Piani Claudio

The term mantle has inspired philosophers, geographers, and theologians and shaped artists' and mapmakers' visual vocabularies for thousands of years. According to Veronica della Dora, mantle is the "metaphor par excellence, for it unfolds between the seen and the unseen as a threshold and as a point of tension." Featuring numerous illustrations, The Mantle of the Earth: Genealogies of a Geographical Metaphor is an intellectual history of the term mantle and its metaphorical representation in art and literature, geography and cartography. Through the history of this metaphor from antiquity to the modern day, we learn about shifting perceptions and representations of global space, about our planetary condition, and about the nature of geography itself.
Introduction: On Mantles, Maps, and Metaphors

Part I: Clothing Creation

1. Mythical Cloaks
2. Biblical and Byzantine Garments
3. Medieval Vernicles

Part II: Unveiling Space

4. Renaissance Stage Curtains
5. Drapes, Lights, and Shadows
6. Romantic Veils

Part III: The Surfaces of Modernity

7. The Surfaces of Geography
8. Pierced Surfaces and Parted Veils
9. The Green Mantle

Part IV: Weaving Worlds

10. Cartographic Embroideries
11. The Digital Skin
Epilogue

Acknowledgments
List of Abbreviations
Notes
Bibliography
Index

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Geographical Aesthetics
Imagining Space, Staging Encounters
Geographical Aesthetics
Imprint: Ashgate
Illustrations: Includes 28 b&w illustrations
Published: April 2015
Format: 234 x 156 mm
Extent: 320 pages
Binding: Hardback
Other editions:
ebook PDF, ebook ePUB
ISBN: 978-1-4094-4801-3
Short ISBN: 9781409448013
BL Reference: 910.01
LoC Number: 2014037307
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Edited by Harriet Hawkins, Royal Holloway, University of London, UK and Elizabeth Straughan, University of Glasgow, UKGeographical Aesthetics places the terms 'aesthetics' and 'geography' under critical question together, responding both to the increasing calls from within geography to develop a 'geographical aesthetics', and a resurgence of interdisciplinary interest in conceptual and empirical questions around geoaesthetics, environmental aesthetics, as well as the spatialities of the aesthetic.

Despite taking up an identifiable role within the geographical imagination and sensibilities for centuries, and having what is arguably a key place in the making of the modern discipline, aesthetics remains a relatively under-theorized field within geography. Across 15 chapters Geographical Aesthetics brings together timely commentaries by international, interdisciplinary scholars to rework historical relations between geography and aesthetics, and reconsider how it is we might understand aesthetics. In renewing aesthetics as a site of investigation, but also an analytic object through which we can think about worldly encounters, Geographical Aesthetics presents a reworking of our geographical imaginary of the aesthetic.Contents: Preface; Introduction: for geographical aesthetics, Harriet Hawkins and Elizabeth Straughan. Section 1 Towards a Lively Aesthetics: On aisthêsis, ‘inner touch’ and the aesthetics of the moving body, Mark Paterson; Anime cosplay as love-sublimation, Paul Kingsbury; Activist pedagogies through Rancière’s aesthetic lens, Naomi Millner; Relational urban interventions, Ashley Dawkins and Alex Loftus. Section 2 Aesthetic Encounters: Comforting others: sociality and the ethical aesthetics of being-together, Danny McNally; The artifice of landscape: photomontage in the work of Beate Gütschow, Alex Vasudevan; Biostratigraphy and disability art: an introduction to the work of Jon Adams, Hannah Macpherson (with Jon Adams); Death drive: final tracings, James Riding; Aesthetic regard for nature in environmental and land art, Emily Brady. Section 3 Tissues and Textures: Reimagining the Surficial: The mantle of the Earth: surfaces, landscape and aesthetics, Veronica della Dora; Thinking with/as a frog: art, science and the performative image, Deborah Dixon; The contested aesthetics of farmed animals: visual and genetic views of the body, Lewis Holloway and Carol Morris; Conclusion: reimagining geoaesthetics, Harriet Hawkins and Elizabeth Straughan. Index.About the Editor: Harriet Hawkins is a Senior Lecturer in Historical and Cultural Geography at Royal Holloway University of London, UK and Elizabeth Straughan is an Honorary Research Associate in Geography at the University of Glasgow, UK.Reviews: ‘Geographical Aesthetics burns and blisters. A startling collection of essays centered on aesthetics and space, the book ignites, showering sparks and little fires of provocation for a more lively aesthetics to take hold. The essays are historically aware and politically attuned, indeed, the book is a thorough treatment of the historical and political, a distribution of space, time and politics in encounters, engagements, movements and creative practices. The chapters engage a variety of topics ranging from cosplay to border activism; landscape art; disability; geologies; science; and agriculture. In this, Hawkins and Straughan have expertly brought together fascinating interrogations of the tissues, textures, tendrils, surfaces, depths, volumes and atmospheres of the imagination, creative expression, and the sensible.’
Peter Adey, Royal Holloway University of London, UK

‘This carefully-crafted work interrogates how aesthetics is politicized, spatialized, thought, and felt. Seamlessly, synthetically, Hawkins, Straughan and colleagues critically and creatively analyse elements of the aesthetic in geographical encounters that reinvigorate a geography of surfaces. The effect is to demonstrate the importance and utility of a richly geo-aesthetic understanding of the world.’
Elaine Stratford, University of Tasmania, Australia
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Introduction

Index

L’Universo Maggio - Giugno 2016 nº 3 ANNO XCVI Speciale AMERICA «Della misericordia di Dio è piena la Terra» L’agnizione del Nuovo Mondo DIEGO BARATONO - CLAUDIO PIANI La massa critica di dati, documenti e vere scoperte raggiunta in questo studio in fieri, consente la rilettura rigorosamente scientifica di parte degli accadimenti storici caratterizzanti la scoperta del Nuovo Mondo. La ricostruzione sequenziale di alcune vicende storiche mai considerate in precedenza, ma di sostanziale importanza nell’orizzonte straordinario ed affascinante della scoperta/battesimo del Nuovo Mondo, si fonda esclusivamente su documenti che, forse per la prima volta in assoluto, sono qui pubblicati. Non solo: forse per la prima volta sono compresi per quanto effettivamente valgono e dimostrano. Si parte dal ‘Canone Mariano’, che informa sia il dipinto del Ghirlandaio nella Cappella Vespucci, sia la strepitosa carta stampata a Saint Dié-des-Vosges la domenica del 25 aprile 1507 da Martin Waldseemüller e Matthias Ringmann. Si passa poi dalla Firenze medicea dei Vespucci, dove codici fino ad oggi mai decifrati aprono la mente su panorami di profonda devozione mariana ed abbracciano, in qualche modo investendolo, l’immaginario collettivo di un periodo storico unico ed irripetibile. Si giunge infine alla notevole decodifica dell’acronimo A.M.E.R.I.C.A., nome con cui si è battezzata, dopo il ritrovamento, la magnifica ed incontaminata terra del nuovo Eden. Mediante la rilettura del pregnante significato che la misericordia divina, profonda e pervasiva indicazione allegorico-iconica, assume in questo periodo, si è riusciti ad individuare, all’interno dei profili di alcune mappae-mundi medievali, potenti messaggi medianti gli stessi significati allegorico-iconici. È tutto questo che ci ha permesso, oltre ad entrare in una realtà pensante antica, ma nondimeno ancora viva e pulsante, d’intraprendere un dirompente percorso d’indagine e di ricerca in ambito storico-cartografico, che fino ad oggi nessuno aveva mai tentato. I risultati raggiunti, tutti rigorosamente documentati, sono d’indiscutibile valore storico e scientifico ed in grado, finalmente, di far luce sull’avvenimento più importante della Storia della nostra Civiltà.

Les Globes Missinne et Lenox représentent  l’Amérique méridionale avec les plus grandes îles des Caraibes et ils sont  l’ouvrage d’un auteur anonyme qui a une capacité considerable de dessinateur et beaucoup d’érudition géographique humaniste et (même avec la connaissance de langue latine); à tal point que Missinne présente  l’hipothèse d’attribuer l’ouvrage à Leonardo da Vinci  ou quelqu’un de ses élèves ou n’importe qui du cercle artistique humaniste florentin. Par rapport aux contenus géographiques et toponymiques, les globes peuvent être datés au 1504 ou cependent ils précèdent l’édition des mappemonde et globe innovateurs de Martin Waldseemuller et du cercle de Saint-Dié des Vosges en Lorraine (avril 1507), qui représentent toute l’Amérique séparée par l’Asie, et pas seulement l’Amérique méridionale comme les globes Missinne et Lenox. Peut-être ces deux globes – aussi comme les produits de Waldseemuller – réflétent les précédents modèles de Vespucci qui ont été perdus.

Modern scholars, misled by the fact that the two Latin words «Gades» and «de portu Caliciae / Calicium portum» indicating the two different ports of Cádiz in southern Castille and Galicia in northwestern Castille sound similar in Spanish and Italian, unanimously maintain that Americo Vespucci lied about his life and voyages. Vespucci, they hold, was an impostor. In 1492, Christopher Columbus set sail from Palos de la Frontera, the maritime inlet of the Gulf of Cádiz, in search of an Ocean route to India, Asia. All four voyages of Columbus took place within a span of 12 years. They all began at the ports along the Gulf coast of Cádiz, or, as the Latins say, «Gades». And, indeed, the "Pillars of Hercules" called the "Gates of Cádiz" or "Hercules Gadetanus" was the name given by the ancients to the two rocks forming the entrance or gate to the Atlantic Ocean at the Strait of Gibraltar.  All writers on Vespucci, on the basis of the similarity between Cádiz the name of the port from which Columbus sailed and the word which in the Lettera al Soderini is spelt «Calis» in Italian with its variants «Calisi» and «Cadisi», never put into doubt their own beliefs. Written by a self-declared author in Italian only in anonymous copies, the Lettera describes Vespucci's four navigations across the Western Sea, as the Atlantic was often called. It claimed to be an account of four voyages between 1497 and 1504, in which Vespucci took part, the first two in the service of Ferdinand the King of Castille, the other two in the service of Emanuel the King of Portugal. Hence the apparent discrepancies in the sea routes and in the dates of certain events that have exasperated the critics; hence the story propagated throughout the centuries that Vespucci was a thief who stole the glory from Columbus.
The name of Pietro Soderini the Gonfaloniere of the Florentine people, however, is entirely omitted in what they call Vespucci's Lettera al Soderini in Italian, a purported Vespucci letter to Soderini the original of which has never appeared. Nonetheless, scholars are convinced that the small pamphlet entitled Cosmographiae Introductio is but a bad translation of the Italian text. Now, the question is whether Vespucci made four voyages to the fourth part of the earth which was ever after to bear his name, and whether those voyages were really made at the time it is said they were. Patrizia Licini, in this paper, reverses the approach by focusing on geopolitical scenarios which seem never to have been explored. She supposes Vespucci told the truth, and the whole truth, in the evidence he gave. In fact, the discrepancies do not exist in the sea routes and episodes Americo Vespucci reported in Latin in the second part of Cosmographiae introductio, the book which gave America its name. On 25 April 1507 the Cosmographiae Introductio first appeared at Saint-Dié. The book actually contains two parts, in forms that the editor subtitles, respectively, "cum quibusdam Geometriae ac Astronomiae principiis ad eam rem necessariis" and "Insuper quatuor Americi Vespucij navigationes." The first part is dedicated by its author, Martin Waldseemüller surnamed Ilacomilus, to Maximilian I Caesar Augustus. The second part is dedicated to René, King of Jerusalem and Sicily, Duke of Lotharingia and Bar, and signed Americus Vesputius. Moreover, Matthias Ringmann, surnamed Philesius Vogesigena, edited the Latin text in two parts each with a separate table of contents, and with the two parts separated by two pages of advertising matter; seven times he named «Calicia» and «Calicium» as the port used by Vespucci. On the other hand, the only time he names «Gades», the port of Cádiz as it is modernly called, is when he mentions in the first part that the pillars of Hercules mark the beginning of the Atlantic Ocean, which makes the port famous.
The appellation Vogesigena derives from his position as the Canon Scholasticus in the collegiate church at Saint-Dié-des-Vosges in the Duchy of Lotharingia, or, as the French say, Lorraine. The Duchy of Lotharingia
belonged to the Crown of Germany at the time, Kingdom and Empire of the Romans under the rule of Maximilian I of Habsburg the paternal grandfather of don Carlos of Gand. Don Carlos, an orphan of seven years old, was the Prince of Castille and Aragon, and the future husband of the Princess of Portugal under the marriage agreement; his maternal grandfather was Ferdinand the King of Castille and Aragon.
Yet, the Great Dean and canons of the collegiate church of Saint-Dié took the special vow of entire submission and direct obedience to the Roman see. In 1507 the ruling Pope was Julius II (della Rovere), an Italian by nation, and a Genoese by fatherland. And the elective Kings of Germany were constituted Emperors by the ceremony of a triple coronation at Rome; from Constance, Germany, Maximilian I had been waiting since 1 April 1507 for his swearing-in ceremony when Cosmographiae introductio was printed in Saint-Dié. If Vespucci then writes the dedication to René II, a new scenario unfolds. King René II de Anjou Wademont and Antony his son and heir are the last of the Angevins. Since the thirteenth century the royal houses of Aragon and Anjou had been contending for the throne of Sicily beyond the Straits when Pope Julius II recognized Antony, Count of Lotharingia (Lorena), as the Duke of Calabria, Kingdom of Sicily, in December 1503. In a discourse at Rome, Pope Julius conferred the right to bear the title of Duke of Calabria on Antony of Lotharingia as King's son. This ended the war between the Angevins and Aragon. And, indeed, in 1052, shortly after the decisive Battle against the Greeks at Crotone, Calabria, South Italy, in return Pope Leo IX (born Bruno of Egisheim-Dagsburg, Alsace, Germany at the time) had granted to the Normans the Lordship over Calabria, as we learn from the Chronicon Northmannicum.