'ith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain, justify, and shape its new aims. In this book, David Summers provides an original investigation of the philosophical and psychological notions invoked in this new theory and criticism. From a thorough examination of the sources, he shows how the medieval language of mental discourse derived from an understanding of classical thought. 'Some (...) of the most striking observations in this impressive book involve stepping outside the history of ideas to ground these theories in a more general social history.' -- British Journal of Aesthetics 'This brilliant, stimulating study in the history of ideas should become indispensible for renaissance art historians, and for philosophers interested in the history of the philosophy of mind and in what might be called thepre-history' of aesthetics.' -- ChoiceWith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain. (shrink)

It will be useful to consider briefly how the ideas surrounding “form” work in practice. Such ideas rapidly developed to a high stage of sophistication, subtlety, and complexity, but they did not, I believe, stray from the foundations I have tried to indicate for them. Let us consider the example of Wilhelm Worringer, who, like Alois Riegl, found it preferable to discuss ornament rather than images because ornament is a purer expression of form and therefore provides a less encumbered view (...) into form’s spiritual meaning. Concerning interlace ornament of the first millennium in Northern Europe, Worringer wrote that it is “impossible to mistake the restless life contained in this tangle of lines”; it is “the decisive formula for the whole medieval North.” The “need for empathy of this inharmonious people” requires the “uncanny pathos which attaches to the animation of the inorganic”; the “inner disharmony and unclarity of these peoples … could have borne no clearer fruit.”4 Here forms—mostly lines and edges and their relations—are compared to a natural outgrowth, a fruit, and are interpreted in such a way as to permit the characterization of all peoples among whom artifacts with such forms were made and used. The range of formal style becomes coextensive with the range of the deep principles of the worldview of races, nations, and epochs.It is not necessary to follow the ideas of form and expression to quite the hypertrophied consequences Worringer did, although many authors have done so and many more have done so less systematically. The important thing for my purposes is the pattern of inference from form to historical statements and conclusion. 4. Wilhelm Worringer,ion and Empathy: A Contribution to the Psychology of Style, trans. Michael Bullock , p. 77. David Summers is William R. Kenan, Jr. Professor of the History of Art at the University of Virginia. The author of Michelangelo and the Language of Art and The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics , he is currently writing a book to be titled The Defect of Distance: Toward a University History of Art. (shrink)

Bacterial plasmids are ubiquitous ‘minichromosomes’ that have major importance in clinical microbiology, as agents of pathogenicity and as carriers of antibiotic resistance, and in molecular genetics, through their role as vectors in gene manipulation. Plasmids carry a wide range of dispensable, transiently useful and often bizarre functions.1 Naturally occurring plasmids, in addition to modifying the host cell phenotype, carry genes involved in the control of their own vegetative replication, plasmid copy number2 and stable inheritance. They may also carry determinants for (...) the conjugal transfer of DNA between bacteria.3 Whereas low‐copy‐number plasmids must be partitioned by some active process during cell division, the evidence suggests that multicopy plasmids are distributed randomly between daughter cells. Two independent determinants are necessary for the stable inheritance of multicopy plasmids, and both of these appear to act by maximizing the number of independent plasmid molecules. (shrink)