Transfer of Islamic Science to the West
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Science and Nature in the Medieval Ecological Imagination Jessica Rezunyk Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Winter 12-15-2015 Science and Nature in the Medieval Ecological Imagination Jessica Rezunyk Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Recommended Citation Rezunyk, Jessica, "Science and Nature in the Medieval Ecological Imagination" (2015). Arts & Sciences Electronic Theses and Dissertations. 677. https://openscholarship.wustl.edu/art_sci_etds/677 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of English Dissertation Examination Committee: David Lawton, Chair Ruth Evans Joseph Loewenstein Steven Meyer Jessica Rosenfeld Science and Nature in the Medieval Ecological Imagination by Jessica Rezunyk A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the degree of Doctor of Philosophy December 2015 St. Louis, Missouri © 2015, Jessica Rezunyk Table of Contents List of Figures……………………………………………………………………………. iii Acknowledgments…………………………………………………………………………iv Abstract……………………………………………………………………………………vii Chapter 1: (Re)Defining -
The Muslim Caliphates Ringmar, Erik
The Muslim Caliphates Ringmar, Erik Published in: History of International Relations 2016 Link to publication Citation for published version (APA): Ringmar, E. (Accepted/In press). The Muslim Caliphates. In History of International Relations Open Book Publishers. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Dear reader, This is a first draft of the chapter on the Muslim caliphates for the textbook on the history of international relations that I'm working on. Chapters on the Mongol empire, India, Africa and the Americas will follow. Since this is a draft I'm very keen to hear your comments. Get in touch: [email protected] The book will be published by Open Book Publishers, out of Cambridge, hopefully next year. -
Engineers of the Renaissance
Bertrand Gille Engineers of the Renaissance . II IIIII The M.I.T.Press Massachusetts Institute of Technology Cambridge, Massachusetts ' ... � {' ( l..-'1 b 1:-' TA18 .G!41J 1966 METtTLIBRARY En&Jneersor theRenaissance. 11111111111111111111111111111111111111111111111111111111111111111 0020119043 Copyright @ 1966 by Hermann, Paris Translated from Les ingenieurs de la Renaissance published by Hermann, Paris, in 1964 Library of Congress Catalog Card Number 66-27213 Printed in Great Britain Contents List of illustrations page 6 Preface 9 Chapter I The Weight of Tradition 15 2 The Weight of Civilization 3 5 3 The German School 55 4 The First Italian Generation 79 5 Francesco di Giorgio Martini 101 Cj 6 An Engineer's Career -Leonardo da Vinci 121 "'"" f:) 7 Leonardo da Vinci- Technician 143 ��"'t�; 8 Essay on Leonardo da Vinci's Method 171 �� w·· Research and Reality ' ·· 9 191 �' ll:"'t"- 10 The New Science 217 '"i ...........,_ .;::,. Conclusion 240 -... " Q: \.., Bibliography 242 �'� :::.(' Catalogue of Manuscripts 247 0 " .:; Index 254 � \j B- 13 da Page Leonardo Vinci: study of workers' positions. List of illustrations 18 Apollodorus ofDamascus: scaling machine. Apollodorus of Damascus: apparatus for pouring boiling liquid over ramparts. 19 Apollodorus ofDamascus: observation platform with protective shield. Apollodorus of Damascus: cover of a tortoise. Apollodorus ofDamascus: fire lit in a wall andfanned from a distance by bellows with a long nozzle. 20 Hero of Byzantium: assault tower. 21 Hero of :Byzantium: cover of a tortoise. 24 Villard de Honnecourt: hydraulic saw; 25 Villard de Honnecourt: pile saw. Villard de Honnecourt: screw-jack. , 26 Villard de Honnecourt: trebuchet. Villard de Honnecourt: mechanism of mobile angel. -
Reimagine a F G H a N I S T a N
REIMAGINE A F G H A N I S T A N A N I N I T I A T I V E B Y R A I S I N A H O U S E REIMAGINE A F G H A N I S T A N INTRODUCTION . Afghanistan equals Culture, heritage, music, poet, spirituality, food & so much more. The country had witnessed continuous violence for more than 4 ................................................... decades & this has in turn overshadowed the rich cultural heritage possessed by the country, which has evolved through mellinnias of Cultural interaction & evolution. Reimagine Afghanistan as a digital magazine is an attempt by Raisina House to explore & portray that hidden side of Afghanistan, one that is almost always overlooked by the mainstream media, the side that is Humane. Afghanistan is rich in Cultural Heritage that has seen mellinnias of construction & destruction but has managed to evolve to the better through the ages. Issued as part of our vision project "Rejuvenate Afghanistan", the magazine is an attempt to change the existing perception of Afghanistan as a Country & a society bringing forward that there is more to the Country than meets the eye. So do join us in this journey to explore the People, lifestyle, Art, Food, Music of this Adventure called Afghanistan. C O N T E N T S P A G E 1 AFGHANISTAN COUNTRY PROFILE P A G E 2 - 4 PEOPLE ETHNICITY & LANGUAGE OF AFGHANISTAN P A G E 5 - 7 ART OF AFGHANISTAN P A G E 8 ARTISTS OF AFGHANISTAN P A G E 9 WOOD CARVING IN AFGHANISTAN P A G E 1 0 GLASS BLOWING IN AFGHANISTAN P A G E 1 1 CARPETS OF AFGHANISTAN P A G E 1 2 CERAMIC WARE OF AFGHANISTAN P A G E 1 3 - 1 4 FAMOUS RECIPES OF AFGHANISTAN P A G E 1 5 AFGHANI POETRY P A G E 1 6 ARCHITECTURE OF AFGHANISTAN P A G E 1 7 REIMAGINING AFGHANISTAN THROUGH CINEMA P A G E 1 8 AFGHANI MOVIE RECOMMENDATION A B O U T A F G H A N I S T A N Afghanistan Country Profile: The Islamic Republic of Afghanistan is a landlocked country situated between the crossroads of Western, Central, and Southern Asia and is at the heart of the continent. -
Revisiting the Etymology of Zanni
REVISITING THE ETYMOLOGY OF ZANNI Anna Moro It has long been maintained that the etymology of zani, zanni – the servant or buffoon of the commedia dell’arte – is a northern Italian variant of the proper noun Giovanni, or its shortened form, Gianni. In Tommaseo and Bellini’s Dizionario della lingua italiana , published in Turin between 1865 and 1879, it is stated that the term is “voce bergamasca, accorciata dall’intero nome Giovanni, che rappresenta un Servo semplice e goffo bergamasco.” 1 Tommaseo and Bellini’s explanation of the origin of the term is basically what is found in modern etymological dictionaries, such as Battisti and Alessio’s Dizionario etimologico italiano (DEI) and Cortelazzo and Zolli’s Dizionario etimologico della lingua italiana (DELI). The earliest attestation of the term appears to be the 15th century, according to Battisti and Alessio, but a precise reference is not given. 16th century attestations of zani / zanni corresponding to the servant character of the commedia dell’arte , of course, abound. There is no doubt that the term zani was widely used in the 16th century in Italy to designate the servant character of the commedia dell’arte ; and it is during the 16th century that the term spread outside of Italy: it is found in French, for example, as zani from 1550, and in English, as zany , later in the century (Migliorini 1983: 426). In the Oxford English Dictionary (OED) , the noun zany (with various spellings), which preceded the use of term as 1 Cited in M. Cortelazzo and P. Zolli, Dizionario etimologico della lingua italiana (DELI), Bologna: Zanichelli, 1992 (1980): 1463. -
I) If\L /-,7\ .L Ii Lo N\ C, ' II Ii Abstract Approved: 1'
AN ABSTRACT OF THE THESIS OF Asaad AI-Saleh for the Master of Arts Degree In English presented on _------'I'--'I--'J:..=u:o...1VL.c2=0"--'0"-=S'------ _ Title: Mustafa Sadiq al-Rafii: A Non-recognized Voice in the Chorus ofthe Arabic Literary Revival i) If\l /-,7\ .L Ii lo n\ C, ' II Ii Abstract Approved: 1'. C". C ,\,,: 41-------<..<.LI-hY,-""lA""""","""I,--ft-'t _ '" I) Abstract Mustafa Sadiq al-Rafii, a modem Egyptian writer with classical style, is not studied by scholars of Arabic literature as are his contemporary liberals, such as Taha Hussein. This thesis provides a historical background and a brief literary survey that helps contextualize al-Rafii, the period, and the area he came from. AI-Rafii played an important role in the two literary and intellectual schools during the Arabic literary revival, which extended from the French expedition (1798-1801) to around the middle of the twentieth century. These two schools, known as the Old and the New, vied to shape the literature and thought of Egypt and other Arab countries. The former, led by al-Rafii, promoted a return to classical Arabic styles and tried to strengthen the Islamic identity of Egypt. The latter called for cutting off Egypt from its Arabic history and rejected the dominance and continuity of classical Arabic language. AI-Rafii contributed to the Revival by supporting a line ofthought that has not been favored by pro-Westernization governments, which made his legacy almost forgotten. Deriving his literature from the canon of Arabic language, culture, and history, al-Rafii produced a literature based on a revived version of classical Arabic literature, an accomplishment which makes him unique among modem Arab writers. -
What Is Islamic Art? : Between Religion and Perception Pdf, Epub, Ebook
WHAT IS ISLAMIC ART? : BETWEEN RELIGION AND PERCEPTION PDF, EPUB, EBOOK Wendy M. K. Shaw | 382 pages | 05 Dec 2019 | CAMBRIDGE UNIVERSITY PRESS | 9781108474658 | English | Cambridge, United Kingdom What is Islamic Art? : Between Religion and Perception PDF Book It is widely regarded as the finest piece of literature in the Arabic language. Art and architecture have always held a central role in the civilisation of Islam a role which encompasses the wide range of values which make up this civilisation. The hemisphere of the dome itself represents undefined space, the cosmos — the realm of the Spirit. From the fragments of architectural decoration that have been recovered there appears to have been a steady move away from naturalistic treatments, towards more abstract and repetitive forms. Together, these concepts symbolised and reflected divinity. Because illuminated manuscripts were an art of the court, and not seen in public, constraints on the depiction of the human figure were much more relaxed and the human form is represented with frequency within this medium. Purchasers of the catalogue, which includes some excellent essays, are enlightened that the trousers were actually worn by someone of regular size, as a photograph shows them with the waist gathered. The suggestion of any link between Islamic calligraphy and ancient is also inconceivable. In the presidential election, then-candidate Barack Obama was repeatedly accused of being secretly Muslim and therefore unfit for national leadership—something he denied but stopped short of calling problematic and racist. The pattern may be built up of rectilinear lines, curvilinear lines, or both combined together, producing a cusped or foliated effect. -
Copying, Commonplaces, and Technical Knowledge: the Architect-Engineer As Reader
COPYING, COMMONPLACES, AND TECHNICAL KNOWLEDGE: THE ARCHITECT-ENGINEER AS READER Alexander Marr I Recent work on the history of technology has drawn attention to the importance of manuscripts and, in particular, drawings for the design, construction, comprehension, and use of machines in the Renaissance and Early Modern period.1 Documents such as the workshop drawings of Antonio da Sangallo or the extensive extant papers of Heinrich Schick- hardt are now finding a place alongside better-known printed works, such as the ‘theatres of machines’ by Ramelli, Besson, and Bachot.2 Yet com- paratively little is known about the book ownership and reading habits of those artisans involved in the processes of machine design, construc- tion, and implementation. The present essay seeks to shed new light on these subjects, through an examination of an important – but somewhat neglected – manuscript compilation of text and images on technical top- ics (ranging from practical mathematics to building), made in the early seventeenth century by the French architect-engineer Jacques Gentillâtre (1578–c. 1623).3 To date, this manuscript has been discussed exclusively within the context of the theory and practice of architecture, yet the diversity of subjects with which it is concerned (notably the numerous uses to which machines may be put) demands that the document be 1 See e.g. Lefèvre W. (ed.), Picturing Machines, 1400–1700 (Cambridge, MA-London: 2004). 2 See the useful table of ‘Prominent Sources of Early Modern Machine Design’ in Lefèvre, “Introduction to Part I”, in idem, Picturing Machines 13–15. An important addition to this table is Ambroise Bachot’s theatre of machines: Gouuernail (Melun: 1598). -
The Art, Science, and Technology of Medieval Travel Edited by Robert Bork and Andrea Kann AVISTA Studies in the History of Medieval Technology, Science and Art 6
The Art, Science, and Technology of Medieval Travel edited by Robert Bork and Andrea Kann AVISTA Studies in the History of Medieval Technology, Science and Art 6. Aldershot, UK/Burlington, VT: Ashgate, 2008. Pp. xiv + 225. ISBN 978--0--7546--6307--2.Cloth $99.95 Reviewed by Iain Macleod Higgins University of Victoria [email protected] The medieval millennium is not normally considered a great age of travel. We look back at it across 500 or so years of European global expansion, a period characterized by systematically pursued explo- ration, trade, colonization, missionary activity, emigration and immi- gration, grand tours, and tourism, not to mention the mass displace- ments caused by war, famine, and ethnic cleansing. Yet, even leav- ing aside the large-scale medieval movements of peoples (‘Germans’, Vikings, Magyars), one can say that, despite genuine differences in scale and scope, people travelled a great deal in the medieval world and more than a few of them did so extensively, sometimes even in considerable numbers. Not just pilgrims, but also missionaries, scholars, and merchants made their way by land, river, and sea to destinations both far and near. Marco Polo is only the most famous medieval traveller nowadays, but there were others who made remarkable journeys of their own: Margery Kempe from England to Jerusalem, Rome, Compostella, and Prussia in the early 15th century, for example; or Friar Odoric of Pordenone from Italy to Khanbaliq (Beijing) in the early 14th century; or Leifr Eiríksson from Norway to Vinland around the year 1000. Nor should one forget the great Muslim travelers like Ibn Battuta and Ibn Jubayr, or the Jewish travelers like Abraham ben Jacob and Benjamin of Tudela. -
Revisiting the Beginnings of Tin-Opacified Islamic Glazes
Journal of Archaeological Science 57 (2015) 80e91 Contents lists available at ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Revisiting the beginnings of tin-opacified Islamic glazes * Michael Tite a, , Oliver Watson b, Trinitat Pradell c, Moujan Matin a, Gloria Molina c, Kelly Domoney d, Anne Bouquillon e a Research Laboratory for Archaeology and the History of Art, Dyson Perrins Building, South Parks Road, Oxford OX1 3QY, UK b Khalili Research Centre for the Art and Material Culture of the Middle East, 3, St John Street, Oxford OX1 2LG, UK c Physics Department and Center for Research in Nano-Engineering, Universitat Politecnica de Catalunya, C/Esteve Terrades 8, 08860 Castelldefels, Barcelona, Spain d Centre for Archaeological and Forensic Analysis, Cranfield University, Shrivenham SN6 8LA, UK e C2RMF, Palais du Louvre, 14, quai François Mitterrand, 75001 Paris, France article info abstract Article history: The generally accepted theory is that the demand for Islamic glazed pottery started in Abbasid Iraq in the Received 12 September 2014 9th century AD with the production of a range of glazed wares in response to the import of Chinese Received in revised form stonewares and porcelains. However, Oliver Watson has recently proposed that the demand for Islamic 22 January 2015 glazed pottery first occurred in Egypt and Syria in the 8th century AD resulting in the production of Accepted 3 February 2015 opaque yellow decorated wares. Using a combination of SEM analysis of polished cross-sections, and Available online 14 February 2015 surface analysis using hand-held XRF or PIXE, Coptic Glazed Ware from Egypt, Yellow Glazed Ware from Syria, and comparable wares from Samarra, Kish and Susa have been analysed. -
Gunpowder - EB 1911
gunpowder - EB 1911 Editor A.W.J Graham Kerr & picture editor C.H blackwood RESEARCH guide V. 2020 EncyclopÆdia BRITANNICA 1911 The Fortress Study Group is a registered charity (No.288790) founded in 1975. It is an international group whose aim is to advance the education of the public in all aspects of fortification and their armaments, especially works constructed to mount or resist artillery. Acknowledgements Each of these Research Guides come from a collection of Encyclopædia Britannica dated 1911, that I had inherited from my fathers library although somewhat out- dated today, the historical value is still of interest. They are a stand-alone booklets, available to members through the website for downloading. Hard copies are available at a cost for printing and postage and packing. We have been able to do this as a team and my thanks goes to Charles Blackwood who has edited the maps, diagrams and some photographs. A number of photo- graphs have been used from other sources all of which are copyrighted to their author. The editor apologises in advance for any mistakes or inadvertent breach of copyright, with thanks to Wikipedia, Wikisource and Google Earth, where we have used them. This publication ©AWJGK·FSG·2020 Contents GUNPOWDER page 3 Cover picture: Ballincollig Gunpowder Mill, Ireland—CHB 2013 Other Research Guides OS Research Guide I OS Research Guide VII Armour Plate Fortifications & Siegecraft OS Research Guide II OS Research Guide VIII Artillery Ordnance OS Research Guide III OS Research Guide IX Ammunition Ballistics OS Research Guide IV OS Research Guide X Explosives Castles I OS Research Guide V OS Research Guide XI Gunpowder Castles II OS Research Guide VI OS Research Guide XII Range Finding Castles III 2 GUNPOWDER Gunpowder, an explosive composed of saltpetre, charcoal and sulphur. -
Clad in Steel: the Evolution of Armor and Weapons in Medieval Europe
Clad in Steel: The Evolution of Armor and Weapons in Medieval Europe Jason Gill Honors Thesis Professor Katherine Smith and Professor William Barry 1 The sun rose over Northern France on October 25, 1415 to reveal two armies, one fighting for England, one for France. As the English advanced in good order toward their enemies, the sun at their backs, the steel plate of their knights seemed to shine in the morning light, even as the shafts of their archers cast shadows on the ground. The unprepared French forces hurried to strap on their armor plates and lock their visors into place, hoping these would protect them from the lethal rain their enemies brought against them, and hurried across the sodden field to meet the glistening blades of their foes, even as arrows descended upon them like hail. The slaughter that followed, which has come to be known as the battle of Agincourt, remains one of the most iconic and infamous engagements of the Middle Ages, with archers and knights in shining armor slaughtering each other in the thousands. For many of these soldiers, armor and skill were their only defenses against the assaults of their enemies, so it was fortunate that by the time of Agincourt armor design had become truly impressive. But how did this armor evolve to this point? What pushed armorers to continually improve their designs? And what weapons were brought to bear against it? All are important questions, and all deserve to be treated in depth. The evolution of armor, of course, is a complicated topic.