It is the woman artist--Annella, the "real" and "fictive" Artemisias, the "real" and "fictive" authors of the novel--who can enact this new model, through a dialogic relationship with her "creations"--the woman in the portrait or the characters in the novel--in an interaction, a specular "mirroring," that allows both to be subject and object, the same and different, identical and multiple.
Susan Sontag begins her introduction to a new English edition of the Italian novel, Artemisia, a piece of historical fiction about the Baroque painter Artemisia Gentileschi published in 1947 by Anna Banti, by citing its famous opening words "non piangere" ("don't cry"), returning repeatedly to the phrase (Sontag 1).
Through the dialogic interaction between the character of Artemisia and the author figure within the novel, a new "history" is envisioned, in which the oppositions between fact and fiction and past and present are deconstructed, the boundaries between them rendered fluid, shifting, open.
In Artemisia, a new subjectivity is constructed in the dialogue enacted between multiple subject positions within the fictive, textual spaces of the picture frame or the novel: the author-figure and the character of Artemisia are both simultaneously subjects and objects in relation to each other, as are the figures, the alternate selves and the "other women," in Artemisia's paintings.
The mise-en-scene with which Artemisia opens is the destruction of parts of the city of Florence by retreating German soldiers during World War II; the narrator has collapsed in exhaustion and despair in the Boboli Gardens, which are thronged with terrified people trying to escape the explosions.
The past is not conceived of as having any autonomous, "true" or "factual" existence; there is no way to have "objective" access to it, to the life of the "real" Artemisia Gentileschi.
At the beginning the author-figure weeps for its loss, among many others, and Artemisia appears to comfort her: "non piangere;" it is the loss of the manuscript in the rubble of established structures that makes it possible the search for a different way, a redefinition of history: its textualization.
The narrator of Artemisia is exactly that: a narrator, a figure who, although she takes the role of "the author," is in no way to be considered identical with Banti herself.
Artemisia annua L (sweet wormwood, qinhao) has traditionally been used in Chinese medicine.
Artemisia annua L (sweet wormwood, qinghao) has traditionally been used in China for the treatment of fever and chills.
Nowadays, Artemisia annua tea is used as a self-reliant treatment for malaria in developing countries (Mueller et al.
In an effort to evaluate, whether other constituents than artemisinin in Artemisia annua may also reveal cytotoxicity towards cancer cells we focused on two artemisinin-related compounds, arteanuine B and artemisitene, and two other compounds without structural similarity to artemisinin, scopoletin and 1,8-cineole, which are also present in this plant.
Artemisia annua was obtained from different sources to test the variability of different specimens.
They were treated with 0-5 mg/ml of Artemisia annua extract 0-5 mg/ml pure compound for 24 h.
Cytotoxicity of extracts and single constituents of Artemisia annua towards trypanosomes