Artículos de revistas sobre el tema "Matteo Rosselli"

Abstract The Pre-Raphaelite artists and poets rejected contemporary conventional style in art, and did not concern themselves with the representation of contemporary life either. They viewed the surrounding social life as sordid, and reached back to the Middle Ages both for technique and subject matter. Dante Gabriel Rossetti, Holman Hunt, John Everett Millais, and later William Morris found inspiration in late medieval art and literature. They took their subjects from history, legend, religion or poetry, focusing on moral or psychological issues, and expressed fascination for beauty as a value of spiritual nature. This paper examines three of Dante Gabriel Rossetti’s medieval fantasy pictures (The Tune of Seven Towers, The Blue Closet and A Christmas Carol), which prompt a meditative and imaginative response through their enigmatic references, and thus attest the mysterious feature of Pre-Raphaelite medieval imagery. The paper discusses their enigmatic nature in the light of William Morris’s early dream poems The Tune of Seven Towers and The Blue Closet, written on the relevant Rossetti pictures. A parallel reading of poem and picture evidences how Pre-Raphaelite medievalism in painting can invite the onlooker for an inner journey through exploring an imagined referential background.

IN HIS LATE PLAY,Sardanapalus(1821), Byron repeatedly presents questions of legacy, as the Assyrian monarch struggles to determine what his reign will mean to future eras. The drama ends with Sardanapalus and his beloved slave, Myrrha, atop a suicidal pyre meant to destroy the palace as the rebellious satraps close in–the pyre also to be the king's final monument, the act by which posterity will remember him. Indeed, he imagines his flaming destruction will produce “a light/To lesson ages, rebel nations, and/Voluptuous princes,” even though “Time shall quench full many/A people's records, and a hero's acts;/Sweep empire after empire, like this first/Of empires, into nothing” (V.i.440–45). In the event, Sardanapalus's last words on the matter come in the form of a satire on the Egyptian pyramids, those proud Ozymandian monuments which time has turned into sites of confusion: [I]n this blazing palace,And its enormous walls of reeking ruin,We leave a nobler monument than EgyptHath piled in her brick mountains, o'er dead kings,Orkine, for none know whether those proud pilesBe for their monarch, or their ox-god Apis:So much for monuments that have forgottenTheir very record! (V.i.480–87)

Prispevek analizira potopitev avstro-ogrske admiralske ladje Viribus Unitis 1. novembra 1918 v Pulju. Za raziskavo je bila uporabljena italijanska arhivska vojaška dokumentacija iz Rima. V članku je opisan proces nastajanja ideje o diverzantskem napadu na vojaško pristanišče v Pulju, ki je bila na začetku bolj domena posameznikov kot pa italijanskega vojaškega sistema. Idejo je najprej razvijal poročnik Raffaele Paolucci, hkrati pa je major Raffaele Rossetti pripravljal posebno tehnično napravo, poimenovano Mignatta, ki je omogočala prevoz eksploziva in tudi obeh diverzantov. Julija 1918 je bila mignatta operativna in oba diverzanta sta se intenzivno urila v postopkih vdora v pristanišče. Ukaz za akcijo je bil izdan 30. oktobra 1918, določal je potek akcije, ni pa predvidel njenega natančnega datuma. Akcija se je začela 31.oktobra 1918 in že v začetku ni potekala skladno z načrtom. Diverzantoma se je z velikimi težavami uspelo prebiti v pristanišče. Ko sta postavila eksplozivno polnjenje pod trup Viribus Unitis, so ju odkrili. Pripeljali so ju k novemu poveljniku mornarice Države SHS kontraadmiralu Janku Vukoviću - Podkapelskemu, ki sta ga opozorila o nevarnosti. Poveljnik je ukazal evakuacijo posadke in dovolil obema diverzantoma umik na varno. Ladja se je po italijanskih informacijah potopila v 20 minutah. Diverzanta sta bila po petih dneh osvobojena in v Italiji sprejeta kot heroja. Za potopitev Viribus Unitis sta sprejela veliko denarno nagrado, ki pa so jima jo mnogi oporekali. Paolucci je po vojni postal znan kirurg in podpornik fašizma, Rossetti pa je bil aktiven protifašist. The article provides an analysis of the foundering of the Austro-Hungarian flagship Viribus Unitis on 1 November in Pula. The study was based on the Italian military archival documents from Rome. The article describes the process of creating the idea of a commando attack on a military port in Pula, which was in the first place more a matter of individuals rather than the Italian military system. The idea was first developed by Lieutenant Raffaele Paolucci, while Major Raffaele Rossetti prepared a special technical device called Mignatta, which enabled the transportation of explosives and both commandos. In July 1918, Mignatta was operational and both commandos were intensively trained in the procedures of port invasion. The mission order was issued on 30 October 1918 and determined the course of the campaign; however it did not provide its precise date. The campaign was launched on 31 October 1918 and failed to adhere to the plan from the very beginning. The two commandos managed to enter the port following some major difficulties. They were discovered once they planted a bursting charge under the hull of Viribus Unitis and were brought to the new Commander of the Navy of the State of Slovenes, Croats and Serbs, Admiral Janko Vuković – Podkapelski. They warned him of danger and the commander ordered the evacuation of the crew and let the two commandos retreat to safety. According to Italian information, the ship was sunk within 20 minutes. Both commandos were freed after 5 days and were considered heroes in Italy. They received a substantial amount of prize money for the foundering of Viribus Unitis, but many objected to this. After the war, Paolucci became a renowned surgeon and supporter of fascism, while Rossetti was an active anti-fascist.

To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.

Abstract Rhabdomyosarcoma (RMS) is a pediatric soft tissue sarcoma characterized by an impaired myogenic differentiation despite the expression of myogenic master genes MYOD and MYOG. Therefore, the restoration of differentiation is considered an anti-cancer therapy. SKP2 is an oncogenic E3-ubiquitin ligase that promotes cell proliferation by targeting the CDKi p21Cip1 and p27Kip1. Previous works showed that SKP2 overexpression is induced by the fusion oncoprotein PAX3-FOXO1 expressed in fusion positive (FP)-RMS cells, and promotes tumor cell proliferation through p27kip1 degradation. However, the role of SKP2 in fusion negative (FN)-RMS cells, devoid of any fusion gene, remains unclear. We report here that SKP2 transcript and protein levels are up-regulated in RMS patients and cell lines compared to normal tissue. Accordingly, we observed increased acetylation of H3K27 histone mark in RMS patients and cell lines compared to myoblasts and muscle tissue. We then show that in RMS cell lines SKP2 expression is induced by MYOD, which binds two SKP2 regulatory regions, an intronic and a distal enhancers, identified by Hi-C and 3C experiments. SKP2 knockdown in FN-RMS cells leads to p21Cip1 and p27Kip1 protein levels up-regulation coupled with G1/S cell cycle arrest. Rescue experiments showed that SKP2 promotes cell proliferation directly targeting p27Kip1. Moreover, SKP2 binds and promotes degradation of p57Kip2 and its silencing restores myogenic differentiation associated to MYOG and de novo MyHC expression in FN-RMS cells. SKP2 depletion also induces cell senescence and prevents anchorage-independent growth and stemness in vitro, and tumor growth in vivo. In turn, SKP2 forced expression partially rescued the anti-cancer effects preventing the increase of p21Cip1, p27Kip1, p57Kip2 and MYOG, promoting re-entry into cell cycle, inhibiting human myoblasts cell differentiation and restoring the tumorigenic potential in FN-RMS. Since neddylation is an essential step for the activity of SKP2, we used MLN4924, an inhibitor of the Nedd8 Activating Enzyme (NAE), under clinical investigation, to resume SKP2 knockdown features. MLN4924 induces p21Cip1 and p27Kip2 expression, promotes senescence and apoptosis, and hampers cell growth in vitro and in vivo both in FP- and FN-RMS. These results unveil an unprecedented role for SKP2 in governing both proliferation and myogenic differentiation in RMS, suggesting that targeting SKP2 functions through MLN4924 treatment might have clinical relevance in FP- and FN-RMS. The study has been founded by AIRC and 5xmille 2021/Ministero della Salute to RR. Citation Format: Silvia Pomella, Matteo Cassandri, Doris Phelps, Clara Perrone, Michele Pezzella, Marco Wachtel, Benjamin Sunkel, Antonella Cardinale, Zoe Walters, Cristina Cossetti, Sonia Rodriguez, Nadia Carlesso, Janet Shipley, Lucio Miele, Beat Schafer, Enrico Velardi, Peter Houghton, Berkley Gryder, Benjamin Stanton, Concetta Quintarelli, Biagio De Angelis, Franco Locatelli, Rossella Rota. A MYOD-SKP2 axis boosts oncogenic properties of fusion negative rhabdomyosarcoma and is counteracted by neddylation inhibition in vitro and in vivo [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 668.

Abstract BACKGROUND: Young breast cancer (BC) survivors are at risk of infertility. Ovarian stimulation for fertility preservation before (neo)adjuvant chemotherapy is standard of care. Research efforts have shown no negative prognostic effect of pregnancy following BC therapy, also among BRCA carriers. Currently, poor evidence is available on the safety to undergo ART following BC treatment, with no data in carriers of germline BRCA pathogenic variants. To provide evidence on the safety of fertility treatments in this specific population, we assessed the outcomes of a cohort of BRCA-mutated BC survivors who had a pregnancy after prior BC history by comparing the group of patients who underwent ART to achieve pregnancy to the group with spontaneous pregnancy. METHODS: We conducted a multicenter retrospective cohort study across 30 centers worldwide including women diagnosed at ≤ 40 years with stage I-III BC, between January 2000 and December 2012, bearing germline BRCA1/2 pathogenic variants. Survivors with a pregnancy (any outcome) after BC, with no disease-free survival (DFS) event before pregnancy, were assigned to the ART and non-ART group if their pregnancy was achieved through ART or spontaneously, respectively. ART procedures included ovulation induction, ovarian stimulation for in vitro fertilization (IVF) or intracytoplasmic sperm injection (ICSI), and embryo transfer under hormonal replacement therapy (HRT). RESULTS: Of 1,424 patients registered in the study, 168 with a pregnancy after BC were included in the present analysis. A total of 22 patients were included in the ART group and 146 in the non-ART group. Before BC diagnosis, 18.2% patients in the ART group had at least one child, compared to 38.4% in the non-ART group (P=0.030). Patients had a median age at BC diagnosis of 33.0 vs 30.2 years old in the ART group and in the non-ART group, respectively (P=0.004); 45.4% and 17.1% had grade 1-2 tumors, respectively (P=0.008), and 59.1% vs 31.5% had hormone receptor-positive tumors, respectively (P=0.016). Both cohorts had similar tumor size and nodal stage characteristics. Type and duration of endocrine therapy were comparable between groups. The type of ART was not specified in 5 survivors (22.7%). Ovulation induction was used in 1 patient (4.5%), ovarian stimulation in 7 patients (31.8%), embryo transfer under HRT following oocyte donation in 5 patients (22.7%), and embryo transfer under HRT following oocyte and/or embryo cryopreservation for fertility preservation in 4 patients (18.2%). Median age at conception among survivors was 39.7 years in the ART group versus 35.4 years in the non-ART group (P<0.001). Overall, no differences in obstetrical outcomes were observed between groups, although there were more delivery complications in the ART group vs the non-ART group (22.1% vs 4.1%, respectively, P=0.011). Median follow-up from pregnancy was 3.4 years (range: 0.8-8.6) for patients in the ART group vs 5.0 years (range: 0.8-17.6) in the non-ART group (P=0.009). In the ART group, 2 patients (9.1%) experienced a DFS event (both were loco-regional recurrences) as compared to 40 patients (27.4%) in the non-ART group (P=0.182). No patients died in the ART group compared to 10 patients (6.9%) in the non-ART group. CONCLUSIONS: To our knowledge, this is the first study assessing the safety of ART in BC survivors bearing germline BRCA pathogenic variants. Even though the exposed cohort was small, results showed that the use of ART does not appear to increase the relapse risk at short-term follow-up. Further reproductive studies in BRCA-mutated BC patients are warranted. Citation Format: Margherita Condorelli, Marco Bruzzone, Marcello Ceppi, Alberta Ferrari, Albert Grinshpun, Anne-Sophie Hamy, Evandro de Azambuja, Estela Carrasco, Fedro A. Peccatori, Antonio Di Meglio, Shani Paluch-Shimon, Philip D. Poorvu, Marta Venturelli, Christine Rousset-Jablonski, Claire Senechal, Luca Livraghi, Riccardo Ponzone, Laura De Marchis, Katarzyna Pogoda, Amir Sonnenblick, Cynthia Villarreal-Garza, Octavi Córdoba, Luis Teixeira, Florian Clatot, Kevin Punie, Rossella Graffeo Galbiati, Maria Vittoria Dieci, Alejandro Pérez-Fidalgo, Francois P. Duhoux, Fabio Puglisi, Arlindo R. Ferreira, Eva Blondeaux, Tamar Peretz-Yablonski, Olivier Caron, Claire Saule, Lieveke Ameye, Judith Balmaña, Ann H. Partridge, Hatem A. Azim, Jr, Isabelle Demeestere, Matteo Lambertini. Safety of assisted reproductive technologies (ART) following treatment completion in young women with germline BRCA pathogenic variants having a pregnancy after breast cancer [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr PD5-06.

King Matthias Corvinus of Hungary (1458‒1490), son of the “Scourge of the Turks,” John Hunyadi, was a foremost patron of early Renaissance art. He was only fourteen years old in 1470 when he was elected king, and his patronage naturally took some time and maturity to develop, notably through his relations with the Neapolitan Aragon dynasty. In December 1476, he married Beatrice, daughter of Ferdinand of Aragon, who brought to Buda a love of books and music she had inherited from her grandfather, Alphonse of Aragon.I studied the work of Beatrice’s brother John of Aragon (Giovanni d’Aragona), previously known mainly from Thomas Haffner’s monograph on his library (1997), from the viewpoint of his influence on Matthias’s art patronage. John was born in Naples on June 25, 1456, the third son of Ferdinand I of Aragon. His father, crowned king by Pope Pius II in 1458 following the death of Alphonse of Aragon, intended from the outset that he should pursue a church career. Ferdinand’s children, Alphonse (heir to the throne), Beatrice, and John were educated by outstanding humanist teachers, including Antonio Beccadelli (Il Panormita) and Pietro Ranzano. Through his father and the kingdom’s good relations with the papacy, John acquired many benefices, and when Pope Sixtus IV (1471‒1484) created him cardinal at the age of twenty-one, on December 10, 1477, he made a dazzling entrance to Rome. John was — together with Marco Barbo, Oliviero Carafa, and Francesco Gonzaga — one of the principal contemporary patrons of the College of Cardinals.On April 19, 1479, Sixtus IV appointed John legatus a latere, to support Matthias’s planned crusade against the Ottomans. On August 31, he departed Rome with two eminent humanists, Raffaele Maffei (also known as Volaterranus), encyclopedist and scriptor apostolicus of the Roman Curia, and Felice Feliciano, collector of ancient Roman inscriptions. John made stops in Ferrara, and Milan, and entered Buda — according to Matthias’s historian Antonio Bonfini — with great pomp. During his eight months in Hungary, he accompanied Matthias and Beatrice to Visegrád, Tata, and the Carthusian monastery of Lövöld and probably exerted a significant influence on the royal couple, particularly in the collecting of books. Matthias appointed his brother-in-law archbishop of Esztergom, the highest clerical office in Hungary, with an annual income of thirty thousand ducats.Leaving Hungary in July 1480, John returned to Rome via Venice and Florence, where, as reported by Ercole d’Este’s ambassador to Florence, Lorenzo de’ Medici showed him the most valuable works of art in his palace, and he visited San Marco and its library and the nearby Medici sculpture garden.In September 1483, Sixtus IV again appointed John legate, this time to Germany and Hungary. He took with him the Veronese physician Francesco Fontana and stayed in Buda and Esztergom between October 1483 and June 1484. The royal couple presented him with silver church vessels, a gold chalice, vestments, and a miter.John’s patronage focused on book collecting and building. He spent six thousand ducats annually on the former. Among his acquisitions were contemporary architectural treatises by Leon Battista Alberti and Filarete, which he borrowed for copying from Lorenzo’s library. They were also featured in Matthias Corvinus’s library, perhaps reflecting John’s influence. Around 1480, during his stay in Buda (approximately 1478‒1480), the excellent miniaturist, Francesco Rosselli made the first few large-format luxury codices for Matthias and Beatrice. Both Queen Beatrice and John of Aragon played a part of this by bringing with them the Aragon family’s love of books, and perhaps also a few codices. The Paduan illuminator Gaspare da Padova (active 1466‒1517), who introduced the all’antica style to Neapolitan book painting, was employed in Rome by John as well as by Francesco Gonzaga, and John’s example encouraged Matthias and Beatrice commission all’antica codices. He may also have influenced the choice of subject matter: John collected only ancient and late classical manuscripts up to 1483 and mainly theological and scholastic books thereafter; Matthias’s collection followed a similar course in which theological and scholastic works proliferated after 1485. Anthony Hobson has detected a link between Queen Beatrice’s Psalterium and the Livius codex copied for John of Aragon: both were bound by Felice Feliciano, who came to Hungary with the Cardinal. Feliciano’s probable involvement with the Erlangen Bible (in the final period of his work, probably in Buda) may therefore be an important outcome of the art-patronage connections between John and the king of Hungary.John further shared with Matthias a passion for building. He built palaces for himself in the monasteries of Montevergine and Montecassino, of which he was abbot, and made additions to the cathedral of Sant’Agata dei Goti and the villa La Conigliera in Naples. Antonio Bonfini, in his history of Hungary, highlights Matthias’s interest, which had a great impact on contemporaries; but only fragments of his monumental constructions survive.We see another link between John and Matthias in the famous goldsmith of Milan, Cristoforo Foppa (Caradosso, c. 1452‒1526/1527). Caradosso set up his workshop in John’s palace in Rome, where he began but — because of his patron’s death in autumn 1485 — was unable to finish a famous silver salt cellar that he later tried to sell. John may also have prompted Matthias to invite Caradosso to spend several months in Buda, where he made silver tableware.Further items in the metalware category are our patrons’ seal matrices. My research has uncovered two kinds of seal belonging to Giovanni d’Aragona. One, dating from 1473, is held in the archives of the Benedictine Abbey of Montecassino. It is a round seal with the arms of the House of Aragon at the centre. After being created cardinal in late 1477, he had two types of his seal. The first, simple contained only his coat of arm (MNL OL, DL 18166). The second elaborate seal matrix made in the early Renaissance style, of which seals survive in the Archivio Apostolico Vaticano (Fondo Veneto I 5752, 30 September 1479) and one or two documents in the Esztergom Primatial Archive (Cathedral Chapter Archive, Lad. 53., Fasc. 3., nr.16., 15 June 1484). At the centre of the mandorla-shaped field, sitting on a throne with balustered arm-rest and tympanum above, is the Virgin Mary (Madonna lactans type), with two supporting figures whose identification requires further research. The legend on the seal is fragmentary: (SIGILL?)VM ……….DON IOANNIS CARDINALIS (D’?) ARAGONIA; beneath it is the cardinal’s coat of arms in the form of a horse’s head (testa di cavallo) crowned with a hat. It may date from the time of Caradosso’s first presumed stay in Rome (1475‒1479), suggesting him as the maker of the matrix, a hypothesis for which as yet no further evidence is known to me. The seals of King Matthias have been thoroughly studied, and the form and use of each type have been almost fully established.John of Aragon was buried in Rome, in his titular church, in the Dominican Basilica of Santa Sabina. Johannes Burckard described the funeral procession from the palace to the Aventine in his Liber notarum. Matthias died in 1490 in his new residence, the Vienna Burg, and his body was taken in grand procession to Buda and subsequently to the basilica of Fehérvár, the traditional place of burial of Hungarian kings. The careers of both men ended prematurely: John might have become pope, and Matthias Holy Roman emperor.(The bulk of the research for this paper was made possible by my two-month Ailsa Mellon Bruce Visiting Senior Fellowship at the Center for Advanced Study in the Visual Arts [CASVA] of the National Gallery of Art [Washington DC] in autumn 2019.) [fordította: Alan Campbell]

AbstractTrace fossils are structures left in a substrate as the result of the activities of living organisms. The producer of the spindle-shaped trace fossil Rosselia incorporates fine-grained organic rich material into concentric layers surrounding the central shaft. Because Rosselia is common in stressed shallow marine environments where the preservation potential of organic material is generally poor, these trace fossils may act as natural archives, recording changes in the provenance of organic material. Carbon isotope values of organic carbon preserved in laminae of the studied Rosselia typically lie around − 26‰, suggesting a primary terrestrial source. However, increased levels of S and Ca detected from XRF scanning of the laminae indicate that at least some marine material is incorporated. Examination of a diagenetically altered specimen also demonstrates that both elemental composition and δ13C values can be substantially altered diagenesis. Nevertheless, the long stratigraphic range of Rosselia, from the Cambrian to the Present, and its ubiquitous occurrence in stressed shallow-marine settings make it a potentially powerful tool to reconstruct variations in the input of organic material in settings otherwise devoid of fine-grained organic matter.

Biblical stories serve as a foundation for European literature and artwork because of the mystical dimensions that address mankind and human qualities in general. Both the narrative of Adam and Eve and the fruit of knowledge have become well-known literary devices that have served as sources of inspiration for writers and poets throughout history. Both Christina Rossetti and Thomas Mann use the theme of forbidden fruit and its consequences as the subject matter that they handle in their literary works. They do this in order to demonstrate the consequences of giving in to the temptations of things that one should not want. In a postmodern way, both Goblin Market by Christina Rossetti and Death in Venice by Thomas Mann deal with the theme of surrendering to the temptation of an unlawful desire and the destructive effects of it through the depiction of the physical and psychological deterioration of the protagonists in each work.

Abstract This essay traces Dante Gabriel Rossetti’s use of the bower as a visual space in relation to musical subject matter. Following the increasing popularity of instrumental music and musical discourse in the mid-nineteenth century, the idea of art music and its expressive abilities had become a pervasive discourse for painters. Through an examination of Rossetti’s images of bowers with a musical subject – specifically The Blue Bower (1865), Veronica Veronese (1872), and La Ghirlandata (1873) – this essay explores ideas of musical temporality and artistic spatiality, tonal relations between colour and music, and Rossetti’s emphasis on subjective experience in these images. The bower became a crucial feature in this exploration of music and painting, signalling a visual space characterized by ideas of immersion, artistic correspondences, and the abstracting of colour and form. This essay proposes that Rossetti’s bowers were sites of visual immersion for its viewers, alluding and appealing to the sensuous impact music could have on a listener by mimicking listening behaviour in a visual format. My discussion uncovers new contexts for Rossetti’s musical images and draws parallels between listening and viewing behaviour for both the Victorian and current public. The essay concludes that visual sites alluding to music can act as immersive spaces, contending that abstraction and temporality are drawn out in painting by virtue of an appeal to music.

“The electronic media do away with cleanliness; they are by their nature ‘dirty’. That is part of their productive power…” (Enzensberger qtd. in Hartley 23) “Why do people have to be so ugly? Write about such ugly characters? It’s perverted. I know you all think that I’m being prissy but I don’t care. I was brought up in a certain way and this is … mean-spirited.” (Writing student, Storytelling). In 1986 David Lynch brought the suburbs into focus. Before Lynch they had remained slightly bland and indistinct, white picket fences and lush green lawns in the background of Doris Day comedies, Douglas Sirk films and television sitcoms. But in the opening shots of Blue Velvet (1986) Lynch announced that he was going to do something quite different. He skipped through the stock suburban footage of vibrant colours – the red roses, the blue skies, the happy, smiling faces of the children – preferring instead, to track through the grass. There, through a series of grotesque close-ups of seething, warring insects, Lynch revealed the anomalies and ambiguities beneath the bright and shiny surface of suburbia. Recalling his childhood of “elegant homes, tree-lined streets, the milkman… Middle America as it is supposed to be” (Rodley 10), Lynch explains: “I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath… I saw life in extreme close-ups” (Rodley 11). In Blue Velvet Lynch offers us an extreme close-up of suburbia by focussing on the dirt. In her seminal work Purity and Danger anthropologist Mary Douglas studied the way some substances are classified as dirt because they are (following William James) “matter out of place” (Douglas 36), something that is considered inappropriate in a given context. “Dirt” is therefore an indication of what is taboo and disruptive, an idea Douglas goes on to link to notions of ambiguity and anomaly. Blue Velvet’s “matter out of place” begins with the warring insects beneath the lawn, continues with the discovery of an amputated ear and goes on to include fellatio at knife-point, sex acts with velvet, kidnapping, murder and torture, all juxtaposed against an adolescent romance, a Hardy Boys mystery and the blue skies and birdsong of the opening. On its release Blue Velvet was considered part of a wave of mid-eighties films that were re-evaluating suburbia, amongst them True Stories (1986), Peggy Sue Got Married (1986), River’s Edge (1986) and the thematically similar Something’s Wild (1986). But Lynch’s ability to make the ordinary strange, through his juxtaposition of image and sound (Chion), meant that Blue Velvet went further than its contemporaries because in this film the suburban as a whole took on the “strange and threatening” characteristics of something without a stable identity (Douglas). Just as critics proclaimed Blue Velvet “leaves us altered, for good or ill – forever” (Total Film 96) so too does Lynch soil our very perception of the suburban, his “red ant” view of the world suggesting disorder where there was order, desperation where there was happiness, filth where there was cleanliness. In this way Blue Velvet inaugurates a genre of “corrupted idealism in the suburbs” (Total Film 97) that would include The Virgin Suicides (1999), Donnie Darko (2001), American Beauty (1999) and the works of Todd Solondz, together with television series like Lynch’s own Twin Peaks (1990-1991), Picket Fences (1992-1996), Dead like Me (2003-2004), Close to Home (2005-), Weeds (2005-) and Desperate Housewives (2004-). John Hartley applies Douglas’ notion of dirt to both ‘television’ and its ‘audience’, referring to them as ‘dirty’ categories. This is because “television texts do not supply the analyst with a warrant for considering them either as unitary or as structurally bounded into an inside and outside” (Hartley 22). Similarly what sense an audience might make of television “depends… on the discursive resources available” some of which the audience will “identify” with and some of which will “marginalize”, “deny” or be “more obvious, well-worn and time-honoured than others” (Hartley 23). Hartley draws on the work of Hans Magnus Enzensberger and Edmund Leach (discussing the ‘dirtiness’ of television and individuals respectively) to conclude that “power is located in dirt” (Hartley 23) because dirt creates “ambiguous boundaries” between the media and its readers. While film may be a more bounded, unitary medium (delineated at the very least by its running time) the “ambiguous boundaries” that dirt creates are something Lynch toys with in Blue Velvet. In a similar fashion to Hitchcock’s Rear Window (1954), the viewer is made complicit in the voyeuristic tendencies of his protagonist, Jeffrey Beaumont (Kyle MacLachlan). But Lynch goes a step further, turning the camera back on his voyeur in answer to a concern voiced by the nurse, Stella (Thelma Ritter), in that earlier film: “We’ve become a race of Peeping Toms. What people ought to do is look in for a change.” Lynch offers us Jeffrey as a potential source of identification but also makes us witness to Jeffrey’s own moral failings. In this way Jeffrey becomes as ambiguous as his sadomasochistic relationship with singer Dorothy Vallens (Isabella Rossellini), simultaneously abuser and abused, truth-teller and deceiver. As his girlfriend Sandy (Laura Dern) states: “I don’t know if you’re a detective or a pervert.” Here, the ambiguity offered by dirt results in the examination – the making visible – of both the voyeur and the audience as (complicit) voyeurs. Both are called into question – “detective or pervert?” – continually blurring the boundaries between subject and object, viewer and participant. By movie’s end Jeffrey can return to Sandy and the alluring veneer of suburbia, but he has murdered, molested and (impliedly) been raped. Dirt sticks. Jeffrey is forever changed and so is our perception of the suburban. If Lynch’s Blue Velvet revealed the rich vein of dirt running through suburbia, then perhaps it is Todd Solondz who has mined it most extensively. While Lynch was to return to suburbia in his television series Twin Peaks his attention has frequently turned to other more extreme and experimental ideas. In contrast Solondz has focussed almost exclusively on the suburban in four of his projects: Welcome to the Dollhouse (1995), Happiness (1998), Storytelling (2001) and Palindromes (2004). It is Happiness that provides the clearest sense of the “imagined community” of suburbia because its multiple storylines suggest multiple lives being conducted simultaneously. Like Blue Velvet it presents a veneer of suburban life which it then goes on to soil, particularly through the Maplewood family (whose story provides the climax for the film). In the first shot of the Maplewood’s home a cleaner is seen at the rear of the shot scrubbing the floor; dirt is presented as a threat to order and Trish Maplewood (Cynthia Stevenson) refers to “having it all”. By the film’s end the focus will have shifted to masturbation, homicide, dismemberment, various perverse sexual acts and the revelation that her husband is a paedophile. Uniting these disparate streams are the searches for happiness each of the nine central characters undertakes, with only character, the boy Billy Maplewood (Rufus Reed), achieving his happiness, through a successful ejaculation that provides the denouement of the film. Much like Blue Velvet, Happiness was decried as “sick” upon its release. But Happiness’s dirtiness goes further than its subject matter; it also resides in the “ambiguity of its boundaries with its media neighbours” (Hartley 25). Whereas Hartley finds that television is “characterized by a will to limit its own excess, to settle its significations into established, taken-for-granted, common senses, which viewers can be disciplined to identify and to identify with” (37) the dirty filmic text makes no effort to limit its excess (rather limitation is applied through censorship and ratings); Happiness is simultaneously scary, repellant and poignant. Allen (Phillip Seymour Hoffman) the obscene phone-caller, Kristina (Camryn Manheim) the lonely woman who dismembers her rapist and Bill Maplewood (Dylan Baker) the loving father and paedophile all elicit moments of horror, humour and sympathy. Indeed, Happiness successfully “scandalizes the overlaps” between categories without attempting to clarify their ambiguities (Hartley 38) by constantly deflecting and redirecting the audience’s identification with any one character by revealing more about that character (he is shallow, she kills, he is a serial rapist) or simply through the constant narrative shifts between characters. As Hartley notes: “the point about dirt, crudely, is that it encompasses notions of ambiguity, contradiction, power and social relations all in one” (39). In the context of the suburban these ideas of dirt are frequently equated with sex. Lynch had previously depicted sex as “the site of domestic trauma, fear, power and – on occasion – euphoria” (Rodley 125): Jeffrey experiences all four of these aspects in his encounters with Dorothy, something that leaves him profoundly shamed and shaken. Sex is similarly ancillary to dirt in Happiness where Allen, Kristina and Bill’s own predilections and pleasures lead them into ambiguous power and social relations that are alternatively thwarted, indulged and constrained. This lends “Happiness” itself to being read as an ironic title for the film, but while Billy is the only character to achieve the euphoria promised, many of the characters enjoy (brief) moments of happiness, be it Joy Jordan’s (Jane Adams) one night stand or Allen and Kristina’s date (and possibility of redemption). Similarly, even the paedophile father Bill confesses to his son that sex with young boys is “great”, some small measure of happiness even as he admits to being sick. “Happiness” itself is therefore also a dirty, subjective, embodied and ambiguous term; one man’s happiness is another’s shame, another’s pain, another’s crime. Solondz actually comments on the power of dirt in the “Nonfiction” segment of his next feature Storytelling. In many respects a parody of the suburban genre (through its obvious digs at American Beauty) “Nonfiction” chronicles the efforts of documentarian Toby Oxman (Paul Giamatti) to construct a film around disaffected teenager Scooby Livingstone (Mark Webber). The end product, “American Scooby”, reveals that Oxman cannot move beyond the surface. Unlike Lynch or Solondz, the dirtiness of his subject slips by unnoticed. Oxman’s documentary can only provoke laughter through its exploitation of Scooby as it ignores the subtleties occurring in the Livingstone family’s lives, most notably Scooby’s relationship with his friend Stanley and the rising resentment of Consuelo the maid (culminating in her gassing the family to death as they sleep, perhaps the ultimate statement on the ambiguity of happiness). This probable commercial success/social failure of “American Scooby” confirms the power of dirt implicit in Lynch and Solondz’s films. By soiling suburbia Lynch and Solondz have exnominated the middle-class, making visible the minutiae, the motives and the pleasures of a social grouping traditionally under-represented on film. Typically, Hartley says, we identify the “power of dirt” as being “of the negative kind – it infects and corrupts the rising generation” (25), arguments levelled at both of these films. But as Douglas argues, a culture’s taboos can tell us a great deal about its sense of its own identity. Blue Velvet and Happiness can therefore be understood in Douglas’s terms as part of a “dirt-affirming ritual” that accesses the power “residing in what is excluded from [the traditional] ordering of things” (165), thus exnominating the middle-class and revealing our complicity in the voyeurism of their characters. This then is the true power of dirt. It makes visible all the ambiguities and anomalies we try to exclude from our lives – and our suburbs. That this is currently the formula for one of the most popular series on television (Desperate Housewives), albeit in a slightly cleaner “network friendly” formula, suggests that Lynch and Solondz’s soiling of suburbia will have resonance for some time to come. References Atkinson, Michael. Blue Velvet. London: BFI, 1997. Chion, Michael. David Lynch. Trans. Robert Julian. London: BFI, 1995. Douglas, Mary. Purity and Danger: An Analysis of the Concepts of Pollution and Taboo. London: Routledge, 2002 [1966]. Drazin, Charles. blue velvet. London: Bloomsbury, 2000. Enzensberger, Hans Magnus. “Constituents of a Theory of the Media.” In Denis McQuail, ed. Sociology of Mass Communication. Harmondsworth: Penguin, 1972. Hartley, John. “Television and the Power of Dirt.” Tele-ology: Studies in Television. London and New York: Routledge, 1992. Leach, Edmund. Culture and Communication. Cambridge: Cambridge UP, 1976. Lynch, David. Blue Velvet. 1986. Rodley, Chris, ed. Lynch on Lynch. London: Faber and Faber, 1997. Solondz, Todd. Happiness. 1998. ———. Happiness. London: Faber and Faber, 1998. ———. Storytelling. 2001. ———. Palindromes. 2004. ———. Welcome to the Dollhouse. 1995. Total Film: The Decades Collection: The Eighties. London: Future Publications, 2006. Citation reference for this article MLA Style Bainbridge, Jason. "Soiling Suburbia: Lynch, Solondz and the Power of Dirt." M/C Journal 9.5 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0610/11-bainbridge.php>. APA Style Bainbridge, J. (Nov. 2006) "Soiling Suburbia: Lynch, Solondz and the Power of Dirt," M/C Journal, 9(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0610/11-bainbridge.php>.