Cultural Mediators. Artists and Writers at the Crossroads of Tradition, Innovation and Reception in the Low Countries and Italy 1450-1650, Leuven: Peeters Publishers, forthcoming 2007. See also Falkenburg, “Xxxxxx Xxxxxxx'x Kitchen Maid in Brussels” (2004); “Xxxxxx Xxxxxxxx Alter Marktverkäufer: Imitatio xxxxx als Paradox,” in Xxxxxx Xxxxxx (ed.), Imitatio Xxxxx - Xxxxxx künstlerischer Aneigung in der Frühen Neuzeit, München, forthcoming; “Alter Einoutus. Over de aard en herkomst van Xxxxxx Xxxxxxxx stilleven-conceptie,” Nederlands Kunsthistorisch Jaarboek, vol. 40 (1989), 41-66. Since the publications of Xxxxx Xxxxxx and Xxxxxx Xxxxxxxxxxxxx, art historians have begun to embrace the idea that not only Italian but also Northern artists in the fifteenth and sixteenth centuries offered their own works as a self-referential field of discourse on artistic matters.8 Artists were well aware that there were more than one opinion about how a painting should look and function, and they expressed their own beliefs about these theoretical issues in their works of art rather than in texts. However, this possibility has hardly been explored for painters working in an emphatically native mode, such as Xxxxxxx and Xxxxxx Xxxxxxx the Xxxxx (1525-1569). Xxxxxxx specifically mediates a Leonardesque form from a biblical story within a painting of local rustic life, juxtaposing the quotation of Italianate style with a food that is representative of the Netherlands; if there is such a thing as a Dutch vernacular victual, pancakes would be it. It is a poignant example of the way in which an artist employs a style that was known to have originated in one region with a subject that was indigenious to another, not simply as a means of representation but more fundamentally as a comment on artistic ideas per se. For example, this pairing can be viewed as visual commentary on the reception of Italianate ideals in Northern art. The juxtaposition, coupled with the dignified formal presentation of a peasant family, not only confronts two artistic traditions with one another but also highlights an inter- pictorial discourse that addresses style and raises questions about artistic practice and assumptions regarding the relationship of form and content. It is one representation among many that illustrates the analytical approach to art that is an important component of the visual culture of this period.9 Later, I will explain how this emphasis on analytical discourse is not reserved just to artists and their ...
Cultural Mediators. TAMPEP’s street work is carried out by cultural mediators3 who are individuals capable of eliciting trust from the target group, and preferably of the same ethnic group or nationality as the sex workers. They are also educators and trainers, with a mandate to pass on knowledge and experience in the field of STI/AIDS prevention among sex workers. The function of cultural mediators is not limited to that of social workers or translator - although they also carry out those sorts of activities. They are intercultural bridges contributing to the decoding of cultural codes in order to facilitate understanding, as well as the interpretation of non-verbal codes.
