School of Historical and Philosophical Studies - Research Publications

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    The rules of the game: Evil dead II . . . meet thy doom
    NDALIANIS, ANGELA (Duke University Press, 2002)
    Interdimensional doorways finally make possible space travel between the two moons of Mars: Phobos and Deimos. The Union Aerospace Corporation's research into interdimensional travel is a success. Or is it? In a climactic series of events, things start to go terribly wrong. Some people sent through the gateways disappear. Others return from Mars's moons as zombies. Then the moon Deimos vanishes without a trace. Enter the hero-leader of a specialized team of space marines. He sends his troops ahead of him through the interdimensional gateway; armed with a Space Marine Corporation gun, he follows them through, but once on Phobos his worldview changes. The space marines have vanished. Instead, dark surroundings envelop him, and eerie, atmospheric music accentuates the suspense-filled moments. The marine leader begins to scour the corporate installation in search of any living human being ... but it's not the living who come to greet him. Seemingly out of nowhere, an array of bizarre creatures charge down dim-lit corridors and through automatic doors: zombified humans, demons, imps, minotaur-like forms, evil spirits. And so it begins. He must explore the installation to find out what happened, then get the hell out of there at any cost! Picking up weapons along the way, he attacks the monsters like a man gone berserk-with fists, chainsaw, gun, rifle, and missile launcher. His body takes a beating, but his victims also pay the price. Hundreds of those demonic bodies audibly erupt, explode, and splatter before him-and he revels in every gory detail. A sequel to Aliens: Aliens Meets the Demons of Hell? Or perhaps Evil Dead II in outer space? This is no film space. The horror of this story belongs to the cult computer game released by id Software in 1993: Doom: Evil Unleashed.
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    La tentation néoclassique: les plafonds peints romains de Panini à Mengs
    Marshall, David R. (Musee Fesch, 2002)
    The following is the original English text of: Marshall, David R., ‘La tentation néoclassique: les plafonds peints romains de Panini à Mengs’, in Jean-Marc Olivesi (ed.), ‘Les Cieux en Gloire’. Bozzetti et modelli pour les eglises et les palais de la Rome Baroque, Musee Fesch, 2002, pp. 377-386. In 1711 Giovanni Paolo Panini arrived in Rome from Piacenza; fifty years later in 1761 Anton Raphael Mengs left Rome for Madrid. The former, better known as a painter of architectural capricci and vedute, was the heir to the Bolognese Baroque tradition of quadratura, or illusionistic architectural painting; the latter at the Galleria Albani rejected Baroque illusionism for the strict quadro riportato, or fictive framed easel painting, and so produced the first Neoclassical ceiling. Their paths seem hardly to have crossed, yet both worked for Cardinal Alessandro Albani, and both had to accommodate themselves to the mainstream of Roman ceiling painting, the illusionistic tradition stemming from Pietro da Cortona and reformulated in the last quarter of the seventeenth century in terms of an opposition between Carlo Maratta and G.B. Gaulli, Il Baciccio. Common to the masterpieces of these artists—the ceiling of the Salone of the Palazzo Altieri and the vault of the Gesù—is the ceiling cartouche, or rectangular field with semicircular ends, a framing motif that played so conspicuous a part in subsequent Roman ceilings that the history of the eighteenth-century Roman ceiling can be written in terms of the history of the relationship between the cartouche and the rest of the ceiling.