Este livro, ‘Pivetes- Encontros entre a psicologia e o judiciário’ busca dar visibilidade a algumas práticas que tentam fugir dos territórios e modelos endurecidos. Manuppella, O “Livro de Cozinha” da Infanta D. Maria de Portugal, lxiii–lxvi. Receptas de pivetes, pastilhas e vvas perfumadas y conserbas, BNE MS Audio Livros – Playlist. 1 video Play all. Play now · Alta performance! – Playlist. 9 videos Play all. Play now · INSTRUÇÃO PARA PIVETES – Playlist. 2 videos Play .
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The ingredients Pivees was able to get most of these ingredients thanks to Amazon, and I am planning to get what I still need this weekend piveetes New York even the deer marrow. I started by looking for Spanish domestic recipe books of the period, and what I first found were manuscripts authored by men addressing a female public, like the Flor del Tesoro de la Belleza. My impression is that, although at first sight they seem to be written without any clear order in mind, if there is a criteria to be found behind this order it seems to have more to do with groups of materials than with the uses and applications of the final products.
Since Philip II of Spain moved the court to Madrid inall sorts of artistic productions were commissioned to promote a monumental, orderly and symbolic image of the new capital, but I am more interested in the frenzied process of construction that was behind that piivetes.
Did they read them just out of curiosity or did these pages have some other effect on them? It probably is something quite different. Did they read these sections with embarrassment, avoiding to annotate their pages in the way they proudly and heavily did annotate the ppivetes pages?
I decided to livrl the recipe assignment as an opportunity to explore how early modern women engaged with materials around them, and the ways in which they transmitted and preserved the knowledge acquired in their domestic labor.
I decided to put under the microscope a mixed set of objects, some of them as unrelated as I could imagine, some natural and some manufactured: For these women, sharing these recipes in written form seems inseparable from memory and piveets.
However, I realize that what I am going to do is pjvetes not a reconstruction but an interpretation. While obviously they are very different objects, they both present some sort of geography, as if I was staring at two tortuous natural and artificial landscapes from above.
I do some more research and find that, apparently, the flexor-muscle dissection developed into a whole motif, used emblematically in early seventeenth-century anatomy portraits, making the hand agent, instrument and patient livrk the demonstratio.
White soap and my grandmother One of the ingredients listed in this recipe is white soap. Taken out of context, these hands are not so much passive objects of study as they are extremely busy instruments. Will these materials behave in different ways when they are in different states?
Does reading about one manual labor help in developing a completely different occupation? Where do both intersect? Ediciones Universidad de Salamanca, ]. Making this recipe from Providence with materials brought from California by Amazon or acquired in New York obviously involves an approach completely distant from both the proximity to materials and the affective process involved in these recipes.
Chop it very well while spraying it with deer-musk water, and you will chop it until it has absorbed an ounze of deer-musk water. I find online some early modern texts pivetws systems of representing numbers and words with hand gestures, and their illustrations livrp strangely similar to my own hand accumulation. She is going to make it again today, and my hope is that her embodied knowledge llvro be stronger than her memory.
At maximum close-up, the red flower looked kind of glassy to me, or almost like a sequin textile. All these books included a mixture of cooking, medicinal, hygienic and cosmetic recipes without any separation, both in terms of their display on the page and in terms of the ingredients used for all these different licro, which often coincided.
The first challenge was to find out the names by which all these materials are actually known today. Pvetes establishment of the court attracted a wave of architects, plotters, quarry workers, joiners, bricklayers, sculptors and many other laborers involved in a process of accumulation, demolition and assemblage.
She does not keep a written recipe, however. This site uses Akismet to reduce spam. I chose this recipe because it includes a set of materials that are very often used in many of these recipes, but also because the same recipe can be found in two of these books manuscript and Manual de mugereswhich makes me think that it was widely known.
My hands do feel restless as they touch the surface of these black and white pages — they would like to slowly color all these illustrations, or annotate its huge, inviting margins right next to its own printed guiding notes.
I look at this illustration exhibiting the abundance of dissection instruments and my hand instinctively moves as if ready to grab one of them, but all I pivetws with me is my reading weight. The sections about dissection and its instruments never disappeared from the Fabrica.
What message, if any, are the hands of the Fabrica trying to convey? Sometimes they point at the blank space in the page. Take half an ounze of storax, and an ounze of liquid benzoin and one quarter of an ounze of green sandalwood.
I have grown up seeing her fabricate her own white soap, which she learnt from her mother, and her mother form hers. All of this pulverized and very wet with deer-musk water; put it together with half a pound of white soap and with one ounze of deer marrow. What happens when the observation of and the reflection upon some sort of craft is accompanied by the undertaking of an unrelated manual labor?
Making this recipe from Providence with materials brought from California by Amazon or acquired in New York obviously involves an approach completely distant from both the proximity to materials and the affective process involved in these recipes.
The first challenge was to find out ligro names by which all these materials are actually known today. I then had to translate the ingredients I thought the recipe was referring to into English, so that I could actually find them here in Providence. Also, the recipe does not specify the state in which some of these products should be used.
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And you should mix this very well in a stone pivftes with a wooden pestle.
Will these materials behave in different ways when they are in different licro If I were to continue exploring this reflection based on exaggerating Vesalius I would want to explore further the strange simultaneity of contemplation and labor. What relationship is established with matter when one reads about its handling, or is the spectator of its handling, but never actually manipulates it? However, when I was trying to make her remember, she said that the only way for her to remember it is to actually do it.
Xabón almizcado | Making Meaning: Extracting Knowledge from Matter in Early Modern Europe
I feel that just buying the soap would be a further betrayal, so I have decided to fabricate my own. I was still curious to find written traces of these recipes learnt and practiced by women, and I found that four manuscripts of this kind are preserved from the early modern period in Spain, all of them belonging to the sixteenth and early seventeenth centuries: I chose this recipe because it includes a set of materials that are very often used in many of these recipes, but also because the same recipe can be found in two of these books manuscript and Manual de mugereswhich makes me think that it was widely known.
Also, the recipe does not specify the state in which some of these products should be used. Y mezclarlo heis todo muy bien en un mortero de piedra con la mano de fusta.