DOCSLIB.ORG

UNIVERSITY of BERGAMO Portraits in Early Modern English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of BERGAMO Portraits in Early Modern English UNIVERSITY OF BERGAMO School of Doctoral Studies Doctoral Degree in ―Studi Umanistici Interculturali‖ XXIX Cycle SSD: L-LIN/10 Joint PhD program with JUSTUS LIEBIG UNIVERSITÄT GIESSEN Portraits in Early Modern English Drama: Visual Culture, Play-Texts, and Performances Advisors Chiar.ma Prof.ssa Angela Locatelli Chiar.mo Prof. Ingo Berensmeyer Doctoral Thesis Emanuel STELZER Student ID 1031607 Academic year 2015/16 Table of contents: Acknowledgements………………………………………………………………….......3 Introduction…………………………………………………………………………...... 6 I. The Meanings of Staged Portraits: Theoretical and Historical Perspectives…...........17 I.1.1 A Short Premise: Drama as Action and as a Visual Art ………….………………18 I.1.2 Interpreting Portraits: Semiotic Approaches………………………………….......21 I.1.3 Situating Portraits in Visual and Material Culture Studies……………………….29 I.2 Early Modern Visualities……………………………………………………….......35 I.2.1 Salient Aspects of the Visual Culture of Early Modern England…………….......36 I.2.2 Framing Vision: The ―Figuring Forth Good Things‖ and the ―Infecting of the Fancy‖……………………………………………………………....…………..40 I.2.3 Offending Shadows: Idolatry and Iconoclasm……………………………………45 I.3 Early Modern English Portraiture: Objects and Poetics…………………………….53 I.3.1 Innovation in the Renaissance Portrait....................................................................55 I.3.2 Portraits in Early Modern England……………………………………………......58 I.3.3 Miniatures…………………………………………………………………………68 I.3.4 The Poetics of Limning……………………………………………………….......75 I.4 Portraits on Stage in Early Modern England……………………………………......82 I.4.1 Viewing Auditors, Hearing Spectators……………………………………………83 I.4.2 ―Passioning‖ over Pictures in the Theatre…………………………………….......87 I.4.3 Seeing and Looking at the Staged Pictures……………………………………….95 II. Case Studies: Portraits in Action…………………………………………………..127 II.1 ―Closet scenes‖: The Case of Hamlet‘s First Quarto (1603)…………………......128 II.2 Tragic Limning in John Webster‘s The White Devil (1612)………………….......162 II.3 Philip Massinger‘s The Picture (1630): Impregnable Women and Pregnable Pictures……...…………………………………………………………......192 II.4 Shadow Vision in William Sampson‘s The Vow-Breaker (1636)……………......225 II.5 The Drama of Platonic Gazing in Caroline Courtier Play-Texts: William Cartwright‘s The Siege (1651)…......…………………………………........253 Conclusion…………………………………………………………………………….285 Appendix………………………………………………………………………….......293 List of Illustrations…………………………………………………………………….302 List of Works Cited……………………………………………………………….......303 2/327 Acknowledgements There are many people I would like to thank for the advice and support they gave me while writing this dissertation. My project could not have had better supervisors than Professor Angela Locatelli (University of Bergamo) and Professor Ingo Berensmeyer (University of Gießen). Professor Locatelli has guided me with extreme alacrity and competence. A true model of mentorship, her generosity, commitment, and passion for her profession are exemplary. Professor Berensmeyer‘s honest, learned, and constructive feedback has helped me extensively; besides, his kindness and sense of humour are qualities that can only be applauded. I also wish to express my gratitude to the PhDnet ―Literary and Cultural Studies‖ of which I am a member. This organisation has proved the perfect arena to discuss parts of my project on a regular basis: coordinated by Dr Nora Berning, all the PhDnet symposia were amazingly stimulating and I would like to thank all the professors, especially the founder of the PhDnet, Professor Ansgar Nünning, and doctoral colleagues, and dear friends, from the universities of Bergamo, Gießen, Graz, Helsinki, Lisbon, and Stockholm, who commented on my papers and presentations. None of this could have happened if I had not been enrolled in the doctoral programme in ―Studi Umanistici Interculturali‖ at the University of Bergamo, coordinated by Professor Alessandra Violi, which fostered my work both professionally and financially, giving me research grants to participate in the PhDnet symposia, in a number of conferences (Lisbon, Graz, Galway), and in missions to the United Kingdom (to the Shakespeare Institute in Stratford-upon-Avon, the National Portrait Gallery, the Heinz Archive, and the British Library in London). I have discussed parts of my project with a number of scholars whose criticism has helped me more than they may suppose: Tobias Gabel and Dr Martin Spies (University of Gießen), Dr Tarnya Cooper and Dr Jane Eade at the National Portrait Gallery, Dr Tara Hamling (University of Birmingham), Professor Anna Maria Testaverde (University of Bergamo), and Dr Martin Wiggins at the Shakespeare Institute. I presented my project at the Young Scholars‘ Research Workshop 3/327 organised in Bergamo on 29 May 2015 by the Italian Association of Shakespearean and Early Modern Studies (IASEMS), chaired by Professor Graham Holderness (University of Hertfordshire), where I also received constructive feedback and encouragement from Professor Carlo Maria Bajetta (University of Aosta Valley) and Professor Alessandra Petrina (University of Padua). Parts of my project were also presented at the IPP colloquium in Gießen (13 January 2016, coordinated by Dr Natalya Bekhta), at the ―After Iconophobia? Patrick Collinson‘s ‗From Iconoclasm to Iconophobia‘, Thirty Years On‖ workshop at the Shakespeare Institute in Stratford-Upon-Avon (2-3 July 2015), and at the panel ―Picturing on the Page and the Stage in Renaissance England‖ organised by Dr Camilla Caporicci (University of Munich) and Dr Armelle Sabatier (Panthéon-Assas University, Paris II) within the ESSE conference in Galway (24 August 2016). Special thanks are due to Dr Yolana Wassersug, who very kindly sent me a copy of her unpublished doctoral dissertation. I would also like to thank the staff of the British Library and of the university libraries of Bergamo, Gießen, and Trento. Professor Berensmeyer and Dr Christine Schwanecke (Mannheim University) generously allowed me to teach a few lectures within their courses, on Hamlet and The White Devil, respectively, which proved a very exciting opportunity to test my ideas. Madeleine LaRue carefully and patiently proofread my English; all remaining mistakes are my responsibility alone. I could never have finished this dissertation without the help of my friends. Snežana Vuletić made my research stay in Gießen a joy, with our daily chats over a nice cup of coffee. Her commitment and passion can hardly be equalled. I would like to single out some of my colleagues at the University of Bergamo whom I am happy to count as friends: Stefano Guerini Rocco, Rita Locatelli, Thomas Persico, and Giulia Valsecchi. My staunch ―fans‖, Cristina De Bacco, Giulia Minati, Sara Tomio, and Dania Urthaler have always managed to make my days lighter and brighter. My greatest debt of thanks is to my parents, Miriam and Dario, and to my sister, Valeria. They have endured a son‘s and brother‘s continuous rambling about topics such as iconophobia, Shakespeare‘s theatre as part of the early modern visual world, 4/327 and the semiotics of drama with patience, unconditional support, and love. I dedicate this dissertation to them. 5/327 Introduction In the 2014 production of Sophocles‘ Electra at the Old Vic, London, starring Kristin Scott Thomas, the princess of Mycenae first appears furtively pinning a picture of her murdered father on a tree centre-stage. She wails over the image and quickly hides it as other characters arrive. This is clearly an innovation since it is not present in the original tragedy, but many spectators did not pay attention to this feature, caught as they were by Electra‘s moving lament. After all, it seems natural that a child should gaze upon a picture of her deceased parent. Interestingly, however, this seemingly minor innovation changes a key element of Greek tragedy: Greek retrospection: Elizabethan remembrance. Aeschylus‘s revengers, like the Orestes and Electra of Sophocles and Euripides, have no private memory of their father; they know about his life and death only because it is public knowledge. They take revenge for equally public reasons […] Elizabethan revenge tragedy replaces the vital exteriority of the links between living and dead in the Greek plays by something more private: almost invariably, its revengers cherish vivid, personal memories of their lost friends and kinsmen. These memories are usually, as in The Spanish Tragedy, shared with the audience1. By the protagonist‘s looking at the picture of Agamemnon, the Electra at the Old Vic was recast into early modern drama. The review in The Guardian reads: ―It is hard to watch Electra without thinking of Hamlet‖2. This was certainly due to Scott Thomas‘ performance and to the conversion of the Old Vic into a theatre in the round. Yet, what I would like to highlight is that this simple viewing of a portrait on stage radically modifies the play‘s appraisal. The portraits in Hamlet‘s ―closet scene‖ are not the only pictures staged in early modern English drama. There are seventy-five plays, from the Elizabethan to the Caroline period, that feature the staging of a portrait. The aim of this dissertation is to investigate how the presentation of portraits changed the interactive dynamics between actors and spectators; how staged pictures could address socially charged topics of the rich, though embattled, visual culture of the time; how these special 1 John Kerrigan, ―Hieronimo, Hamlet and Remembrance‖, Essays in Criticism, Vol. 31, no. 2, 1981: 106.
Load more

Recommended publications
  • Full Press Archive
    Full Press Archive In conversation with Freddie Robins, Charlotte Cameron, Knitting Industry Creative, October 1, 2018, www.knittingindustry.com Cent digital magazine, Play SS18, By a Thread Liberties (review of Liberties at The Exchange, Penzance), Martin Holman, Art Monthly, Dec 16 – Jan 17 p.21-23 Making it OK (review of What do I need to do to make it OK?), Ian Wilson, Surface Design Journal, Fall 2016 Textiles of recovery and repair (review of What do I need to do to make it OK?), Jessica Hemmings, Crafts, no. 257 November/December 2015 Protest and production in song (review of Yan Tan Tethera), Liz Hoggard, Crafts, no. 250 September/October 2014 Out on a Limb, Charlotte Abrahams, Crafts, no. 242 May/June 2013 Not your average barn, Vinny Lee, The Times Magazine, 4 May 2013 The Art of Craft, Maya Dudok de Wit, Flamingo Magazine, The Future Craft Issue, 2013 Transformations (exhibition review), Catherine Dormor, Textile, volume 11, number 1, March 2013, pp. 94-101(8), Bloomsbury Journals Collage Showcase: Freddie Robins, Collage Magazine, issue 1, Oct 11 2012 http://issuu.com/magazinecollage/docs/issue_3_plan_pages How to make it in design, Ros Drinkwater, The Sunday Business Post, February 20 2011 Wool, Clay, Felt and Steel, Rosanna Durham, Oh Comely, issue three, Nov / Dec 2010 Little and Large, Size does Matter (review of Extraordinary Measures), Jessica Hemmings, Crafts, no. 225 July / August 2010 Extraordinary Measures (review), Laura Cumming, The Observer, Sunday 2 May 2010 Art Knits, Sarah Ditum, Vogue Knitting (US), Fall 2009 Knitting Art, Freddie Robins / Beatrijs Sterk, Textile Forum, 1/2008 15 Degrees: Freddie Robins, IdN (International designers Network), vol.
    [Show full text]
  • M a K in G a N D U N M a K in Gin Early Modern English Drama
    Porter MAKING AND Chloe Porter UNMAKING IN EARLY MODERN ENGLISH DRAMA Why are early modern English dramatists preoccupied with unfinished processes of ‘making’ and ‘unmaking’? And what did ‘finished’ or ‘incomplete’ mean for spectators of plays and visual works in this period? Making and unmaking in early IN EARLY MODERN ENGLISH DRAMA IN EARLY UNMAKING AND MAKING modern English drama is about the prevalence and significance of visual things that are ‘under construction’ in early modern plays. Contributing to challenges to the well-worn narrative of ‘iconophobic’ early modern English culture, it explores the drama as a part of a lively post-Reformation visual world. Interrogating the centrality of concepts of ‘fragmentation’ and ‘wholeness’ in critical approaches to this period, it opens up new interpretations of the place of aesthetic form in early modern culture. An interdisciplinary study, this book argues that the idea of ‘finish’ had transgressive associations in the early modern imagination. It centres on the depiction of incomplete visual practices in works by playwrights including Shakespeare, John Lyly, and Robert Greene. The first book of its kind to connect dramatists’ attitudes to the visual with questions of materiality, Making and Unmaking in Early Modern English Drama draws on a rich range of illustrated examples. Plays are discussed alongside contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata, and invisibility. Asking what it meant for Shakespeare and his contemporaries to ‘begin’ or ‘end’ a literary or visual work, this book is invaluable for scholars and students of early modern English literature, drama, visual culture, material culture, theatre history, history and aesthetics.
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • View in Order to Answer Fortinbras’S Questions
    SHAKESPEAREAN VARIATIONS: A CASE STUDY OF HAMLET, PRINCE OF DENMARK Steven Barrie A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Dr. Stephannie S. Gearhart, Advisor Dr. Kimberly Coates ii ABSTRACT Dr. Stephannie S. Gearhart, Advisor In this thesis, I examine six adaptations of the narrative known primarily through William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark to answer how so many versions of the same story can successfully exist at the same time. I use a homology proposed by Gary Bortolotti and Linda Hutcheon that explains there is a similar process behind cultural and biological adaptation. Drawing from the connection between literary adaptations and evolution developed by Bortolotti and Hutcheon, I argue there is also a connection between variation among literary adaptations of the same story and variation among species of the same organism. I determine that multiple adaptations of the same story can productively coexist during the same cultural moment if they vary enough to lessen the competition between them for an audience. iii For Pam. iv ACKNOWLEDGMENTS I would like to thank my advisor, Stephannie Gearhart, for being a patient listener when I came to her with hints of ideas for my thesis and, especially, for staying with me when I didn’t use half of them. Her guidance and advice have been absolutely essential to this project. I would also like to thank Kim Coates for her helpful feedback. She has made me much more aware of the clarity of my sentences than I ever thought possible.
    [Show full text]
  • Performing Shakespeare in Contemporary Taiwan
    Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare.
    [Show full text]
  • English Renaissance
    1 ENGLISH RENAISSANCE Unit Structure: 1.0 Objectives 1.1 The Historical Overview 1.2 The Elizabethan and Jacobean Ages 1.2.1 Political Peace and Stability 1.2.2 Social Development 1.2.3 Religious Tolerance 1.2.4 Sense and Feeling of Patriotism 1.2.5 Discovery, Exploration and Expansion 1.2.6 Influence of Foreign Fashions 1.2.7 Contradictions and Set of Oppositions 1.3 The Literary Tendencies of the Age 1.3.1 Foreign Influences 1.3.2 Influence of Reformation 1.3.3 Ardent Spirit of Adventure 1.3.4 Abundance of Output 1.4 Elizabethan Poetry 1.4.1 Love Poetry 1.4.2 Patriotic Poetry 1.4.3 Philosophical Poetry 1.4.4 Satirical Poetry 1.4.5 Poets of the Age 1.4.6 Songs and Lyrics in Elizabethan Poetry 1.4.7 Elizabethan Sonnets and Sonneteers 1.5 Elizabethan Prose 1.5.1 Prose in Early Renaissance 1.5.2 The Essay 1.5.3 Character Writers 1.5.4 Religious Prose 1.5.5 Prose Romances 2 1.6 Elizabethan Drama 1.6.1 The University Wits 1.6.2 Dramatic Activity of Shakespeare 1.6.3 Other Playwrights 1.7. Let‘s Sum up 1.8 Important Questions 1.0. OBJECTIVES This unit will make the students aware with: The historical and socio-political knowledge of Elizabethan and Jacobean Ages. Features of the ages. Literary tendencies, literary contributions to the different of genres like poetry, prose and drama. The important writers are introduced with their major works. With this knowledge the students will be able to locate the particular works in the tradition of literature, and again they will study the prescribed texts in the historical background.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Eighteenth-Century English and French Landscape Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
    [Show full text]
  • Preston Sawyer Film and Theater Collection MS.404
    http://oac.cdlib.org/findaid/ark:/13030/c8w66sh5 No online items Preston Sawyer Film and Theater Collection MS.404 Debra Roussopoulos University of California, Santa Cruz 2019 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Preston Sawyer Film and Theater MS.404 1 Collection MS.404 Language of Material: English Contributing Institution: University of California, Santa Cruz Title: Preston Sawyer Film and Theater Collection creator: Sawyer, Preston, 1899-1968 Identifier/Call Number: MS.404 Physical Description: 8 Linear Feet27 boxes Date (inclusive): 1907-1959 Abstract: This collection contains photographs, lobby cards, correspondence, ephemera, and realia. Storage Unit: 1-27 Access Collection is open for research. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. For more information on copyright or to order a reproduction, please visit guides.library.ucsc.edu/speccoll/reproduction-publication. Preferred Citation Preston Sawyer Film and Theater Collection. MS 404. Special Collections and Archives, University Library, University of California, Santa Cruz. Biographical / Historical The Sawyer family of Santa Cruz, California, were avid movie and theater aficionados. The materials in this collection were gathered mainly by Preston Sawyer, and contributed to by Ariel and Gertrude Sawyer. Ariel Sawyer spent time working in Hollywood from 1922-1925.
    [Show full text]
  • DOW Final Text Panels
    Wunderkammer In the 1550s a new kind of collecting emerged among wealthy Europeans as they confronted the explosion of knowledge following the discovery of distant lands and new, basic scientific principles. Emperors, princes, nobles, and merchants assembled paintings, precious objects, scientific instruments, games, and natural wonders to create individualized micro- cosms. In these chambers of wonder (Wunderkammern)—and their smaller counterparts, the cabinets of wonder (Wunderkabinette)—rare and unusual natural specimens co-existed with exquisite artificial pro- ductions and the latest technological inventions. Designed as store- houses of knowledge and instruments for learning, these all-embracing collections also provided occasions for intellectual amusement, med- itation on God’s creation, and the display of wealth and status. Playful and profound, compact yet universal, these singular spaces encouraged visitors to assemble objects into ever-changing configu- rations—like their cyber equivalent, the Internet. Both invite constant visual engagement as the primary mode of interaction. By bringing the exceptional into the world at hand, Wunderkammern accustomed the eye to visual stimulations not unlike those dominating our contemporary life. Leading toward the modern public museum, Wunderkammern inspired the mind to expand the limits of imagination and to be transported beyond the here and now. Little Epiphanies With the invention of the microscope in the early 1600s, viewers could experience sudden insight (epiphanies) into a formerly invisible universe of minute things. The multiple-lens compound microscope, initially produced by Dutch opticians and commercialized about 1660, was the first such instrument. Paradoxically, the single-lens microscope seems to have been invented after the compound microscope. Even though chromatic aberration—caused by the differences in refraction of the colored rays of the spectrum—often blurred and distorted the images, fundamental scientific discoveries were enabled by both types of early microscopes.
    [Show full text]
  • From China to Paris: 2000 Years Transmission of Mathematical Idea S
    FROM CHINA TO PARIS: 2000 YEARS TRANSMISSION OF MATHEMATICAL IDEA S EDITED BY YVONNE DOLD-SAMPLONIUS JOSEPH W. DAUBEN MENSO FOLKERTS BENNO VAN DALEN FRANZ STEINER VERLAG STUTTGART FROM CHINA TO PARIS: 2000 YEARS TRANSMISSION OF MATHEMATICAL IDEAS BOETHIUS TEXTE UND ABHANDLUNGEN ZUR GESCHICHTE DER MATHEMATIK UND DER NATURWISSENSCHAFTEN BEGRIJNDET VON JOSEPH EHRENFRIED HOFMANN FRIEDRICH KLEMM UND BERNHARD STICKER HERAUSGEGEBEN VON MENSO FOLKERTS BAND 46 FRANZ STEINER VERLAG STUTTGART 2002 FROM CHINA TO PARIS: 2000 YEARS TRANSMISSION OF MATHEMATICAL IDEAS EDITED BY YVONNE DOLD-SAMPLONIUS JOSEPH W. DAUBEN MENSO FOLKERTS BENNO VAN DALEN FRANZ STEINER VERLAG STUTTGART 2002 Bibliographische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet these Publikation in der Deutschen National- bibliographic; detaillierte bibliographische Daten sind im Internet Uber <http:// dnb.ddb.de> abrufbar. ISBN 3-515-08223-9 ISO 9706 Jede Verwertung des Werkes auBerhalb der Grenzen des Urheberrechtsgesetzes ist unzulhssig and strafbar. Dies gilt insbesondere fair Ubersetzung, Nachdruck. Mikrover- filmung oder vergleichbare Verfahren sowie fi rdie Speicherung in Datenverarbeitungs- anlagen. ® 2002 by Franz Steiner Verlag Wiesbaden GmbH. Sitz Stuttgart. Gedruckt auf s3urefreiem. alterungsbesthndigem Papier. Druck: Druckerei Proff. Eurasburg. Printed in Germany Table of Contents VII Kurt Vogel: A Surveying Problem Travels from China to Paris .................... 1 Jens Hoyrup: Seleucid Innovations in the Babylonian "Algebraic" Tradition and their
    [Show full text]
  • The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623-1673
    ill "iil! !!;i;i;i; K tftkrmiti THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dramaticrecordsoOOgreaiala CORNELL STUDIES IN ENGLISH EDITED BY JOSEPH QUINCY ADAMS LANE COOPER CLARK SUTHERLAND NORTHUP THE DRAMATIC RECORDS OF SIR HENRY HERBERT MASTER OF THE REVELS, 1623-1673 EDITED BY JOSEPH QUINCY ADAMS CORNELL UNIVERSITY NEW HAVEN: VALE UNIVERSITY PRESS LONDON: HUMPHREY MILKORD OXFORD UNIVERSITY PRESS MDCCCCXVII 7 7 Copyright, 191 By Yale University Press First published, October, 191 PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER, PA. College Library TO CLARK SUTHERLAND NORTHUP AS A TOKEN OF ESTEEM 1092850 PREFACE The dramatic records of the Office of the Revels during the reigns of Edward VI, Mar>', and Elizabeth have been admirably edited with full indexes and notes by Professor Albert Feuillerat; but the records of the Office during the reigns of James I, Charles I, and Charles TI remain either unedited or scattered in mis- cellaneous volumes, none of which is indexed. Every scholar working in the field of the Tudor-Stuart drama must have felt the desirability of having these later records printed in a more accessible form. In the present volume I have attempted to bring together the dramatic records of Sir Henry Herbert, during whose long administration the Office of the Revels attained the height of its power and importance. These records, most of them preserved through Herbert's own care, consist of his office-book, covering the period of 1 622-1 642, a few documents relating to the same period, and miscellaneous documents relating to the management of the Office after the Restoration.
    [Show full text]