This book provides the first comprehensive treatment of Albert the Great’s (c. 1193–1280) notion of virtus formativa, a shaping force responsible for crucial dynamics in the formation of living beings. Crossing the boundaries between theology and philosophy, the notion of virtus formativa, or formative power, was central in explaining genetic inheritance and the configuration of the embryo. By adopting an interdisciplinary approach, this book reconstructs how Albert the Great, motivated by theological open issues, reorganised the natural-philosophical and medical theories on embryonic development, creatively drawing upon Greek, Patristic, and Arabic sources. A valuable contribution to research, this book offers essential insights for those studying the history of embryology, medicine, and science in the medieval and renaissance periods.
This book provides the first comprehensive treatment of Albert the Great’s (c. 1193–1280) notion of virtus formativa, a shaping force responsible for crucial dynamics in the formation of living beings. Crossing the boundaries between theology and philosophy, the notion of virtus formativa, or formative power, was central in explaining genetic inheritance and the configuration of the embryo. By adopting an interdisciplinary approach, this book reconstructs how Albert the Great, motivated by theological open issues, reorganised the natural-philosophical and medical theories on embryonic development, creatively drawing upon Greek, Patristic, and Arabic sources. A valuable contribution to research, this book offers essential insights for those studying the history of embryology, medicine, and science in the medieval and renaissance periods.
Toward the middle of the 1950s, abstract art became a dominant trend in the Latin American cultural scene. Many artists incorporated elements of abstraction into their rigorous artistic vocabularies, while at the same time, the representation of geometric lines and structures filtered into everyday life, appearing in textiles, posters, murals, and landscapes. The translation of a field-changing Spanish-language book, Abstract Crossings analyzes the relationship between, on the one hand, the emergence of abstract proposals in avant-garde groups and, on the other, the institutionalization and newfound hegemony of abstract poetics as part of Latin America’s imaginary of modernization. A profusion of mid-century artistic institutional exchanges between Argentina and Brazil makes a study of the trajectories of abstraction in these two countries particularly valuable. Examining the work of artists such as Max Bill, Lygia Clark, Waldemar Cordeiro, and Tomás Maldonado, author María Amalia García rewrites the artistic history of the period and proposes a novel reading of the cultural dialogue between Argentina and Brazil. This is the first book in the new Studies on Latin American Art series, supported by a gift from the Institute for Studies on Latin American Art.
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