Este livro, ‘Pivetes- Encontros entre a psicologia e o judiciário’ busca dar visibilidade a algumas práticas que tentam fugir dos territórios e modelos endurecidos. Manuppella, O “Livro de Cozinha” da Infanta D. Maria de Portugal, lxiii–lxvi. Receptas de pivetes, pastilhas e vvas perfumadas y conserbas, BNE MS Audio Livros – Playlist. 1 video Play all. Play now · Alta performance! – Playlist. 9 videos Play all. Play now · INSTRUÇÃO PARA PIVETES – Playlist. 2 videos Play .

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However, when I was trying to make her remember, she said that the only way for her to remember it is to actually do it.

Xabón almizcado | Making Meaning: Extracting Knowledge from Matter in Early Modern Europe

Where do both intersect? Chop it very well while spraying it with deer-musk water, and you will chop it until piveyes has absorbed an ounze of deer-musk water.

I also found some small pieces written in between recipes referring to domestic events, like this note detailing the date and cause of death of a female family member or friend. Pivetez find online some early modern texts about systems of representing numbers and words with hand gestures, and their illustrations look strangely similar to my own hand accumulation.

Taken out of context, these hands are not so liivro passive objects of study as they are extremely busy instruments.

Xabón almizcado

I decided to take the recipe ilvro as an opportunity to explore how early modern women engaged with luvro around them, and the ways in which they transmitted and preserved the knowledge acquired in their domestic labor. As careful as I have tried to be with my translation, I feel that, even if linguistically this is the most approximate version, the triple textual translation has probably entailed a material distortion.

I decided to put under the microscope a mixed set of objects, some of them as unrelated as I could imagine, some natural and some manufactured: Take half an ounze of storax, and an ounze of liquid benzoin and one quarter of an ounze of green sandalwood. What happens when a book on crafts or recipes is not used to replicate them?

I was able to get most of these ingredients thanks to Amazon, and I am planning to get what I still need this weekend in New York even the deer marrow.


Are they asking me to engage with this book in the same way they engage with all that ilvro bodily matter? What message, if any, are the hands of the Fabrica trying to convey? White soap and my grandmother One of the ingredients listed in this recipe pivetws white soap.

Making this recipe from Providence with materials brought from Pivefes by Amazon or acquired in New York obviously involves an approach completely distant from both the proximity to materials and the affective process involved in these recipes. Ediciones Universidad de Salamanca, ].

Livro de receptas de pivetes, pastilhas e vvas perfumadas y conserbas – Google Books

At this point I think that to exaggerate the Vesalius is to read the corporis fabrica as a book about hands, forgetting about the rest of the anatomy. I have grown up seeing her fabricate her own white soap, which she learnt from her mother, and her mother form hers. I do some more research and find that, apparently, the flexor-muscle dissection developed into a whole motif, used emblematically in early seventeenth-century anatomy portraits, making the hand agent, instrument livto patient of the demonstratio.

Tratado de muchas medicinas o curiosidades de las mujeres by the veterinarian! Chop it very well while spraying it with deer-musk water, and you will chop it until it has absorbed an ounze of deer-musk water. I then had to translate the ingredients I thought the recipe was referring to into English, so that I could actually find them here in Providence. Kivro half an ounze of storax, and an ounze of liquid benzoin and one quarter of an ounze of green sandalwood.

Y mezclarlo heis todo muy bien en un mortero de piedra con la mano de fusta. The authorship of all these manuscripts is unknown, but there are at least three different handwritings in each of them in manuscript there are even two languages, Portuguese and Spanishas if they were passed on from generation to ;ivetes.

However, I realize that what I am going to do is probably not a reconstruction but an interpretation. I put them all together and their expressiveness immediately makes me think of some sort of sign language. Did they read them just out of curiosity or did these pages have some other effect on them? My English translation of the recipe is: She does not keep a written recipe, however. Did they read these sections livfo embarrassment, avoiding to annotate their pages in the way they proudly and heavily did annotate the theoretical pages?


Thinking of a final project for this class, I think I would probably like to work with some of these texts, in comparison to the objects produced by their authors, to think about what piveetes experience of manual labor could entail beyond the struggle for results. I type some keywords on Google Books and soon find a whole book devoted to pivtes De corporis contemporary readership The Fabrica of Andreas Vesalius: I look at this illustration exhibiting the abundance of dissection instruments and my hand instinctively moves as if ready to grab one of them, but all I have with me is my reading weight.

She is going to make it again today, and my hope is that her embodied knowledge will be stronger than her memory. Some pages are left blank in between recipes, as if to encourage further annotations prompted by the experience of each new practitioner. My impression is that, although at first sight they seem to be written without any clear order in mind, if there is ipvetes criteria to be found behind this liivro it seems to have more to do with groups of materials than with the uses and applications of the final products.

And yet this book is also intimidating, its size and luxuriousness able oivro freeze any hand. While obviously they are very different objects, they both present some sort of geography, as if I was staring at two tortuous natural and artificial landscapes from above.

On a table crowded lovro writing and dissecting utensils, Vesalius holds the arm of a corpse as the entrypoint to his anatomical study, with his left hand firmly grasping the elbow and his right hand holding the falling veins I thinkwhich uncannily blurs the limit between the instrumental hand and the studied one. My lock of hair looked like wires, or dark spaghetti.