аЯрЁБс>ўџ Z\ўџџџYџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС%` №П;bjbj"x"x 0@@- џџџџџџЄP„œœœ8д р д* ЖјјјјјгггЉ Ћ Ћ Ћ Ћ Ћ Ћ $р hHЯ гггггЯ јјлф ] ] ] гОјјЉ ] гЉ ] ] ] јь РЌBMЎ/Щœ‘ R] … $њ 0* ] Xу X] X] (] гггЯ Я џ ^ггг* ггггддд$јЄдддј.BPџџџџ Criminal Embodiment and the Aesthetic Cultivation of Forgiveness in Florence Allie Terry Assistant Professor of Art History Bowling Green State University As part of the efficacious administration of justice in early modern Florence, condemned criminals were expected to perform in the role of a repentant sinner before a public audience during elaborate rituals of executions. This paper examines these ritual processes to argue that the movements of the criminal body were choreographed in tandem with visual and other sensory stimuli to foster a somaesthetic experience that, in part, prepared the criminal for the impending execution. As I will argue here, one of the goals of the rituals of penal justice was to render the gaze of the criminal Magdalenian in nature, for the criminal was positioned consistently as a sinner in a moment of conversion. The visual imagery that surrounded the criminal throughout the day of execution, as well as the intense synesthetic stimulation of the penal rituals, prepared the criminal beholder for this transformative conversion and allowed the public to witness justice through the bodily motions of the condemned. In the first stage of the ritual process, which immediately followed criminal sentencing inside the Bargello, the criminal was introduced to the model of Mary Magdalen through frescoes and prayers and was situated within a synesthetic environment to enhance the criminal body at work. In the second stage, during the public procession of the criminal body from the palace of justice to the oratory of the Tempio, the criminal body was emphasized as an object upon which communal judgment was enacted and thus fostered a disengagement of the criminal with his or her own body. In the third stage, when the criminal was physically positioned in front of painted artworks inside the oratory, the criminal was encouraged to align with the acts and deeds of Mary Magdalen and to transition from an embodied to disembodied state of being. While each stage of the punishment process was in itself liminal—that is, transitional and transformative—one can trace how the overall ritual of penal justice encouraged a model of behavior that heightened the criminal’s awareness of his or her own body and then encouraged the criminal to willingly discard this body in favor of spiritual reward.     Z} ˆ Š -.013467:;љѕљьљьљфрфрфрфрљhSQ[jhSQ[UhU–hТaJ hDк hU–hТMNZœŠ ,-/0235689:;їїїїїяуомммммммммоgdТ „аdh`„аgdТdhgdТ$a$gdТ-:§§.:pU–Аа/ Ар=!А "А # $ %ААаАа а†œ<@ёџ< NormalCJaJmH sH tH DA@ђџЁD Default Paragraph FontRi@ѓџГR  Table Normalі4ж l4жaі (k@єџС(No List>*@Ђё> r!ЫEndnote ReferenceH*8+8 r!Ы Endnote Text_H; џџџџ; MNZœŠ, < $Ќ$Ќ$Ќ$Ќ$Ќџ$,џ$Р$4$ЌMNZœŠ, - / 0 2 3 5 6 8 9 < ˜0˜0€€˜0€€˜0€€˜0€€˜0€€˜0€€˜0€€Xб00АX‘00БXб00АX‘00БXб00АX‘00БXб00АX‘00БX‘00xБMNZœ< X‘0X‘0џџZ‘0€X‘0Б ; ; : №8№@ёџџџ€€€ї№’№№0№( № №№B №S №ПЫџ ?№}„'3ТЭюі)1it%‰ - - / / 0 0 2 3 5 6 8 9 < - - / / 0 0 2 3 5 6 8 9 < |}, < }„- - / / 0 0 2 3 5 6 8 9 < хТSQ[U–Dк, < ннџ@€}} M/}}; @@џџUnknownџџџџџџџџџџџџG‡z €џTimes New Roman5€Symbol3& ‡z €џArial ˆ№аhV%a+ƒЪ†Ђ%a M^Я^Я!№ЅРДД€4d) ) T2ƒq№P№џџџџџџџџџџџџџџџџџџџџџџ[YŽ2џџLCriminal Embodiment and the Aesthetic Cultivation of Forgiveness in FlorenceInformation Technology Servicesblabadieўџр…ŸђљOhЋ‘+'Гй0Ьw˜ ј,8H \h ˆ ”   ЌИРШаифPCriminal Embodiment and the Aesthetic Cultivation of Forgiveness in Florence Information Technology ServicesNormal blabadie10Microsoft Office Word@МС @œ]Е@ьqѓЕ@Ты?Ў/Щ^ЯGьuџџџџVT$mК ц:&" WMFCЬB T0TPlьШUT#m EMFTPК$ЯI*U"   ьШRpœџџџ@Times New RomanG‡z €џTimes ew Roman5HsФegisќч3ђД0ќч3lNЏ0ш3dv%   TНX-Щ/‡@€‡@НВLLьШфCriminal Embodiment and the Aesthetic Cultivation of Forgiveness in FlorenceC!N2,=N222N,2,222,H,'2,,C22,222!72"12,3,''272",2,,TT.X[Щ/‡@€‡@.ВLьШP џџ. TTі Ы" </‡@€‡@і %LьШP - T >д Џ/‡@€‡@ ˜ LьШdAllie TerryH,=,!#0TTе > Џ/‡@€‡@е ˜LьШP . TОБ "/‡@€‡@О "LьШAssistant Professor of Art HistoryH''',28!2!,''2!2!H"H'2"0TT Б' "/‡@€‡@ LьШP T( Б,"/‡@€‡@( LьШˆBowling Green State UniversityB2H21H!-,28,,H22,!'0TT-БZ"/‡@€‡@- LьШP . TTі $" •/‡@€‡@і ~LьШP - TdX˜P /‡@€‡@XђYLьШAs part of the efficacious administration of justice in early modern Florence, condemned H'2,!2!2,,!!-,,22(,2N2'!,222!2',,2,,!0N22,!272!,3,-,222,N2,2 T\XDf Е/‡@€‡@Xž-LьШЈcriminals were expected to perform in the rol,!N2,'H,!,,32,,,222,!!2!N22,!2Ttg DцЕ/‡@€‡@g ž1LьШАe of a repentant sinner before a public audience ,3!,!,2,2,2'22,!2-!2!,,222,,22,2-, T”Xё'b/‡@€‡@XKaLьШduring elaborate rituals of executions. This paper examines these ritual processes to argue that 22!21,,22!,,!2,'3!,3,,222'=2'2,2,!,3,N2,'2,',!2,2!3,,'','2,"13,2, TPXf/‡@€‡@XїVLьШјthe movements of the criminal body were choreographed in tandem with visual and other 2,N22,N,2'2!2,,!N2,2230H-!,,23!,32!,22,22,22,NH22'2,,2222,! TмXJњЛ/‡@€‡@XЄLьШ|sensory stimuli to foste',2'2#0'N22!2',TћJюЛ/‡@€‡@ћЄILьШрr a somaesthetic experience that, in part, prepared the criminal for the !,'2N,,'2,,,32,!,3-,2,22,!2!,3,!,22,,!N2,!2!2, TЬXівg/‡@€‡@XPLьШximpending execution. N2,2221,3,,222T гі^g/‡@€‡@гPNLьШшAs I will argue here, one of the goals of the rituals of penal justice was to H(H,"12,2-!,22,3!2,13,'2!2,!2,'2!2,2,2',,H,'2 TDXЃm /‡@€‡@X§TLьШєrender the gaze of the criminal Magdalenian in nature, for the criminal was position!,22,!3,1,-,2!2,,!N2,Y,12,,2,222-2!,!2!2,,!N2,H,(22'22T`nЃф /‡@€‡@n§LьШTed ,2 TpXO ЉР /‡@€‡@XЉ [LьШconsistently as a sinner in a moment of conversion. The visual imagery that surrounded the ,22'',20,','23,!2,N2N,22!,222-!'22=2,2'2,N,2,#02-'2!!2222,22, TŒXќ m /‡@€‡@XV `LьШ criminal throughout the day of execution, as well as the intense synesthetic stimulation of the ,!N2,2!2212222,3-03!,&" WMFC TTP3,,222,'H,-'2,2,2',(03,'2,,'N2,222!2, TиXЈ _  /‡@€‡@X BLьШаpenal rituals, prepared the criminal beholder for this transformat2,2,!2,'2!,3,!,23,,!N2,2,222-!!2!3'!,2'!2!N,T` Ј U /‡@€‡@`  LьШŒive conversion and allowed the 2,,223,!(22,22,2H,22, T№XU o Ц /‡@€‡@XЏ FLьШиpublic to witness justice through the bodily motions of the condemned.222,2H2,''2',,2!22123,2220N222'2!2,,222,N2,2TTp U ˆ Ц /‡@€‡@p Џ LьШP TT‰ U Ж Ц /‡@€‡@‰ Џ LьШP . Td„ .r /‡@€‡@„[ YLьШIn the first stage of the ritual process, which immediately followed criminal sentencing 22,!!''-1,2!3,!2,2!2,,''H2,2NN,2,,0!22I,2,!N2,',2,2,31 TЬXЎ Y  /‡@€‡@X @LьШЬinside the Bargello, the criminal was introduced to the model of2'2,2,B,"2,22,-!N2,H,'2!222,,222,N22,2!TиP Ў S /‡@€‡@P  LьШ| Mary Magdalen through Y,#0Y-12,,22!2312 TˆXZ UЫ /‡@€‡@XД _LьШ frescoes and prayers and was situated within a synesthetic environment to enhance the criminal !!,',3,',222".0,!',22H,''2,,2H22,(03,'2,,,22!22N,22-22,2,,2,,!N2, T€Xx/‡@€‡@Xa^LьШbody at work. In the second stage, during the public procession of the criminal body from the 2230,H3!2 22,(,,322',1,22!312,222,2!2,,''222!3,,!N2,2230!!2N2, TTXГ $/‡@€‡@X ,LьШЄpalace of justice to the oratory of the Temp2,,,,3!2',,22,2",2"03!2,=,N2Tx Г$/‡@€‡@ 2LьШАio, the criminal body was emphasized as an object 22,,!N2,2230I,',N23,'-,2,',222,, TpX`vб/‡@€‡@XК[LьШupon which communal judgment was enacted and thus fostered a disengagement of the criminal 2222H2,2,2NN22,221N,2I,',2-,,2,2222'!2',!,2,2',32-1-N,22!2,,!N2, T€X е}/‡@€‡@Xf^LьШwith his or her own body. In the third stage, when the criminal was physically positioned in H22'2!2,!2H2224122,2!2'-2,H2,32,,!N2,H,'240',-022'22,22 TЬXЙ*/‡@€‡@XLьШxfront of painted artw!!222!2,2,2-!HTЙ1*/‡@€‡@LLьШфorks inside the oratory, the criminal was encouraged to align with the acts 2!2'2'2,2,2!,2#02,-!N2,H,',2,22"-1,22,12H22,-,' T€Xeж/‡@€‡@XП^LьШand deeds of Mary Magdalen and to transition from an embodied to disembodied state of being. ,222,,2'2!Z,#0Y-13,,2,222!,2'22!!3N,2,N222,222',N222,2',,2!2,31 TЬXd ƒ/‡@€‡@Xl@LьШЬWhile each stage of the punishment process was in itself liminal_2,,,,2'-1,2!3,322'2N,22!2,,''H,'2',!N2,@&vWMFCTTPTTd Щ ƒ/‡@€‡@e lLьШP dTЬЩ ­ƒ/‡@€‡@Щ lLьШxthat is, transitional2,'!,2'22,TlЎpƒ/‡@€‡@ЎlLьШX and ,22 T XО//‡@€‡@XLьШhtransformative!,2'!2!N,2,TTО//‡@€‡@žLьШP dTОУ//‡@€‡@LLьШфone can trace how the overall ritual of penal justice encouraged a model of 23,,,2!,,,22H3,22,",!2,2!2,2,2',,,2,22",2,2,N22,2! T|Xk=м/‡@€‡@XХ]LьШbehavior that heightened the criminal s awareness of his or her own body and then encouraged 2,2,22!2,2,12,3,22,,!N2,!',I,!,3,''2!2'2!2,!2H22240-222,2,2,22"-1,2 TрX> ˆ/‡@€‡@XqCLьШдthe criminal to willingly discard this body in favor of spiritual r2,,!N2,2H2102',,!22'22302",22"2!'2!2,!T|? } ˆ/‡@€‡@? qLьШ\eward. ,H-!2TT~ Ћ ˆ/‡@€‡@~ qLьШP . TTXУ„4/‡@€‡@XLьШP -% €6Ш6ьШ6ь66Ч6ыЧ6ы66Ц6ъЦ6ъ66Х6щХ6щ66Ф6шФ6ш66У6чУ6ч66Т6цТ6ц66С6хС6х66Р6фР6ф6 6 П6уП6у 6  6 О6тО6т 6  6 Н6сН6с 6  6 М6рМ6р 6  6 Л6пЛ6п 6 6К6оК6о66Й6нЙ6н66И6мИ6м66З6лЗ6л66Ж6кЖ6к6  $-.ћ№џ@Times New Roman- }2 o˜L+$Criminal Embodiment and the Aesthetic Cultivation of Forgiveness in Florence         2 o“+$  2 –+$ 2 ”r +$Allie Terry   2 ”Й+$ >2 ІС"+$Assistant Professor of Art History     2 І™+$ 82 Іž+$Bowling Green State University      2 Іj+$  2 Й–+$ ‘2 Ы_Y+$As part of the efficacious administration of justice in early modern Florence, condemned      O2 ч_-+$criminals were expected to perform in the rol    U2 ч1+$e of a repentant sinner before a public audience 2 _a+$during elaborate rituals of executions. This paper examines these ritual processes to argue that €   Œ2 _V+$the movements of the criminal body were choreographed in tandem with visual and other       /2 :_+$sensory stimuli to foste y2 :ѓI+$r a somaesthetic experience that, in part, prepared the criminal for the n   +2 V_+$impending execution. s €2 VэN+$As I will argue here, one of the goals of the rituals of penal justice was to   ‰2 r_T+$render the gaze of the criminal Magdalenian in nature, for the criminal was position   2 rt+$ed ”2 _[+$consistently as a sinner in a moment of conversion. The visual imagery that surrounded the     ›2 Љ_`+$criminal throughout the day of execution, as well as the intense synesthetic stimulation of the    n2 Х_B+$penal rituals, prepared the criminal beholder for this transformat   :2 Хј+$ive conversion and allowed the  t2 р_F+$public to witness justice through the bodily motions of the condemned.     2 р#+$  2 р'+$ ‘2 ќY+$In the first stage of the ritual process, which immediately followed criminal sentencing o     k2 _@+$inside the Bargello, the criminal was introduced to the model of    .2 ѕ+$ Mary Magdalen through eš2 3__+$frescoes and prayers and was situated within a synesthetic environment to enhance the criminal     ˜2 O_^+$body at work. In the second stage, during the public procession of the criminal body from the    M2 k_,+$palace of justice to the oratory of the Temp  V2 kr2+$io, the criminal body was emphasized as an object    ”2 ‡_[+$upon which communal judgment was enacted and thus fostered a disengagement of the criminal h       ˜2 Ђ_^+$with his or her own body. In the third stage, when the criminal was physically positioned in       +2 О_+$front of painted artwh }2 ОтL+$orks inside the oratory, the criminal was encouraged to align with the acts    ˜2 к_^+$and deeds of Mary Magdalen and to transition from an embodied to disembodied state of being.    k2 ѕ_@+$While each stage of the punishment process was in itself liminal     2 ѕљ+$—+2 ѕ +$that is, transitionalh2 ѕ~+$ and . 2 _+$transformative  2 М+$—}2 ЬL+$one can trace how the overall ritual of penal justice encouraged a model of    —2 -_]+$behavior that heightened the criminal’s awareness of his or her own body and then encouraged      p2 H_C+$the criminal to willingly discard this body in favor of spiritual re  2 Hѓ+$eward.   2 H%+$  2 d_+$ ћМ"System-$$++$$++$$++##++##**##**##**##**##**""**""**""))""))""))""))""))!!))!!((!!((ўџеЭеœ.“—+,љЎ0L hp”œЄЌ ДМФЬ д -фДѓЯѓДЋУН) ' MCriminal Embodiment and the Aesthetic Cultivation of Forgiveness in Florence Title ўџџџўџџџ !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPўџџџRSTUVWXўџџџ§џџџ[ўџџџўџџџўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџRoot Entryџџџџџџџџ РFАgGMЎ/Щ]€1Tableџџџџџџџџ WordDocumentџџџџџџџџ0SummaryInformation(џџџџќwDocumentSummaryInformation8џџџџџџџџџџџџQCompObjџџџџџџџџџџџџqџџџџџџџџџџџџџџџџџџџџџџџџўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџўџ џџџџ РFMicrosoft Office Word Document MSWordDocWord.Document.8є9Вq