References of "Von Hoffmann, Viktoria"
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See detailThe Sense of Taste in Eighteenth-Century France. Flavours of Silence and Words of Perception
Von Hoffmann, Viktoria ULg

in De achttiende eeuw : Documentatieblad van de Werkgroep Achttiende Eeuw (in press), 48(1-2), 13-27

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See detailLe goût : l’esthétique et la cuisine. Invention d’un discours
Von Hoffmann, Viktoria ULg

Article for general public (in press)

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See detailLe Sensible et le Culinaire. Les Prémisses d’une artification au XVIIIe siècle
Von Hoffmann, Viktoria ULg

in Desbuissons, Frédérique; Csergo, Julia (Eds.) L'Oeuvre culinaire. Art de cuisiner et cuisines d'artistes, 18e-21e siècle (in press)

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See detailArt of Taste and Aesthetics of Cooking
Von Hoffmann, Viktoria ULg

in Anker, Susan; Flach, Sabine (Eds.) Molecular cuisine: The Politics of Taste (in press)

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See detailThe Anatomy of Touch. Anatomical Knowledge and Technologies of Touch in the Renaissance
Von Hoffmann, Viktoria ULg

Scientific conference (2016, September 09)

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See detailLearning to Dissect. The Technologies of Touch in the Renaissance
Von Hoffmann, Viktoria ULg

Conference (2016, August)

The aim of this paper is to examine the part played by the sense of touch in anatomical practices and discourses in Renaissance Italy. As dissections became widespread in the sixteenth century, a sensory ... [more ▼]

The aim of this paper is to examine the part played by the sense of touch in anatomical practices and discourses in Renaissance Italy. As dissections became widespread in the sixteenth century, a sensory approach to the inside of the dead body (anatomia sensibilis), through the anatomist’s eye and touch, was thought to be the surest way of uncovering truths about the living body. Carlino, Kusukawa, Mandressi, Park, and Sawday have convincingly emphasized the importance of sight and visual experience in the production and communication of anatomical knowledge, through the emergence of an “autoptic vision” (Sawday) and more broadly of a new “visual argument” (Kusukawa) for the early modern scientific study of Nature. Yet the practice of anatomy engages haptic as much as visual experience: when dissecting, the anatomist cuts through the skin and touches the inside of the dead body, with his scalpel and his hands, in order to enhance his knowledge of the living body. Manual skills thus became a source of insight as they helped to unveil the real state of the body’s inside. Many medical students were therefore eager not only to attend but also to perform dissections, in order to get a better grasp of the functioning of the human body. Using records from anatomical demonstrations and notes from medical students, this paper seeks to explore the technologies of touch that were displayed when medical students were learning to dissect. What was the part played by the sense of touch in educational practices, as well as in the production and communication of anatomical knowledge? How did the students cope with the disgust which would arise from the tactile contact with blood and other bodily fluids? How was the dissecting hand of the anatomist presented by students in their descriptions of anatomical lessons? What was the importance of the practitioner’s touch in the process of reading the body’s inner reality? Was the sense of touch used as a rhetorical strategy to express authority and claim expertise? In a word: did Vesalian anatomy and the new anatomy theatre involve a new relationship with touch (as well as observation, as has been argued)? Did a new ‘tactile argument’ also arise in this context? [less ▲]

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See detailThe Anatomy of Touch: Nature, Knowledge, and Technologies of Touch in the Renaissance
Von Hoffmann, Viktoria ULg

Scientific conference (2016, May 23)

In the last few decades, promising new approaches to the study of the senses and to the body have shed new light on how people in the past experienced their lives, as much as on the ways in which ... [more ▼]

In the last few decades, promising new approaches to the study of the senses and to the body have shed new light on how people in the past experienced their lives, as much as on the ways in which knowledge about self and the world was being shaped, negotiated and transformed. Although all the senses could contribute to these discussions, scholars have predominantly focused on sight and visual cultures, leaving other potentially fruitful avenues unexplored. Touch, especially, has received little attention in historical research, where it has been reduced to a history of sexuality, leaving its other dimensions unexamined. Yet this sense, considered the defining sense of human nature, raises important questions regarding the part played by the lower senses in knowledge production, as well as in society and culture at large. Sources concerning Renaissance anatomy provide a significant lens through which to examine the part played by touch in the early modern study of Nature, as evidenced by the practice of dissections, which engaged the body, the skin and the hand of the anatomists, in their attempt to unveil the truths hidden inside the body. Using theoretical writings (anatomical textbooks) as well as sources more closely linked to daily practices (such as university notes of medical students), this paper seeks to explore the technologies of touch that were displayed in 16th-century anatomical practices and discourses, with the aim of highlighting the epistemological value of the sense of touch in early modern inquiries about Nature and the human body. [less ▲]

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See detailLa viande, questions de vies et de morts ?
Clinquart, Antoine ULg; Vandenheede, Marc ULg; Von Hoffmann, Viktoria ULg

Conference given outside the academic context (2016)

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See detailThe Taste of the Eye and the Sight of the Tongue. The Relations Between Sight and Taste in Early Modern Europe
Von Hoffmann, Viktoria ULg

in Senses and Society (2016), 11 (2016)(2), 83-113

This article examines the articulation between the senses of taste and sight through the representations of their organs, the tongue and the eye, in early modern Europe. The relationship between taste and ... [more ▼]

This article examines the articulation between the senses of taste and sight through the representations of their organs, the tongue and the eye, in early modern Europe. The relationship between taste and sight first brings to mind gastronomical aesthetics, and the part played by the eye in the relish of beautifully presented dishes. The first part of this article is therefore devoted to exploring the taste of the eye (or the foretaste of sight) and highlights the harmony of taste and sight in early modern cuisine. However, the forms of reciprocity between taste and sight cannot be reduced to the sole figure of culinary aesthetics, which tends to blur the other multiple modalities that this sensorial association could reveal. The second part, the sight of the tongue (or the invisibility of taste), thus examines more complex layers of the relationship between the sense of sight and the taste organ, through a study of the representations of the tongue and of the gaping mouth in early modern visual culture. Drawing on early modern textual and iconographic resources and exploring: cookbooks; physiognomic works; conduct books; and also engravings and paintings related to the culinary arts, the seven deadly sins, and representations of madness and the fool in early modern visual culture, this essay argues that examining the representations of the sense organs is a suggestive way to explore the relationship between the senses. [less ▲]

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See detailLa distinction par le goût
Von Hoffmann, Viktoria ULg

in Papilles (2016), 46

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See detailFrom Gluttony to Enlightenment. The World of Taste in Early Modern Europe
Von Hoffmann, Viktoria ULg

Book published by University of Illinois Press (2016)

Scorned since antiquity as low and animal, the sense of taste is celebrated today as an ally of joy, a source of adventure, and an arena for pursuing sophistication. The French exalted taste as an entrée ... [more ▼]

Scorned since antiquity as low and animal, the sense of taste is celebrated today as an ally of joy, a source of adventure, and an arena for pursuing sophistication. The French exalted taste as an entrée to ecstasy, and revolutionized their cuisine and language to express this new way of engaging with the world. From Gluttony to Enlightenment explores four kinds of early modern texts--culinary, medical, religious, and philosophical--to follow taste's ascent from the sinful to the beautiful. Combining food studies and sensory history, it takes readers on an odyssey that redefined a fundamental human experience. Scholars and cooks rediscovered a vast array of ways to prepare and present foods. Far-sailing fleets returned to Europe bursting with new vegetables, exotic fruits, and pungent spices. Hosts refined notions of hospitality in the home while philosophers pondered the body and its perceptions. These labors produced a sea change in perception and thought, one that moved taste from the base realm of the tongue to the ethereal heights of aesthetics. [less ▲]

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See detailThe World of Taste in Early Modern Europe. A History of the Lowest Sense
Von Hoffmann, Viktoria ULg

Scientific conference (2015, November 18)

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See detailL’art du goût et l’esthétique de la cuisine au XVIIIe siècle
Von Hoffmann, Viktoria ULg

Article for general public (2015)

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See detailBibliographie en Histoire
Cherdon, Laetitia ULg; Close, Florence ULg; Dignef, Anthony ULg et al

Computer development (2015)

Plus qu'une simple bibliographie générale en ligne, ce site propose une démarche qui justifie sa structure selon les quatre grandes étapes de la recherche bibliographique : la recherche d'informations ... [more ▼]

Plus qu'une simple bibliographie générale en ligne, ce site propose une démarche qui justifie sa structure selon les quatre grandes étapes de la recherche bibliographique : la recherche d'informations (dictionnaires, atlas, chronologies), la recherche documentaire (bibliographies, dépouillement des périodiques), la localisation des ouvrages recensés et l'acquisition de ceux-ci (prêt en bibliothèques, portails de revues, bibliothèques numériques). Il donne, en préambule, quelques définitions des termes indispensables à la recherche en histoire ainsi que quelques règles fondamentales pour la rédaction d'une référence bibliographique. [less ▲]

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See detailEsthésies: Approches plastiques du sensible. Introduction.
Ebert-Schifferer, Sybille; Havelange, Carl ULg; Von Hoffmann, Viktoria ULg

Conference (2015, May 29)

La peinture semble révéler, avant toute chose, l’expérience sensible du voir. Mais ne peut-elle pas, aussi, dans certains cas, faire percevoir par l’œil quelque chose qui relèverait d’un autre ordre ... [more ▼]

La peinture semble révéler, avant toute chose, l’expérience sensible du voir. Mais ne peut-elle pas, aussi, dans certains cas, faire percevoir par l’œil quelque chose qui relèverait d’un autre ordre sensoriel ? Peut-on goûter, sentir, entendre, toucher avec les yeux ? Si les spécialistes se sont beaucoup interrogés sur le passage du sensible à l’art – notamment sur la place de la nature dans les œuvres d’art anciennes, où on sait l’importance culturelle qu’y exerçait la mimesis –, le passage de l’art au sensible est, quant à lui, plus rarement considéré. La représentation visuelle du sensible a souvent été envisagée à travers l’étude de l’iconographie des cinq sens, qui a déjà fait l’objet de plusieurs études, profitant de l’essor fécond de l’histoire des cultures sensibles et, plus largement, du succès rencontré par les sensory studies depuis quelques dizaines d’années. Plusieurs publications et expositions ont été consacrées à cette problématique, en particulier depuis les travaux de Carl Nordenfalk. Le plus souvent, toutefois, les recherches sur le sujet tendent à privilégier une analyse que nous pourrions qualifier de sémiotique (qui donne à lire un sens), portant sur des images qui rassemblent un ensemble d’éléments visuels dotés d’une valeur symbolique. C’est le cas de nombreuses gravures – les emblèmes, par exemple – et de peintures, telles que les allégories représentant la série des cinq sens, ou les natures mortes – en particulier celles de la première génération. Ne peut-on toutefois envisager d’explorer la figuration picturale du sensible autrement que par la voie symbolique ? Il semble en effet qu’il existe un autre type de regard possible, interrogeant différemment la peinture où le sensible est mis en jeu, et qui prendrait appui sur le concept d’esthésie. Les images esthésiques (qui donnent à percevoir une sensation) seraient ainsi celles qui semblent traduire l’expérience sensorielle elle-même. La question se pose, notamment, pour la nature morte. Il suffit de penser à la dimension presque tactile de certaines peintures, à la puissance d’évocation de tableaux qui paraissent – comme le disait Diderot à propos de Chardin – vouloir faire goûter au spectateur l’aliment représenté sur la toile. Mais la problématique est vaste et susceptible de concerner bien d’autres types de productions artistiques – la sculpture, la photographie, le cinéma. L’idée même d’esthétique renvoie, étymologiquement, à la perception sensible. Cette question engage dès lors tant l’historien de l’art que le philosophe, l’historien, l’anthropologue ou le spécialiste des études littéraires. L’objectif de la journée d’étude sera de réfléchir la cohérence théorique de ce concept d’esthésie, en privilégiant une réflexion ouverte du point de vue des disciplines, des méthodes et des objets. Il s’agira d’envisager tant la production que la consommation des images (S. Ebert-Schifferer), c’est-à-dire la nature de l’effet sensible produit sur le spectateur par la contemplation d’une œuvre d’art. Comment l’art traduit-il non seulement le visuel, mais également le tactile, l’olfactif, l’auditif, le gustatif ? Comment, en somme, s’opère le passage secret qui conduit du visible à l’esthésique ? [less ▲]

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See detailEsthésies. Conclusions
Ebert-Schifferer, Sybille; Von Hoffmann, Viktoria ULg

Conference (2015, May 29)

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See detailConversations. Le statut de la cuisine
Von Hoffmann, Viktoria ULg

Conference given outside the academic context (2015)

Table ronde portant sur l'évolution du statut de la cuisine. Rencontre entre Nicolas Buisson, photographe culinaire, Camille Lessecq, pâtissier, et Viktoria von Hoffmann, historienne auteure de Goûter le ... [more ▼]

Table ronde portant sur l'évolution du statut de la cuisine. Rencontre entre Nicolas Buisson, photographe culinaire, Camille Lessecq, pâtissier, et Viktoria von Hoffmann, historienne auteure de Goûter le monde. Discussion animée par Caroline Champion. [less ▲]

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