Visual Polyphony: The Role of Vision in Dostoevsky's Poetics

For Fyodor Dostoevsky, ways of seeing reflect ways of thinking about the world. This dissertation complements Mikhail Bakhtin’s analyses of Dostoevsky’s poetics by taking a visual-aesthetic approach and exploring “visual polyphony,” a concept that Bakhtin used but did not develop at length. When Dostoevsky returned from nearly ten years in exile (1849-1858), his interest in aesthetics was acute. He had intended to write a treatise on art and Christianity, but that project never materialized. Dostoevsky did, however, explore visual matters in essays of the 1860s. And vision figures prominently in his post-Siberian fiction. Each of the three chapters in this dissertation focuses on vision in Dostoevsky’s writing. The first chapter analyzes two important aesthetic statements of Dostoevsky’s journal Vremia. The first is “Petersburg Visions: In Prose and Verse” wherein Dostoevsky’s narrator declares that he is a “dreamer,” a claim that also reveals the role of imagination in Dostoevsky’s special brand of realism. In “Exhibition at the Academy of the Arts: 1860-1861,” Dostoevsky takes issue with the realism of the Academy’s prized painting, Valery Yakobi’s Prisoners’ Halt, for being too photographic in its servility to visual objectivity and outward appearance. These writings display Dostoevsky’s fascination with vision not as a passive observation, but as an active, subjective and complex process in which empirical data blends with existing narratives that dictate what the seer sees. In the second chapter, I show how Dostoevsky renders prison convicts empirically, yet empathetically in Notes from the house of the Dead (1861). The narrator Gorianchikov describes the eponymous notes as “scenes.” Through Gorianchikov, Dostoevsky maintains an exterior perspective relative to the peasant convicts’ thoughts. In this sense, Gorianchikov assumes the perspective of a realist painter, yet he manages to humanize the prisoners where Yakobi’s painting fails. This is especially evident in my analysis of what Gorianchikov calls a “strange picture,” which is his description of the prisoners gathered in anticipation of their annual Christmas theater performance. The characters of this novel number among the least psychologically penetrated in his fiction, yet Dostoevsky manages to indicate their interiority from without. In the third and final chapter, I examine Dostoevsky’s use of Holbein’s Dead Christ (1521) in The Idiot (1868). Drawing from Pavel Florensky’s explanations of Realism in visual art and reverse perspective in iconography from his article “Reverse Perspective,” I show how the Dead Christ combines Realist and reverse perspectival qualities. I use Bakhtin’s term “visual polyphony” to explain the special capacity of this painting to convey conflicting messages about Christ’s death and to elicit conflicting worldviews from Ippolit, Rogozhin and Myshkkin. The visually polyphonic painting plays a critical role in The Idiot, the most polyphonic of Dostoevsky’s novels. It reveals the visual dimensions to Dostoevsky’s polyphony: things look differently from different perspectives

Título: Olim felicis recordationis Sixtus V.

Precede al tít. : "Ad perpetuam rei memoriam"Tít. y autor tomados de comienzo de textoTexto fechado en Roma el día 3 de noviembre de 1637Sign. : A5Inicial grab. xi

Título: Declaratio quad per alienationem

Sign. : A4Port. con esc. papal xi

Título: Dilecto filio nostro Paulo

A comienzo de texto esc. xil. papalesPie de imp. tomado de colofónInicial grab. xilSign. : A

[Ilíada. Inglés]

Sign.: A5, B-C8, D

Rivaroxaban to prevent major clinical outcomes in non-hospitalised patients with COVID-19 : the CARE – COALITION VIII randomised clinical trial

Background: COVID-19 progression is associated with an increased risk of arterial and venous thrombosis. Randomised trials have demonstrated that anticoagulants reduce the risk of thromboembolism in hospitalised patients with COVID-19, but a benefit of routine anticoagulation has not been demonstrated in the outpatient setting. Methods: We conducted a randomised, open-label, controlled, multicentre study, evaluating the use of rivaroxaban in mild or moderate COVID-19 patients. Adults ≥18 years old, with probable or confirmed SARS-CoV-2 infection, presenting within ≤7 days from symptom onset with no clear indication for hospitalization, plus at least 2 risk factors for complication, were randomised 1:1 either to rivaroxaban 10 mg OD for 14 days or to routine care. The primary efficacy endpoint was the composite of venous thromboembolic events, need of mechanical ventilation, acute myocardial infarction, stroke, acute limb ischemia, or death due to COVID-19 during the first 30 days. ClinicalTrials.gov: NCT04757857. Findings: Enrollment was prematurely stopped due to sustained reduction in new COVID-19 cases. From September 29th, 2020, through May 23rd, 2022, 660 patients were randomised (median age 61 [Q1-Q3 47–69], 55.7% women). There was no significant difference between rivaroxaban and control in the primary efficacy endpoint (4.3% [14/327] vs 5.8% [19/330], RR 0.74; 95% CI: 0.38–1.46). There was no major bleeding in the control group and 1 in the rivaroxaban group. Interpretation: On light of these findings no decision can be made about the utility of rivaroxaban to improve outcomes in outpatients with COVID-19. Metanalyses data provide no evidence of a benefit of anticoagulant prophylaxis in outpatients with COVID-19. These findings were the result of an underpowered study, therefore should be interpreted with caution

Recent observations and studies of the middle and upper atmosphere at Syowa Station (39.6E, 69S)

第6回極域科学シンポジウム分野横断型セッション：[IM] 横断　中層大気・熱圏11月17日（火）　統計数理研究所 セミナー室2（D304

Breue S.D.N. Vrbani VIII... [Texto impreso] : quo annullat electionem correctoris generalis Ordinis Minimorum S. Francisci de Paula trium Collegarum ac Zelosi seu Procuratoris generalis factam in Capitulo generali celebrato Barchinonae sub die 3 iunij 1629...

Port. con esc. papal xilInicial grab. xi