins her final chapter by stating that the "new, academic medievalism had its institutional basis at the Académie royale des Inscriptions et Belles-Lettres" (185), from which emerged "an ideological struggle between two competing models of medievalism" (186), as Montoya suggests, "an older, aristocratic model of amateur engagement with the medieval, and a newer, bourgeois model of professional historiography" (186). The chapter focuses on the varying considerations of medieval scholarship by three authors: Jean-Baptiste La Curne de Sainte-Palaye, Anne-Claude-Philippe, comte de Caylus, and perhaps most importantly, as Montoya notes, Charles-Louis de Secondat, baron de Montesquieu, in whose works "in the actual practice and development of medieval studies, the two competing traditions came together" (219).
Montoya ends Medievalist Enlightenment with a section called 'Medievalism as an Alternative Modernity' (221), where she concludes that "[u]nderstanding [literary medievalism from the 1680s to the 1750s] is crucial not only to understanding the parameters within which we have ourselves come to conceive of the medieval, but also to understanding the epistemological debates on which [Enlightenment's] modernity itself was built" (224). This work presents an organized, thoughtful, and detailed analysis of the presence and considerations of medieval literature in the early Enlightenment period. The selections discussed here highlight pertinent entries from this volume, which is an excellent contribution to scholarship on both medieval and Enlightenment studies, and a valuable resource for scholars of each period.
Kathryn E. Fredericks
State University of New York at Geneseo
Posted by Mikeinexile at 5:58 PM
Stromberg, dir: Maleficent
Maleficent. Dir. Robert Stromberg. Disney, released May 30, 2014, in theaters. 135 mins.
Reviewed by: Elan Justice Pavlinich (email@example.com)
Visually enchanting, comically elegant, and mildly violent, Maleficent is a feminist film that places women harmoniously in nature, against the impotent hubris of the patriarchy. Maleficent is Robert Stromberg's directorial debut, and though it is written by Linda Woolverton, Charles Perrault, who published "Le belle au bois dormant" as part of his 1697 Histoires ou contes du temps passé, is credited too. Of course, the Disney Animated Classic Sleeping Beauty follows Perrault's tale, but it is this 1959 cartoon that provides the visual foundation upon which much of Angelina Jolie's characterization of the dark fairy is based.
Indicating an acquaintance with this textual history, the narrator begins the tale with the compelling challenge that she will "tell an old story anew and see how well you know it." Now, audiences are aware that Maleficent is a modern adaptation of a familiar story from the villain's point of view, and though it lacks the majesty of a typical Disney fairy tale introduction, right away the audience is presented with the problem of textual authority. Who is in charge here? Perrault? Sleeping Beauty? Or the contemporary cinema that is presently staking its claim to an oral tradition that challenges our cultural memory of the Sleeping Beauty fairy tale?
The cross-cultural multitemporal setting is at once familiar and ambiguous, referring the audience to a time long ago that eludes any coherent spatiotemporal location. The tale implies an early medieval temporal setting based on the contrast between the fairy realm and the kingdom of humans, yet the architecture and costume design suggests postconquest Britain, which is evinced by the Anglo-Norman influence on the castle and costumes out of medieval romance that indicate a dominant French presence in an English court.[1]
Young Maleficent, played by Isobelle Molloy, first appears as a happy fairy in earth tones, at peace with nature and a healer who promotes wellness in the Moors, a land which is inhabited by all mythical creatures, in contrast to the architectural vista of the unnamed kingdom of humans. Maleficent meets Stefan, a boy who had been warned never to venture into the monstrous territory of the Moors. During this encounter we learn that fairies cannot touch iron without being burned, and so Stefan tosses his iron ring so that he can be closer to Maleficent. Their love, however, cannot withstand Stefan's ambition as he is drawn to power in the kingdom of humans. His people fear the Moors, and their ruler, King Henry, promises that the one who slays Maleficent will advance to the throne. Relying on his intimacy with the powerful fairy, Stefan lures her into a meeting, drugs her, cuts off her wings, and delivers them to King Henry to signify that she has been vanquished. Based on these deceits Stefan becomes king, and his firstborn is Aurora.
On the day of Aurora's christening the kingdom gathers to bestow gifts upon the child. Maleficent intrudes upon the festivities dressed in black, and Angelina Jolie delivers the iconic curse with magnificent wickedness, proclaiming amidst roiling green smoke that the princess will prick her finger on the spindle of a spinning wheel and fall into a death-like sleep before her sixteenth birthday, and that she may only be revived by true love's kiss. As a precaution, King Stefan rids the kingdom of all spinning wheels and sends Aurora to be raised in the countryside by three inept fairies, to return to her home only after her sixteenth birthday.
Over the course of Aurora's youth, it is the vigilant Maleficent who protects her from the shadows, who are determined to see her curse fulfilled. To the audience familiar with medieval romance, while Maleficent appears to be monomaniacal, her curse serves as the seed for her personal epiphany concerning love's triumph over hatred. Nearly sixteen years later, Aurora, now played by Elle Fanning, is made aware of her guardian, and a bond is cultivated between the two.
Still, the curse takes hold and Aurora is compelled to return to her kingdom. The curse conveys her through hidden passages and a company of women who are washing white sheets until she finds the room of discarded and dismembered spinning wheels. She pricks her finger, falls asleep, and the quest for her true love is begun. The logical remedy is a kiss from the dashing Prince Phillip, who anticlimactically fails to awaken her. It is Maleficent, Aurora's fairy godmother, whose kiss restores the princess.
Her father however, King Stefan, has fallen prey to his own paranoia and sets a trap to murder the fairy once and for all. While Maleficent struggles to save herself, Aurora discovers her godmother's wings locked away in another secret chamber. She frees the flapping members, which seek out the body to which they belong, and upon union Maleficent is restored to her full power so that she can defend herself. She does not vanquish King Stefan, however; rather it is his megalomania that leads him to his own death.
In the end, Maleficent finds happiness and is returned to harmony in the Moors, and Aurora is named queen of both realms. All creatures, human and mythical, are happy to uphold her as the rightful ruler.
According to Entertainment Weekly, Maleficent is a recycled story with very little substance and an ill-refined plot that conflicts too much with its predecessor, Sleeping Beauty.[2] This myopic assessment does not consider Maleficent's elegant simplicity. The temporal aspects of the fairy tale have been collapsed. Now, instead of an entire kingdom slumbering for years, Maleficent presents Aurora, alone, sleeping for hours. Minimal character development and sparse dialogue indicate a refined narrative that relies on visual expression and the audience's presuppositions. It is this very elegance that bespeaks a quiet complexity; one that is fully appreciated by considering Maleficent within the textual history of the Sleeping Beauty narrative and by recognition of the visual argument that promotes feminine empowerment. The fairy tale tradition has maintained gender dichotomies through such narratives, like the foundational Disney Animated Classic Sleeping Beauty, that foster tropes and archetypes, subconsciously enforcing notions of feminine weakness and servitude or monstrous corruption that requires rescue and order by means of masculine power and control. Maleficent is not only self-conscious of its relation to a literary history of androcentric narratives; it extricates itself by announcing its own textual authority as a representation of feminine empowerment in contrast to the impotence of masculine claims to power.
The first glimpse of this stunning cultural critique occurs in the teaser trailer for Maleficent. In accordance with other Disney previews that immediately signify their connection to the iconic studio, the teaser trailer opens on the Disney kingdom at twilight, but then the shot suddenly veers off in the exact opposite direction to show the peaks of a wild and untamed other, the Moors.[3] Upon first viewing it would seem that the preview is announcing that audiences will be taken into the dark mirror-realm that opposes the perfection of the Disney kingdom, but in fact, as we learn the politics of Maleficent's diegesis, the Disney kingdom is self-consciously equated with patriarchy. The Disney kingdom is opposite Maleficent's Moors, precisely in the same place as King Stefan's castle, an industrialized realm of masculine authority built on treachery, where women serve to beget heirs or they work underground to keep the kingdom clean. Signifying the Disney kingdom in place of Stefan's castle in the preview suggests a Disney film that defies the Disney tradition. Maleficent, following on the heels of Frozen (perhaps too closely), also promotes a practical notion of true love; one that relinquishes the old fairy tale tradition that commodifies women and bolsters masculine authority. The Maleficent teaser trailer makes fascinating use of space, for if we, the audience, are accustomed to the spectacle of the Disney kingdom, it would suggest that the Disney kingdom as patriarchy is constructed in such a way that it is constantly vigilant of its other, and that our point of reference is the feminist kingdom, whence we gaze.
The teaser trailer also plays on the audience's androcentric expectations, in that Maleficent is publicized as a wicked witch, rather than betrayed fairy. Audiences are drawn to the character because she is portrayed as monstrous, yet Maleficent constructs a visual argument that privileges women rather than reducing them to sexualized or horrific spectacles. Once again, the teaser trailer is dark, with Maleficent shrouded in shadows as Aurora asks her to show herself and to not be afraid. Delivering a response that releases shivers, the mysterious figure says to Aurora that upon seeing her, "you'll be afraid," as she steps forward to reveal Maleficent in the flesh to audiences for the first time.[4] The promotional material for Maleficent conveys what Barbara Creed defines as the monstrous-feminine, in that it "emphasizes the importance of gender in the construction of her monstrosity."[5] Not only does cultural memory identify her as evil, but also Maleficent is still being depicted as the archenemy in the Disney videogame series Kingdom Hearts, and 'Maleficent' derives from the Latin maleficus, referring to an enchanter with the connotation of evil. While it would be naïve to limit Angelina Jolie's Hollywood persona to a sex symbol alone, one cannot neglect her physical appearance and previous roles, which contribute to the cultural memory of her identity and the talents she brings to the Maleficent character. Jolie's sexuality coupled with the dark nature of the previews, which boast blatant adjectives such as 'wicked,' insinuate a monstrous-feminine persona.
Conversely, Maleficent defies notions of monstrosity through a series of reversals that culminate in her sentimental epiphany and the union of the feminine Moors and the masculine kingdom under the harmonious rule of the beloved Aurora. In spite of the marketing techniques, the film undermines Maleficent's monstrosity, using it instead for comical effect; her character development defies the horror genre the promotions promise to audiences, while maintaining the lessons advanced by feminist scholars like Creed:
The representation of the monstrous-feminine in patriarchal signifying practices
has a number of consequences for psychoanalytically based theories of sexual
difference. On the one hand, those images which define woman as monstrous in
relation to her reproductive functions work to reinforce the phallocentric notion
that female sexuality is abject. On the other hand, the notion of the monstrous-
feminine challenges the view that femininity, by definition, constitutes passivity.
Furthermore, the phantasy of the castrating mother undermines Freud's theories
that woman terrifies because she is castrated and that it is the father who alone
represents the agent of castration within the family.[6]
Stefan, the embodiment of patriarchal values, is both fearful of castration and the castrator (of both Maleficent and himself). Female sexuality is represented as abject through the various dichotomies that are built upon a substratum of sexual difference, and yet the image of feminine sexuality permeates the film, not as monstrous, but a sensual source of strength. Maleficent is anything but passive; her role throughout the film exposes the impotence of the patriarchy by asserting her own authority over male characters, and her ultimate victory reclaims the women, such as Aurora's mother and the washerwomen, who are silenced under baseless masculine power.
Femininity is conveyed through a series of images that assert not only autonomy, but also authority, in spite of the phallocentric regime. Maleficent's lips constantly contrast with the color scheme of the film's mise-en-scène; even the opening sequences of her childhood the earth tones of the Moors, her costume, and complexion clash in order to emphasize her lips. Her femininity commands attention. In fact, much of Maleficent's appearance is vaguely vaginal, including her bright blood-red lips that seem to rupture the otherwise color-coordinated visual aspects, as well as the large and looming wings that are stolen from her by an untrue lover, and the horns that adorn her head, featuring tripartite curvatures that are reminiscent of labia. Maleficent's appearance vividly portrays the feminine cross described by Luce Irigaray:
Two sets of lips that, moreover, cross over each other like the arms of the cross,
the prototype of the crossroads between. The mouth lips and the genital lips do
not point in the same direction. In some way they point in the direction opposite
from the one you would expect, with the "lower" ones forming the vertical.[7]
There is no explicit reference to her sexuality—this is, after all, a Disney film—but her femininity is boldly emblazoned, dominating every mise-en-scène, to emphasize the power of her femininity in opposition to the patriarchal forces that seek to squelch her autonomy. In fact, some critics have recognized that the scene in which Stefan drugs Maleficent, cuts off her wings, and leaves her alone in the dark, suggests rape.[8] Her wings, commodified and cloistered by the patriarchy, are rendered tokens of Stefan's masculinity. They are perverted to signify his patriarchal authority; an authority that exists only by relating itself to, and by the subjugation of an other.
Ultimately, the impotence of the patriarchy is revealed, and (unsettlingly) every masculine character is made subject to feminine forces. First, King Henry believes the land of the Moors to be a place of evil, and so he sends his troops to conquer it and to slay its protector, Maleficent. King Henry dies a pitiful death in his luxurious bed soon after his attempt at conquest. King Stefan is deprived of enjoying the company of his own daughter, Aurora, and even his wife, whom he neglects on her deathbed. Finally, after having been defeated by Maleficent and left to live out his life and maintain his throne, in a fit of anger he attempts once more to destroy her and accidentally hurls himself from a tower of the castle. Fittingly, the patriarch dies due the dangerous heights of the patriarchal structure, and the wide-angle shot of his armor-clad corpse with canted legs against the flagstones, looking small and vulnerable, visually conveys the emptiness of masculine avarice.
While King Henry and Stefan are motivated by greed, other masculine characters, who are not morally corrupt, are nevertheless rendered submissive to feminine power, namely Diaval and Prince Phillip. Diaval was once a raven, trapped by peasants and pitied by Maleficent; he was transformed into a man, and thus a servant to the mistress to whom he owes his life. Although he acts as advisor to Maleficent, he lacks control over his own body, because she alters his appearance to suit her needs, even violating his will by transforming him into a wolf in order to terrify soldiers. And Prince Phillip, the courtly lover, is also proven impotent by the narrative. Ultimately, his kiss fails to awaken the sleeping beauty, constituting the film's reexamination of true love's kiss. But the image of Prince Phillip under Maleficent's sway, is suggestive of his own lack of power, and perhaps a hint at his true sexuality. Consider that, in order to manipulate people, Maleficent renders them unconscious and lifts them into the air by means of magic; so Aurora, levitated by Maleficent, rolls backwards gently, and floats supine as if slumbering. Prince Phillip, however, assumes a less dignified posture upon levitating. Instead of appearing to be at peace, his face is cast downward and his hind is slightly more elevated than his back, suggesting a masculine posture of submission. He is entirely unconscious as Maleficent traverses the thorny iron barricade that keeps them from accessing Aurora, and it is the three fairies, Flittle (Lesley Manville), Knotgrass (Imelda Staunton), and Thistletwit (Juno Temple), who deliver him to the cursed princess. Women in Maleficent defy danger; feminine forces facilitate masculine powers.
In the end, Aurora is crowned the queen who unites the natural and mythical realm with the kingdom of humans under one rule. But this is not the story "we" know. In spite of the triumph of feminine authority, contemporary audiences are currently living within the patriarchy and we are aware of the controversial effects that humans have on the environment. The magic of the Moors that appears to be synonymous with nature and feminine energy, ultimately, have not triumphed. Regardless of whether Queen Aurora and Maleficent lived happily ever after, we know that eventually these powers have succumbed to the patriarchy. The irreconcilable conclusion of Maleficent to its Sleeping Beauty predecessor raises our consciousness of the textual history of this particular fairy tale. Maleficent does not need to conform to the androcentric narrative upon which it is based, because the tension between Maleficent and the literary and cultural tradition whence it is derived incites the audience to wonder how patriarchal authority ever came to dominate the narrative. Of course, the newest generation of Disney audiences may not recognize themes of rape and contentions of the gender binary, but the Disney fairy tales are evolving to promote autonomy and practical notions of love, because a good fairy tale ought to grow up with its audience.
Elan Justice Pavlinich
University of South Florida
[1] Ardis Butterfield, "National Histories" Cultural Reformations: Medieval and Renaissance in
Literary History. Ed. Brian Cummings and James Simpson (New York: Oxford UP, 2010), pp. 33-55.
[2] Keith Staskiewicz, "Maleficent," Entertainment Weekly, June 12, 2014, accessed July 7, 2014,
[3] "Maleficent Teaser Trailer," Maleficent: Official Website, accessed July 7, 2014, http://movies.disney.com/maleficent/video.
[4] Ibid.
[5] Barbara Creed, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (New York: Routledge, 1993), p. 3.
[6] Ibid., p. 151.
[7] Luce Irigaray, An Ethics of Sexual Difference. Trans. Carolyn Burke and Gillian C. Gill. (Ithaca, NY: Cornell UP, 1993) p. 18.
[8] Hayley Krischer, "The Maleficent Rape Scene That We Need to Talk About," The Huffington Post, June 6, 2014, accessed July 7, 2014, http://www.huffingtonpost.com/hayley-krischer/the-maleficent-rape-scene_b_5445974.html.
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Should You Eat Raw or Cooked? We Have the Answer
Is broccoli better baked? Should spinach never be sautéed? Find out with this handy guide.
That good-for-you garden salad might not be delivering on its promises: Many of produce's health-promoting properties can be lost when baking, sautéing, or grilling. Read on to find how to get everything these nutrient powerhouses have to offer.
Carrots, Pumpkins, and Sweet Potatoes
Don't be afraid to throw these orange edibles in the oven. These vegetables are high in beta-carotene, a carotenoid that is converted into vitamin A in the body, and important for vision, bones, and immunity. Beta-carotene resides in vegetables' cellular walls—cooking breaks down those walls and makes absorption easier. Studies have also shown that falcarinol, an anti-cancer property found in carrots, increases when cooked.
Broccoli, Kale, Collard Greens, Cauliflower, Brussels Sprouts, and Cabbage
Raw is the right way to go with these members of the Brassicaceae family. All of these greens contain sulforaphane and glucosinolate, two cancer-preventative substances. Studies have shown that cooking broccoli reduces its sulforaphane by more than 90 percent, and other studies have found that up to 77 percent of glucosinolates are lost when boiling these vegetables for 30 minutes. Additionally, these greens are high in vitamins, folate, and potassium, which are lost during cooking. However, if you crave something cooked like kale enchiladas, you will still benefit from the green's beta-carotene content.
Tomatoes and Red Bell Peppers
Lycopene, a carotenoid and antioxidant that makes these gems red, is thought to reduce cancer risk and promote heart health. A study revealed that cooking tomatoes leads to higher levels lycopene, which, like beta-carotene, is found in cell walls. However, the same research concluded that vitamin C levels declined in cooked tomatoes. Top your pizza with raw tomatoes and red bell peppers to have it all.
You can do no wrong with this superfood. Spinach contains oxalates and calcium, which can lead to kidney stones if too much is ingested. Cooking spinach, however, removes the risk by breaking oxalates down. Additionally, cooking will help the absorption of spinach's supply of beta-carotene and lutein (a carotenoid necessary for eye health). If spinach is the base of your daily salad, never fear: spinach is full of vitamins, magnesium, potassium, folate, and more—all of which are depleted when the vegetable is cooked.
Onion, Leek, and Scallion
These blubs boast vitamins B6, C, and K, as well as folate and potassium. They also contain the anti-inflammatory compound quercetin, which is reduced by boiling but is actually increased by baking and sautéing. Nevertheless, cooking will reduce these vegetables' vitamin and mineral content, so make sure your next batch of salsa includes some raw onion and scallion.
Garlic has been known to fight cancer, enhance immunity, and lower cholesterol. Allicin, an anti-microbial compound found in garlic, is destroyed by heat: cook garlic no longer than five minutes to utilize allicin's benefits. Cooked garlic still retains flavonoids, selenium, and other sulfur compounds, so not all is lost in the heat.
Quick-cooking methods such as steaming and stir-frying are ideal for cooking vegetables, but the best way to benefit from soups and salads is simple: mix it up! Why not have a spinach salad with casserole, or some raw soup with a stir-fry? After all, variety is the spice of life.
Thanksgiving Salad with Cranberries, Apples, & Caramelized Pecans
This holiday favorite comes complete with sweet, caramelized pecans that are sure to dazzle your guests.
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Robin Robertson: My Top 10 Vegan Dishes Around the World
With her newest cookbook Vegan Without Borders in stores now, authoress Robin Robertson shares her own favorite global vegan meals.
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3 Vegan Thanksgiving Sides from the Experts
Three culinary geniuses share scrumptious vegan sides perfect for UnTurkey Day.
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10 Downright Delicious Dessert Thanksgiving Recipes
Follow up your appetizers and entrées with a sensational, dairy-free dessert menu thats unique and satisfying.
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Your ultimate checklist for getting everything done for UnTurkey Day.
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What Foods To Avoid If You Have Herpes
Here's a taste of what TheBody.com has to offer on this topic:
Get the Facts
Understanding Genital HerpesOverview Cause Transmission Symptoms Diagnosis Treatment Prevention Complications Overview Genital herpes is a sexually transmitted infection (STI). According to the Centers for Disease Control and Prevention, in the United States, one of every five teenagers and adults is infected with genital herpes. Women are more commonly infected than men and it is estimated that one of every four women has herpes. Although at least 45 million...
Ask the Experts
Foods to AvoidI'm currently on a regimen with Sustiva. Are there any voids I should be avoiding? ...
Response from Nelson Vergel, B.S.Ch.E., M.B.A.
Program for Wellness RestorationSustiva has no food restrictions (can take it with or without food) although high fat meals may interfere with absorption.... Read more »
Atripla and food to avoidHi, I have been taking Atripla for about 5 years and my lab reports are fine. But lately I have tiny (sesame size) bumps on my arms after dinner (which I take after shower). The bumps are itchy and I have to take antihistamine to stop the itch, and...
Response from Keith Henry, M.D.
University of Minnesota, School of MedicineShould be OK to take standard over the counter antihistamines (such as diphenhydramine or Benadryl) with Atripla. The main food to watch with Atripla are ones with high fat content that can result in higher efavirenz levels with increased risk for... Read more »
foods to avoid?I know that nutrition can play a big part in keeping yourself healthy if you are H-I-V positive. I just read that H-I-V positive people should stay away from ice,raw vegetables, and fruits? I use frozen fruit to make smoothies, am I just aking for...
Response from Nelson Vergel, B.S.Ch.E., M.B.A.
Program for Wellness RestorationNot really. I would only avoid raw vegetables that I have not cleaned myself if my T cells were close to 50 or below for fear of getting parasites or cryptosporidiosis. Stay away from animal fats and refined sugars (and corn syrup, fructose, sodas).... Read more »
how to avoid HEPATITISI have been tested for all forms of Hepatitis but I am very concerned about the possibility of catch it. How or where can I do to find out what the different kinds are and what I can do to avoid them....
Response from Barbara McGovern, M.D.
Tufts University School of MedicineThe risk factor for hepatitis A is ingestion of contaminated food and water. In US, hepatitis A outbreaks can occur sometimes related to a food-related outbreak, for example, related to one particular food substance. These outbreaks are... Read more »
Connect With Others
Food for thought
Posted by Angel_RonnieHere is a few quotes that I found which is most helpful and motivational to me and I hope that it will be for you guys as well.
1. Nothing is as real as a dream, the world can change around you but your dream will not, responsibilities need not... Read more »
herpesRead more »
let's talk about herpes!Read more »
Herpes WindowRead more »
Guides for People With HIV


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Nicki Minaj
Album Reviews
Diplo Says He, Nicki Minaj, Madonna, and Sophie Recorded a Song Together
Diplo has previously talked about working with Madonna on the follow up to 2012's MDNA. In a new interview, he revealed that one of ...
November 20, 2014 at 5:30 p.m. EST
Nicki Minaj Responds to Accusations of Nazi Imagery in "Only" Lyric Video
Update: The video's director, Jeffrey Osborne, gave a statement to Myspace's Spencer Stein in which he admitted that some of the video's ...
November 11, 2014 at 8:26 a.m. EST
Anti-Defamation League Accuses Nicki Minaj of Using Nazi Imagery in "Only" Lyric Video
The most shocking thing about Nicki Minaj's "Only" hasn't turned out to be the fact that it features Chris Brown, or that Lil ...
November 10, 2014 at 1:31 p.m. EST
Nicki Minaj Shares "Only" Lyric Video Featuring Cartoon Drake, Lil Wayne, Chris Brown
Nicki Minaj has shared a lyric video for her recent single "Only", which features Drake, Lil Wayne, and Chris Brown, Billboard reports. Between the fighter ...
November 7, 2014 at 8:19 p.m. EST
Nicki Minaj Shares The Pinkprint Deluxe Edition Cover Art
Behold, the artwork for the deluxe edition of Nicki Minaj's super-anticipated album The Pinkprint, which is out December 15 via Young Money/Cash Money ...
November 3, 2014 at 3:25 a.m. EST
Nicki Minaj Releases "Only" Featuring Drake, Lil Wayne, and Chris Brown
Nicki Minaj recently teased a single called "Only"—a track featuring Drake, Lil Wayne, and Chris Brown—with artwork (above) featuring Drake in a pope ...
October 28, 2014 at 9:31 a.m. EDT
Nicki Minaj Teases "Only" With Unbelievable Artwork Featuring Drake and Lil Wayne
On Tuesday, Nicki Minaj will share her latest single "Only", which will feature Drake, Lil Wayne, and Chris Brown. And that's great and all ...
October 26, 2014 at 1:30 p.m. EDT
Nicki Minaj Wins Legal Battle Against Wig Designer
Earlier this year, wig designer Terrance Davidson sued Nicki Minaj for $30 million, claiming that she sold and licensed wig designs he made exclusively for ...
September 17, 2014 at 6:56 p.m. EDT
Beyoncé and Nicki Minaj Perform "Flawless" Remix Live in Paris
Update 10/6/14: Official video of the performance, as seen in the On the Run HBO special, can now be viewed, below.
Earlier this ...
September 12, 2014 at 8:39 p.m. EDT
Nicki Minaj's The Pinkprint Release Date Announced
After months of teasing and at least one false alarm, Nicki Minaj has finally announced the release date for her forthcoming album, The Pinkprint: November ...
September 9, 2014 at 10:12 p.m. EDT
Nicki Minaj's The Pink Print: Release Date Not Yet Determined
Update: Nicki Minaj's reps have told Billboard that the release date has not yet been determined.
After months of teasing, Nicki Minaj has officially ...
August 29, 2014 at 5:48 p.m. EDT
Usher Shares Nicki Minaj-Featuring Video for "She Came to Give it To You"
Usher dropped a new video tonight for his Nicki Minaj-featuring, Pharrell-produced single "She Came to Give It To You". The clip features a ...
August 26, 2014 at 8:00 p.m. EDT
Watch Beyoncé, Nicki Minaj, Charli XCX, Ariana Grande and Others Perform at The VMAs
Beyoncé performed a medley of her self-titled album at this year's MTV Video Music Awards in Inglewood, California. Ariana Grande opened the show with ...
August 24, 2014 at 10:31 p.m. EDT
Nicki Minaj, Ariana Grande, and Jessie J Take Over A City in New Video for "Bang Bang"
Jessie J has shared the video for "Bang Bang" featuring Nicki Minaj and Ariana Grande. The Hannah Lux Davis-directed video features the three taking over ...
August 24, 2014 at 9:36 p.m. EDT
Nicki Minaj "Anaconda" Dancer Bit By A Snake During VMAs Rehearsal
Update: MTV reports that the snake was a boa constrictor named Rocky "who has been in the entertainment business for 15 years." Another snake will ...
August 22, 2014 at 10:45 p.m. EDT
Nicki Minaj and Drake Get Close in Her "Anaconda" Video
Nicki Minaj's new single "Anaconda" references and heavily samples Sir Mix-a-Lot's "Baby Got Back", and in the Colin Tilley-directed video for the ...
August 20, 2014 at 12:03 a.m. EDT
Nicki Minaj Unleashes Sir Mix-A-Lot-Referencing "Anaconda"
Nicki Minaj has released "Anaconda", a new single that may appear on The Pink Print, her forthcoming third album. It's available on iTunes now ...
August 4, 2014 at 7:51 a.m. EDT
Beyoncé's "Flawless" Remix Features Nicki Minaj, References Elevator Incident
There's a new remix of Beyoncé's Beyoncé highlight "Flawless", and, like a gift from the heavens, it teams Bey with Nicki Minaj. (As ...
August 3, 2014 at 9:13 a.m. EDT
Nicki Minaj, Ariana Grande, and Jessie J Team Up for "Bang Bang"
English singer Jessie J has shared "Bang Bang", the first single from her forthcoming album, which is out this fall. It features Nicki Minaj and ...
July 28, 2014 at 4:51 p.m. EDT
Nicki Minaj and Aimee Mann Voice Giant Gem Warriors in Cartoon Network's "Steven Universe"
"Steven Universe" is an animated Cartoon Network show in which a group of female warriors wield magic that comes from gemstones. Sometimes, the warriors come ...
July 27, 2014 at 3:53 p.m. EDT
Hear Future's "Rock Star" Featuring Nicki Minaj
Future's latest LP, Honest, was supposed to include a song called "Rock Star" that featured Nicki Minaj. But the song ran into sample clearance ...
July 9, 2014 at 3:13 p.m. EDT
Usher Shares Pharrell-Produced "She Came to Give It to You" Featuring Nicki Minaj
Usher: "She Came to Give It to You" [ft. Nicki Minaj] (via SoundCloud)
Usher has shared "She Came to Give It to You", which features Nicki Minaj and was produced by Pharrell. It'll ...
July 8, 2014 at 10:10 a.m. EDT
Nicki Minaj Clarifies BET Awards Speech, Iggy Azalea Responds
At Sunday's BET Awards, Nicki Minaj appeared to diss Iggy Azalea during her acceptance speech for Best Female Hip-Hop Artist. "What I want the ...
July 2, 2014 at 2:18 p.m. EDT
Nicki Minaj Disses Iggy Azalea at BET Awards
At last night's BET Awards, Nicki Minaj was presented with the award for Best Female Hip-Hop Artist. During her acceptance speech, she appeared to ...
June 30, 2014 at 9:51 a.m. EDT
Nicki Minaj Shares "Pills N Potions" Video
Nicki Minaj has shared the video for her recent single "Pills N Potions". It includes a none-too subtle cameo from The Game, who is shirtless ...
June 10, 2014 at 4:35 a.m. EDT
Nicki Minaj Brings out Drake, Lil Wayne, Lil Herb For Summer Jam Set
Nicki Minaj threw the audience for a loop last night during her set at New York radio station Hot 97's annual Summer Jam. Partway ...
June 2, 2014 at 10:22 a.m. EDT
Nicki Minaj Drops New Single "Pills N Potions"
Nicki Minaj: "Pills N Potions" (via SoundCloud)
Nicki Minaj's third studio album, The Pink Print, is set to drop later this year. Now, she's released the ...
May 21, 2014 at 7:10 a.m. EDT
Nicki Minaj Taps Soulja Boy For "Yasss Bish!!"
Nicki Minaj : "Yasss Bitch!!" (feat. Soulja Boy) (via SoundCloud)
Nicki Minaj has posted another new track to her Soundcloud: a collaboration produced by and featuring Soulja Boy titled "Yasss Bish ...
May 3, 2014 at 12:02 p.m. EDT
Nicki Minaj Shares "Chi-Raq" [ft. Lil Herb]
Nicki Minaj: "Chi-Raq" [ft. Lil Herb] (via SoundCloud)
Nicki Minaj has posted "Chi-Raq", a new song featuring Chicago rapper Lil Herb and reportedly featuring production by Boi-1da, Vinylz, and ...
April 8, 2014 at 10:33 a.m. EDT
Nicki Minaj Responds to "Starships" Copyright Infringement Lawsuit
Last year, an underground electronic artist named Clive Tanaka sued Nicki Minaj for copyright infringement, claiming that her hit song "Starships" ripped off his track ...
March 4, 2014 at 6:44 p.m. EST
Nicki Minaj Sued By Former Wig Designer
Nicki Minaj is being sued for $30 million by her former wig designer, Terrance Davidson, as All Hip-Hop reports. In the suited, filed today in ...
February 21, 2014 at 1:30 p.m. EST
Video: Nicki Minaj: "Lookin Ass Nigga"
Nicki Minaj's "Lookin Ass Nigga" will appear on the new Young Money/Cash Money compilation, Rise of an Empire, out March 11. The song ...
February 12, 2014 at 4:55 p.m. EST
Watch: Nicki Minaj Has a Great Response to Kendrick's "Control" Verse
When it comes to responses to Kendrick Lamar's "Control" verse, the world has saved its best for last. Nicki Minaj visited New York's ...
November 4, 2013 at 9:00 a.m. EST
Nicki Minaj Sued for Copyright Infringement by Mysterious Artist Clive Tanaka
Mysterious underground electronic artist Clive Tanaka has sued Nicki Minaj for copyright infringement, claiming that her mega-hit "Starships" ripped off his song "Neu Chicago", according ...
September 11, 2013 at 1:31 p.m. EDT
Watch Prince, Miguel, Nicki Minaj, Lil Wayne, and Icona Pop on the Billboard Music Awards
Last night was the Billboard Music Awards, and it featured some huge performances. Prince was named Billboard's Icon ("Q.U.E.E.N." buddies ...
May 20, 2013 at 4:57 a.m. EDT
Echo Chamber: Nicki Minaj
"I am lyrically better than most of the male rappers out there. Yes, I'm going to say it. I don't get the credit ...
April 3, 2013 at 11:20 a.m. EDT
Preview the Track TNGHT Produced for the New Lil Wayne Album, Featuring Nicki Minaj
What 2013-era Lil Wayne lacks in judgment or music quality, he makes up for (sort of) in collaborative savvy. Turns out he's recruited production ...
March 14, 2013 at 9:44 a.m. EDT
Watch Nicki Minaj's Solemn "Freedom" Video
Nicki Minaj videos aren't traditionally subtle affairs (see her hyper-colorful "The Boys" clip, for starters). But the Pink Friday: Roman Reloaded: The Re-Up track ...
November 19, 2012 at 8:26 p.m. EST
Nicki Minaj's "Come on a Cone" Video Features Kanye, Waka, Gucci, Kim Kardashian Cameos
NahRight points to this belated video for Nicki Minaj's "Come on a Cone", which seems to be a promotional video for the upcoming reissue ...
October 22, 2012 at 12:47 p.m. EDT
Nicki Minaj and Cassie Team Up for the Brightest Video Ever, for "The Boys"
Nicki Minaj and Cassie have joined forces for a video in the model of Lady Gaga and Beyoncé's "Telephone": An epic, rainbow-bright, gender-bending tale ...
October 18, 2012 at 2:10 p.m. EDT
Watch Frank Ocean, A$AP Rocky and Rihanna, Lil Wayne and 2 Chainz, More Perform at the MTV VMAs
The MTV Video Music Awards have come and gone once again, and this year was pretty tame, with few OMG moments. There was nothing as ...
September 7, 2012 at 2:04 a.m. EDT
Video: Nicki Minaj: "I Am Your Leader" [ft. Rick Ross and Cam'ron]
Here's the latest eye-popping video to go along with Nicki Minaj's sophomore album Pink Friday: Roman Reloaded. Directed by Colin Tilley, this one ...
August 24, 2012 at 1:40 p.m. EDT
Listen to an Hour-Long Mix of Nicki Minaj Verses From Vladislav Delay and AGF
RyJ: "Nicki Minaj Pickle Juice Mix" (via SoundCloud)
A complaint about Nicki Minaj is that she dilutes her raw rap talent with huge pop anthems. For those of you ...
August 20, 2012 at 10:42 a.m. EDT
Video: D'Angelo, Kanye, Nicki Minaj, A$AP Rocky, Usher, Rick Ross, More at the BET Awards
Tonight's 2012 BET Awards heralded the triumphant return of D'Angelo, who gave his first televised performance in 12 years. He did "Untitled (How ...
July 2, 2012 at 1:09 a.m. EDT
Nicki Minaj Announces Tour
Nicki Minaj's wig stylist will have her hands full for the next couple of months in preparation for the upcoming Pink Friday: Roman Reloaded ...
May 1, 2012 at 2:50 p.m. EDT
Video: Nicki Minaj: "Beez in the Trap" [ft. 2 Chainz]
Nicki Minaj has shared the new visual for Pink Friday: Roman Reloaded highlight "Beez in the Trap". It features Nicki alongside the man formerly known ...
April 7, 2012 at 10:40 a.m. EDT
Nicki Minaj Reveals Roman Reloaded Tracklist
Nicki Minaj's Pink Friday: Roman Reloaded just got a tracklist. FACT reports that the sequel to Pink Friday, out April 3 via Young Money ...
March 18, 2012 at 7:48 p.m. EDT
Watch the Video for Madonna's Single With M.I.A. and Nicki Minaj: "Give Me All Your Luvin'"
The much-anticipated collaboration between Madonna, Nicki Minaj and M.I.A. is here, and it's enough to fuel .gif-based Tumblrs for at least a ...
February 3, 2012 at 9:05 a.m. EST
Watch Kanye, Jay-Z, Nicki Minaj Perform on "Victoria's Secret Fashion Show"
The 2011 "Victoria's Secret Fashion Show" aired last night on CBS, featuring its usual mix of lingerie models and musical performances.
November 30, 2011 at 10:34 a.m. EST
M.I.A. and Nicki Minaj Will Appear Together on Madonna's Next Record
Photo by Martin Holmquist
MTV News today confirms that M.I.A. and Nicki Minaj will both appear on Madonna's upcoming record, slated for ...
November 28, 2011 at 1:20 p.m. EST
The Pitch
Maybe It's Time to Stop Caring About Nicki Minaj
Maybe it's time to stop caring about Nicki Minaj. Not as a human being or a person—because, you know, life is precious and ...
November 18, 2014 at 9:00 a.m. EST
"Anaconda", "Pacific State", "Sueño Latino", and the Story of a Sample That Keeps Coming Back
You may have noticed a peculiar sound ricocheting through pop music recently: a springy sort of trilling noise, the kind of thing you could imagine ...
September 8, 2014 at 1:30 p.m. EDT
Staff Lists
Staff Lists: The 200 Best Tracks of the Decade So Far (2010-2014)
Pitchfork Staff; August 18, 2014
From Drake to Beach House to Deafheaven to Sophie to Grimes to Cloud Nothings to, yes, Kanye—our picks for the best songs of the half-decade.
Staff Lists
Staff Lists: The 40 Most Anticipated Releases of 2014
Pitchfork Staff; January 16, 2014
The records we're looking forward to most this year including: Grimes, Cloud Nothings, Beck, Joanna Newsom, Mac DeMarco, Nicki Minaj, Solange, Real Estate, Rustie, St. Vincent, Swans, and more.
Hall of Game
Hall of Game: The Year Rap Broke
Andrew Nosnitsky; December 27, 2012
The world of rap felt especially fragmented this year, as if everything that was once cracked had finally shattered. Andrew Nosnitsky looks back and zooms in on the good and ...
Staff Lists
Staff Lists: The Top 100 Tracks of 2012
Pitchfork; December 17, 2012
Presenting our favorite songs from 2012. Blur, Cassie, Jeremih, Lower Dens, the xx, Angel Haze, Ariel Pink, Four Tet, and many more.
Resonant Frequency
Resonant Frequency: Follow People If You Like Their Music
Mark Richardson; April 18, 2012
There's more music writing available now than ever, but are we using this context to increase our personal connection with the sounds we hear? Mark Richardson investigates, spotlighting Nicki ...
Staff Lists
Staff Lists: The Top 100 Tracks of 2011
Pitchfork; December 12, 2011
Our favorite songs from the last 12 months, including tracks from Wild Flag, Fucked Up, M83, Danny Brown, Kurt Vile, James Blake, Jay and Kanye, and many more.
Staff Lists
Staff Lists: The Top 100 Tracks of 2010
Pitchfork; December 13, 2010
Our coverage of the Year in Music rolls on with our list of the Top 100 Tracks of 2010.