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English Roots
Plants / English roots Lupin – cultivated for thousands of Phlox – arrived in Europe from Delphinium – modern day varieties are years, originally as a fodder plant, Virginia, North America in the the result of interbreeding of species from as far apart as ancient Egypt and the early 18th century before crossing many parts of the world, from the Swiss Peruvian Andes. The tall colourful the channel a century later. Many Alps to Siberia. They have been a part of spires popular in English gardens varieties have been bred since not the English garden since at least Tudor have their origin in North American only in England but also in the times. species that arrived in Britain in the Netherlands and United States. 1820s. Rose – the English rose is the result of centuries of breeding of many varieties of rose from around world. One of these is the Damask rose, named after the Syrian city of Damascus, famous for its fragrance. It is thought to have first been brought to England by the Crusaders. Hydrangea – first introduced from Pennsylvania, North America in 1736. In the nineteenth century they became a favourite of plant hunters and botanists, including the famous Joseph Banks who brought more varieties back from China and Japan. Hollyhock – possible origins range from and Syria to India but mostly likely to be natives of China. This statuesque plant worked its way along the Silk Road over many centuries and is first mentioned in English Crossing literature in John Gardiners poem ’Feate of Gardenini’ in 1440. Sweet William – first appeared in English botanist John Gerard’s garden catalogue in 1596 having made their way from mountainous regions of southern Europe, such as the borders Pyrenees and the Carpathians. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Invasions, Insurgency and Interventions: Sweden’s Wars in Poland, Prussia and Denmark 1654 - 1658. A Dissertation Presented by Christopher Adam Gennari to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2010 Copyright by Christopher Adam Gennari 2010 Stony Brook University The Graduate School Christopher Adam Gennari We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Ian Roxborough – Dissertation Advisor, Professor, Department of Sociology. Michael Barnhart - Chairperson of Defense, Distinguished Teaching Professor, Department of History. Gary Marker, Professor, Department of History. Alix Cooper, Associate Professor, Department of History. Daniel Levy, Department of Sociology, SUNY Stony Brook. This dissertation is accepted by the Graduate School """"""""" """"""""""Lawrence Martin "" """""""Dean of the Graduate School ii Abstract of the Dissertation Invasions, Insurgency and Intervention: Sweden’s Wars in Poland, Prussia and Denmark. by Christopher Adam Gennari Doctor of Philosophy in History Stony Brook University 2010 "In 1655 Sweden was the premier military power in northern Europe. When Sweden invaded Poland, in June 1655, it went to war with an army which reflected not only the state’s military and cultural strengths but also its fiscal weaknesses. During 1655 the Swedes won great successes in Poland and captured most of the country. But a series of military decisions transformed the Swedish army from a concentrated, combined-arms force into a mobile but widely dispersed force. -
Music Playlist Auggie: 1
Music Playlist Auggie: 1. Ugly- Sugababes This links to Auggie because throughout the book Auggie gets more comfortable with his face being different and this is linked to the lyrics “ i got real comfortable with my own style”. the lyrics “But there will always be the one who will say something bad to make them feel great” this links to Julian asking if Auggie was in a fire and saying he looks like Darth Sideous. 2. This is me- Keala Settle This song links to Auggie because he works his way to accepting himself for who he is. The lyrics “I won’t let them break me down” Is linked to Auggie not letting people hurt him and he ignores the mean comments people make. The lyrics “I’m not scared to be seen” is linked to Auggie not getting upset or hide away when people stare at him. Via: 1. Ok not to be ok- Demi Lovato and Marshmello This song links to Via because she does not have to act like she is ok when something is wrong just because her parents don’t pay as much attention to her as Auggie. The lyrics “Or give up when you’re closest” is linked to Via because in the book it says if she struggles on something she works it out on her own, so Via doesn’t give up until she has figured it out. 2. History- One Direction This links to Via because her and Miranda were best friends and had a lot of history. The lyrics “Thought we were going strong I thought we were holding on” links to Via because at the start of high school she found out Miranda was ditching her in the summer holidays and their friendship was falling apart. -
The Exotic World of Carolus Clusius 1526-1609 and a Reconstruction of the Clusius Garden
The Netherlandish humanist Carolus Clusius (Arras 1526- Leiden 1609) is one of the most important European the exotic botanists of the sixteenth century. He is the author of innovative, internationally famous botanical publications, the exotic worldof he introduced exotic plants such as the tulip and potato world of in the Low Countries, and he was advisor of princes and aristocrats in various European countries, professor and director of the Hortus botanicus in Leiden, and central figure in a vast European network of exchanges. Carolus On 4 April 2009 Leiden University, Leiden University Library, The Hortus botanicus and the Scaliger Institute 1526-1609 commemorate the quatercentenary of Clusius’ death with an exhibition The Exotic World of Carolus Clusius 1526-1609 and a reconstruction of the Clusius Garden. Clusius carolus clusius scaliger instituut clusius all3.indd 1 16-03-2009 10:38:21 binnenwerk.qxp 16-3-2009 11:11 Pagina 1 Kleine publicaties van de Leidse Universiteitsbibliotheek Nr. 80 binnenwerk.qxp 16-3-2009 11:12 Pagina 2 binnenwerk.qxp 16-3-2009 11:12 Pagina 3 The Exotic World of Carolus Clusius (1526-1609) Catalogue of an exhibition on the quatercentenary of Clusius’ death, 4 April 2009 Edited by Kasper van Ommen With an introductory essay by Florike Egmond LEIDEN UNIVERSITY LIBRARY LEIDEN 2009 binnenwerk.qxp 16-3-2009 11:12 Pagina 4 ISSN 0921-9293, volume 80 This publication was made possible through generous grants from the Clusiusstichting, Clusius Project, Hortus botanicus and The Scaliger Institute, Leiden. Web version: https://disc.leidenuniv.nl/view/exh.jsp?id=exhubl002 Cover: Jacob de Monte (attributed), Portrait of Carolus Clusius at the age of 59. -
Moments of Observation
John Walker Moments of Observation Sheldon Museum of Art January 18–July 14, 2019 Introduction and Beer With a Painter: John Walker, Revisited by Jennifer Samet ohn Walker’s recent paintings are about a compression of energy: forms and patterns J locked into one another. There is an urgency to his most recent paintings, a directness that is about that relationship between a person and a place, and the impulse to record that relationship through mark making. It is symbolized by how the forms lock into one another: the penetration of earth and shallow water. I think about the painting by Cezanne, The Bay of Marseilles, Seen from L’Estaque, which is also about water and shore locking into one another like mirroring, perfect jigsaw puzzle pieces. For more than fifteen years, Walker has turned his attention and gaze to Seal Point, Maine, where he lives and works. But in the newest paintings, Walker pares down his formal vocabulary to elements like patterns of zigzag lines, painterly, irregular grids, oval-shaped forms and dots. They are abstractions, but they are also landscape paintings that turn the genre on its head. They are oriented vertically, rather than the horizontal format we traditionally code as landscape. The horizon line is pushed to the uppermost portion of the canvas so that only a thin band of form suggests sky, clouds, sun or moon. Instead, Walker focuses on the patterns that form when earth and water meet. And in this area of Maine, the inlets and bays are as much about mud as they are about water. -
Of the Hunt Institute for Botanical Documentation
Carnegie Mellon University, Pittsburgh, Pennsylvania Vol. 26, No. 1 Bulletin Spring 2014 of the Hunt Institute for Botanical Documentation Inside 4 Duets on display 4 Open House 2014 4 William Andrew 4 Illustrated mushroom Archer papers books, part 2 Above right, Tulipe des jardins. Tulipa gesneriana L. [Tulipa gesnerana Linnaeus, Liliaceae], stipple engraving on paper by P. F. Le Grand, 49 × 32.5 cm, after an original by Gerard van Spaendonck (Holland/France, 1746–1822) for his Fleurs Sessinées d’après Nature (Paris, L’Auteur, au Jardin des Plantes, 1801, pl. 4), HI Art accession no. 2078. Below left, Parrot tulips [Tulipa Linnaeus, Liliaceae], watercolor on paper by Rose Pellicano (Italy/United States), 1998, 56 × 42.5 cm, HI Art accession no. 7405. News from the Art Department Duets exhibition opens The inspiration for the exhibition Duets 1746–1822) has done so with the began with two artworks of trumpet subtle tonality of a monochromatic vine, which were created by the stipple engraving and Rose Pellicano 18th-century, German/English artist (Italy/United States) with rich layers Georg Ehret and the contemporary of watercolor. The former inspired Italian artist Marilena Pistoia. Visitors a legion of botanical artists while frequently request to view a selection teaching at the Jardin des Plantes in of the Institute’s collection of 255 Ehret Paris, and the latter, whose work is and 227 Pistoia original paintings. One inspired by French 18th- and 19th- day we displayed side-by-side the two century artists, carries on this tradition paintings (above left and right) and noticed of exhibiting, instructing and inspiring not only the similarity of composition up-and-coming botanical artists. -
On the Alleged Use of Keplerian Telescopes in Naples in the 1610S
On the Alleged Use of Keplerian Telescopes in Naples in the 1610s By Paolo Del Santo Museo Galileo: Institute and Museum of History of Science – Florence (Italy) Abstract The alleged use of Keplerian telescopes by Fabio Colonna (c. 1567 – 1640), in Naples, since as early as October 1614, as claimed in some recent papers, is shown to be in fact untenable and due to a misconception. At the 37th Annual Conference of the Società Italiana degli Storici della Fisica e dell'Astronomia (Italian Society of the Historians of Physics and Astronomy, SISFA), held in Bari in September 2017, Mauro Gargano gave a talk entitled Della Porta, Colonna e Fontana e le prime osservazioni astronomiche a Napoli. This contribution, which appeared in the Proceedings of the Conference (Gargano, 2019a), was then followed by a paper —actually, very close to the former, which, in turn, is very close to a previous one (Gargano, 2017)— published, in the same year, in the Journal of Astronomical History and Heritage (Gargano, 2019b). In both of these writings, Gargano claimed that the Neapolitan naturalist Fabio Colonna (c. 1567 – 1640), member of the Accademia dei Lincei, would have made observations with a so-called “Keplerian” or “astronomical” telescope (i.e. with converging eyepiece), in the early autumn of 1614. The events related to the birth and development of Keplerian telescope —named after Johannes Kepler, who theorised this optical configuration in his Dioptrice, published in 1611— are complex and not well-documented, and their examination lies beyond the scope of this paper. However, from a historiographical point of view, the news that someone was already using such a configuration since as early as autumn 1614 for astronomical observations, if true, would have not negligible implications, which Gargano himself does not seem to realize. -
Illustrated Natural History
Claudia Swan Illustrated Natural History The rise of printing and the inception of early modern natural history coincided in funda- mental ways, as amply suggested by the works brought together in this exhibition. This essay is concerned with a key area of overlap between the two practices — namely, visualization and illustration. Sixteenth- and seventeenth-century botanical images, anatomical treatises, and maps demonstrate the centrality of visual information in the pursuit of knowledge about the natural world. Early modern natural history was profoundly dependent on and generative of images, many of them replicable by way of print. Prints, like drawings, could enable identifi- cation and, in turn, use or classification of what they represented. Those engaged in medical study, for example, which involved the twin disciplines of botany and anatomy, encouraged the production of images for study and for medical use — pharmaceutical in the case of plants and pathological in the case of bodies. The case of botany is exemplary. The early modern era is often considered synonymous with the “Botanical Renaissance,” an efflorescence of projects and products whose chronology and lines of descent have been amply charted. This renaissance gained momentum toward the end of the fifteenth century, when printed illustrated works took over from manuscript production. During the first half of the sixteenth century the so-called “fathers of German botany” Otto Brunfels, Hieronymus Bock, and Leonhart Fuchs published volumes that consolidated a new mode of studying the plant world, characterized by, among other things, an amplified naturalism in the often copious illustrations that accompanied their texts (see cats. -
Botanical Gardens in the West Indies John Parker: the Botanic Garden of the University of Cambridge Holly H
A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıı | Number ı | Fall 2006 Essay: The Botanical Garden 2 Elizabeth Barlow Rogers: Introduction Fabio Gabari: The Botanical Garden of the University of Pisa Gerda van Uffelen: Hortus Botanicus Leiden Rosie Atkins: Chelsea Physic Garden Nina Antonetti: British Colonial Botanical Gardens in the West Indies John Parker: The Botanic Garden of the University of Cambridge Holly H. Shimizu: United States Botanic Garden Gregory Long: The New York Botanical Garden Mike Maunder: Fairchild Tropical Botanic Garden Profile 13 Kim Tripp Exhibition Review 14 Justin Spring: Dutch Watercolors: The Great Age of the Leiden Botanical Garden New York Botanical Garden Book Reviews 18 Elizabeth Barlow Rogers: The Naming of Names: The Search for Order in the World of Plants By Anna Pavord Melanie L. Simo: Henry Shaw’s Victorian Landscapes: The Missouri Botanical Garden and Tower Grove Park By Carol Grove Judith B. Tankard: Maybeck’s Landscapes By Dianne Harris Calendar 22 Contributors 23 Letter from the Editor The Botanical Garden he term ‘globaliza- botanical gardens were plant species was the prima- Because of the botanical Introduction tion’ today has established to facilitate the ry focus of botanical gardens garden’s importance to soci- The Sixteenth and Seventeenth Centuries widespread cur- propagation and cultivation in former times, the loss of ety, the principal essay in he botanical garden is generally considered a rency. We use of new kinds of food crops species and habitats through this issue of Site/Lines treats Renaissance institution because of the establishment it to describe the and to act as holding opera- ecological destruction is a it as a historical institution in 1534 of gardens in Pisa and Padua specifically Tgrowth of multi-national tions for plants and seeds pressing concern in our as well as a landscape type dedicated to the study of plants. -
Sweden in the Seventeenth Century
Sweden in the Seventeenth Century Paul Douglas Lockhart Sweden in the Seventeenth Century European History in Perspective General Editor: Jeremy Black Benjamin Arnold Medieval Germany, 500–1300 Ronald Asch The Thirty Years’ War Christopher Bartlett Peace, War and the European Powers, 1814–1914 Robert Bireley The Refashioning of Catholicism, 1450–1700 Donna Bohanan Crown and Nobility in Early Modern France Arden Bucholz Moltke and the German Wars, 1864–1871 Patricia Clavin The Great Depression, 1929–1939 Paula Sutter Fichtner The Habsburg Monarchy, 1490–1848 Mark Galeotti Gorbachev and his Revolution David Gates Warfare in the Nineteenth Century Alexander Grab Napoleon and the Transformation of Europe Martin P. Johnson The Dreyfus Affair Paul Douglas Lockhart Sweden is the Seventeenth Century Peter Musgrave The Early Modern European Economy J.L. Price The Dutch Republic in the Seventeenth Century A.W. Purdue The Second World War Christopher Read The Making and Breaking of the Soviet System Francisco J. Romero-Salvado Twentieth-Century Spain Matthew S. Seligmann and Roderick R. McLean Germany from Reich to Republic, 1871–1918 Brendan Simms The Struggle for Mastery in Germany, 1779–1850 David Sturdy Louis XIV David J. Sturdy Richelieu and Mazarin Hunt Tooley The Western Front Peter Waldron The End of Imperial Russia, 1855–1917 Peter G. Wallace The Long European Reformation James D. White Lenin Patrick Williams Philip II European History in Perspective Series Standing Order ISBN 0–333–71694–9 hardcover ISBN 0–333–69336–1 paperback (outside North America only) You can receive future titles in this series as they are published by placing a standing order. -
Varia Bibliographica a CLUSIUS VARIANT the Works of Charles De
Varia bibliographica A CLUSIUS VARIANT The works of Charles de 1'Ecluse, or, to give him his Latin name, Carolus Clusius, are well and at length described in the Bibliotheca Belgica (Brussels 1964-1975, vol. 3, pp. 759-784, L89-L98), and by Stephan Aumiiller in his 'Bibliographie und Ikonographie' in the Fest- schrift anläss/ich der -100 idhrigen Wiederkehr der wissenschaftlichen Tàtigkeit von Caro- lus Clusius im pannorzischcn Raum (Eisenstadt 1973, 'Burgenidndische Forschungen' Sonderheft v, pp. 9-92). Both provide lists of libraries in which copies of individual works are known to exist, and with books of such fame and splendour it can safely be assumed that other copies are to be found in many other collections. I have recently been looking at the British Library's holdings of works by Clusius pub- lished in the Low Countries between 1601 and 1621, among them three copies of his Rariorum plantarum historia published by Joannes Moretus at the Officina Plantiniana, Antwerp, 1601. The British Library's General Catalogue of Printed Books describes them as being equal to each other, i.e. the second and third are each called simply 'another copy' of the first. But, as is so often the case, this is not strictly true, and I wonder how many other copies scattered throughout the libraries of the world, not to mention private collec- tions, would show the same or other variations if properly examined. For this work copies are mentioned by the Bibliotheca Belgica at Amsterdam University Library, the Koninklijke Bibliotheek, The Hague, Leiden -
THE JESUIT MISSION to CANADA and the FRENCH WARS of RELIGION, 1540-1635 Dissertation P
“POOR SAVAGES AND CHURLISH HERETICS”: THE JESUIT MISSION TO CANADA AND THE FRENCH WARS OF RELIGION, 1540-1635 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joseph R. Wachtel, M.A. Graduate Program in History The Ohio State University 2013 Dissertation Committee: Professor Alan Gallay, Adviser Professor Dale K. Van Kley Professor John L. Brooke Copyright by Joseph R. Wachtel 2013 Abstract My dissertation connects the Jesuit missions in Canada to the global Jesuit missionary project in the late sixteenth and early seventeenth centuries by exploring the impact of French religious politics on the organizing of the first Canadian mission, established at Port Royal, Acadia, in 1611. After the Wars of Religion, Gallican Catholics blamed the Society for the violence between French Catholics and Protestants, portraying Jesuits as underhanded usurpers of royal authority in the name of the Pope—even accusing the priests of advocating regicide. As a result, both Port Royal’s settlers and its proprietor, Jean de Poutrincourt, never trusted the missionaries, and the mission collapsed within two years. After Virginia pirates destroyed Port Royal, Poutrincourt drew upon popular anti- Jesuit stereotypes to blame the Jesuits for conspiring with the English. Father Pierre Biard, one of the missionaries, responded with his 1616 Relation de la Nouvelle France, which described Port Royal’s Indians and narrated the Jesuits’ adventures in North America, but served primarily as a defense of their enterprise. Religio-political infighting profoundly influenced the interaction between Indians and Europeans in the earliest years of Canadian settlement.