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Climatic Variability in Sixteenth-Century Europe and Its Social Dimension: a Synthesis
CLIMATIC VARIABILITY IN SIXTEENTH-CENTURY EUROPE AND ITS SOCIAL DIMENSION: A SYNTHESIS CHRISTIAN PFISTER', RUDOLF BRAzDIL2 IInstitute afHistory, University a/Bern, Unitobler, CH-3000 Bern 9, Switzerland 2Department a/Geography, Masaryk University, Kotlar8M 2, CZ-61137 Bmo, Czech Republic Abstract. The introductory paper to this special issue of Climatic Change sununarizes the results of an array of studies dealing with the reconstruction of climatic trends and anomalies in sixteenth century Europe and their impact on the natural and the social world. Areas discussed include glacier expansion in the Alps, the frequency of natural hazards (floods in central and southem Europe and stonns on the Dutch North Sea coast), the impact of climate deterioration on grain prices and wine production, and finally, witch-hlllltS. The documentary data used for the reconstruction of seasonal and annual precipitation and temperatures in central Europe (Germany, Switzerland and the Czech Republic) include narrative sources, several types of proxy data and 32 weather diaries. Results were compared with long-tenn composite tree ring series and tested statistically by cross-correlating series of indices based OIl documentary data from the sixteenth century with those of simulated indices based on instrumental series (1901-1960). It was shown that series of indices can be taken as good substitutes for instrumental measurements. A corresponding set of weighted seasonal and annual series of temperature and precipitation indices for central Europe was computed from series of temperature and precipitation indices for Germany, Switzerland and the Czech Republic, the weights being in proportion to the area of each country. The series of central European indices were then used to assess temperature and precipitation anomalies for the 1901-1960 period using trmlsfer functions obtained from instrumental records. -
Poor Relief and the Church in Scotland, 1560−1650
George Mackay Brown and the Scottish Catholic Imagination Scottish Religious Cultures Historical Perspectives An innovative study of George Mackay Brown as a Scottish Catholic writer with a truly international reach This lively new study is the very first book to offer an absorbing history of the uncharted territory that is Scottish Catholic fiction. For Scottish Catholic writers of the twentieth century, faith was the key influence on both their artistic process and creative vision. By focusing on one of the best known of Scotland’s literary converts, George Mackay Brown, this book explores both the Scottish Catholic modernist movement of the twentieth century and the particularities of Brown’s writing which have been routinely overlooked by previous studies. The book provides sustained and illuminating close readings of key texts in Brown’s corpus and includes detailed comparisons between Brown’s writing and an established canon of Catholic writers, including Graham Greene, Muriel Spark and Flannery O’Connor. This timely book reveals that Brown’s Catholic imagination extended far beyond the ‘small green world’ of Orkney and ultimately embraced a universal human experience. Linden Bicket is a Teaching Fellow in the School of Divinity in New College, at the University of Edinburgh. She has published widely on George Mackay Brown Linden Bicket and her research focuses on patterns of faith and scepticism in the fictive worlds of story, film and theatre. Poor Relief and the Cover image: George Mackay Brown (left of crucifix) at the Italian Church in Scotland, Chapel, Orkney © Orkney Library & Archive Cover design: www.hayesdesign.co.uk 1560−1650 ISBN 978-1-4744-1165-3 edinburghuniversitypress.com John McCallum POOR RELIEF AND THE CHURCH IN SCOTLAND, 1560–1650 Scottish Religious Cultures Historical Perspectives Series Editors: Scott R. -
William Herle's Report of the Dutch Situation, 1573
LIVES AND LETTERS, VOL. 1, NO. 1, SPRING 2009 Signs of Intelligence: William Herle’s Report of the Dutch Situation, 1573 On the 11 June 1573 the agent William Herle sent his patron William Cecil, Lord Burghley a lengthy intelligence report of a ‘Discourse’ held with Prince William of Orange, Stadtholder of the Netherlands.∗ Running to fourteen folio manuscript pages, the Discourse records the substance of numerous conversations between Herle and Orange and details Orange’s efforts to persuade Queen Elizabeth to come to the aid of the Dutch against Spanish Habsburg imperial rule. The main thrust of the document exhorts Elizabeth to accept the sovereignty of the Low Countries in order to protect England’s naval interests and lead a league of protestant European rulers against Spain. This essay explores the circumstances surrounding the occasion of the Discourse and the context of the text within Herle’s larger corpus of correspondence. In the process, I will consider the methods by which the study of the material features of manuscripts can lead to a wider consideration of early modern political, secretarial and archival practices. THE CONTEXT By the spring of 1573 the insurrection in the Netherlands against Spanish rule was seven years old. Elizabeth had withdrawn her covert support for the English volunteers aiding the Dutch rebels, and was busy entertaining thoughts of marriage with Henri, Duc d’Alençon, brother to the King of France. Rejecting the idea of French assistance after the massacre of protestants on St Bartholomew’s day in Paris the previous year, William of Orange was considering approaching the protestant rulers of Europe, mostly German Lutheran sovereigns, to form a strong alliance against Spanish Catholic hegemony. -
The First Three Commandments in the Polish Catholic Catechisms of the 1560S–1570S
CHAPTER 11 Man and God: The First Three Commandments in the Polish Catholic Catechisms of the 1560s–1570s Waldemar Kowalski Catechism: A New Tool in Religious Instruction The sixteenth century brought a number of fundamental and far-reaching changes in the Polish Church’s approach to the cura animarum (cure of souls). In practice, the laity previously had cursory access to the fundamentals of the faith. From the end of the Middle Ages up until the mid-seventeenth century, elementary catechesis was limited to the repetition of the Pater noster, Credo, Ave Maria and the Decalogue before the Sunday Mass. An average priest was able to mobilize his parishioners to repeat the Ten Commandments and to memorize the relevant verses, following synodical recommendations. It was a far more difficult task, however, to explain convincingly the moral obligations arising from them. Hypothetically these rudiments of faith were taught more effectively during the second half of the sixteenth century.1 One of the expla- nations for these changes was the relative growth in the ranks of the educated laity. This was also at least partly due to the proliferation of printed catechisms. They were composed and published with a view to explaining and promot- ing the principles of the faith in opposition to Lutheran and, later, Reformed attempts to evangelize the population. The fight against ‘heresy’, the reason for which the provincial synod in Piotrków convened in 1525, was thereafter to become part of a wider reform programme within the Church.2 Such a 1 For a thorough discussion of the possibilities and limitations of religious education at the turn of the modern age, see: Bylina S., Religijność późnego średniowiecza (Warsaw: 2009) 26–38. -
Trials and Tribulations: Readings and Misreadings of the Revolutionary Body in French Women Novelists, 1792-1799
Trials and Tribulations: Readings and Misreadings of the Revolutionary Body in French Women Novelists, 1792-1799. The Revolution! An unutterable word. Who can claim to understand clearly and precisely that set of events, alternatively glorious and deplorable, some of them the fruit of genius and daring, or again, of the most respectable integrity, and others born of the most perverse iniquity. Jeanbon Saint-André, Committee of Public Safety One would be hard pressed to find a more confusing period than that of the French Revolution, a time when the body politic tried to integrate and embody two equally powerful but ostensibly oppositional ideologies of the eighteenth century: sensibility and rationalism. The dramatic and tragic disjunction between the two, the one calling on passion, the other dispassion, resulted in a schizophrenic production of contradictory signs, symbols, discourse and actions during the revolutionary period, coming into sharp focus during the Terror, 1793-1794. For the Revolutionaries, it was not a question of one mode opposing the other, but rather they conceived the two modes along a continuum as one led to, and justified, the other. The philosophical, medical, and literary work on materialism and sensationism earlier in the century and in the years leading up to 1789 set the foundations for this connection. Following J. J. Rousseau, the revolutionary’s aim was to embody reason, virtue and sensibility. The violent acts resulting from the sensibility/rationalism dyad, however, showed up the contradictions inherent in connecting the two. The internal conflict within revolutionary discourse, which proclaimed on the one hand love and compassion for one’s fellow man, and cold hard impartial justice on the other, was subject to heated discussion amongst the revolutionaries whose members tried to negotiate the disjunction; for some, such as St. -
New Monarchs, Exploration & 16Th Century Society
AP European History: Unit 1.3 HistorySage.com New Monarchs, Exploration & 16th Century Society I. “New” Monarchs: c.1460-1550 Use space below for A. Consolidated power and created the foundation for notes Europe’s first modern nation-states in France, England and Spain. 1. This evolution had begun in the Middle Ages. a. New Monarchs on the continent began to make use of Roman Law and declared themselves “sovereign” while incorporating the will and welfare of their people into the person of the monarch This meant they had authority to make their own laws b. Meanwhile, monarchies had grown weaker in eastern Europe during the Middle Ages. 2. New Monarchies never achieved absolute power; absolutism did not emerge effectively until the 17th century (e.g. Louis XIV in France). 3. New Monarchies also were not nation-states (in the modern sense) since populations did not necessarily feel that they belonged to a “nation” a. Identity tended to be much more local or regional. b. The modern notion of nationalism did not emerge until the late 18th and early 19th centuries. B. Characteristics of New Monarchies 1. Reduced the power of the nobility through taxation, confiscation of lands (from uncooperative nobles), and the hiring of mercenary armies or the creation of standing armies a. The advent of gunpowder (that resulted in the production of muskets and cannon) increased the vulnerability of noble armies and their knights b. However, many nobles in return for their support of the king gained titles and offices and served in the royal court or as royal officials 2. -
Deformations in a 16Th-Century Ceiling of the Pinelo Palace in Seville (Spain)
International Journal of Geo-Information Article Digital Graphic Documentation and Architectural Heritage: Deformations in a 16th-Century Ceiling of the Pinelo Palace in Seville (Spain) Juan Francisco Reinoso-Gordo 1,* , Antonio Gámiz-Gordo 2 and Pedro Barrero-Ortega 3 1 Architectural and Engineering Graphic Expression, University of Granada, 18071 Granada, Spain 2 Architectural Graphic Expression, University of Seville, 41012 Seville, Spain; [email protected] 3 Graphic Expression in Building Engineering, University of Seville, 41012 Seville, Spain; [email protected] * Correspondence: [email protected]; Tel.: +34-958-249-485 Abstract: Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates Citation: Reinoso-Gordo, J.F.; the visualisation of details. In this way, this type of heritage is documented in an innovative graphic Gámiz-Gordo, A.; Barrero-Ortega, P. approach, which is essential for its conservation and/or restoration with scientific foundations and Digital Graphic Documentation and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in Architectural Heritage: Deformations southern Europe. -
Foreign Artists in 16Th Century London Transcript
Foreign Artists in 16th Century London Transcript Date: Monday, 1 March 2010 - 12:00AM Location: Museum of London Foreign Artists working in London 1500-1520 Dr. Tarnya Cooper 1/3/2010 This lecture explored why foreign artists were employed in London and provided a brief survey of their work across a period 1500-1520. Instead of looking at the work of individual artists, it looked at key themes (The work of native English painters, the dominance of the one genre of portraiture, the persistent court patronage of foreign artists, the transmission of skills and direct compositions between foreign and English painters, and finally the near dominance of Netherlandish painters in the Jacobean period). It also touched upon the extent to which foreign artists helped to direct taste in England Or conversely, whether foreign artists were adjusting their style or practices to meet the demands of English patrons. The story of painting in England in the sixteenth century is a largely a narrative about immigration. This is true from the early 1500s when independent easel painting and portraiture was only just making its appearance in northern Europe. The early part of the century saw numerous craftsmen's and talented painters travel from Germany, the Netherlands and less often France and Italy to work in England. The most famous of such painters was Hans Holbein who arrived in 1526 for a short visit and returned in 1532 until the end of his life. While Van Dyck arrived in England 1620 for a brief stay, and returned in the 1630s. Yet the history of painting in between the death of Hans Holbein in 1543 and the arrival of Anthony Van Dyck in England in 1620s has traditionally been seen as fallow ground for art historians. -
Rules of Play - Game Design Fundamentals
Table of Contents Table of Contents Table of Contents Rules of Play - Game Design Fundamentals.....................................................................................................1 Foreword..............................................................................................................................................................1 Preface..................................................................................................................................................................1 Chapter 1: What Is This Book About?............................................................................................................1 Overview.................................................................................................................................................1 Establishing a Critical Discourse............................................................................................................2 Ways of Looking.....................................................................................................................................3 Game Design Schemas...........................................................................................................................4 Game Design Fundamentals...................................................................................................................5 Further Readings.....................................................................................................................................6 -
The Well Dress'd Peasant
TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage -
Medieval Population Dynamics to 1500
Medieval Population Dynamics to 1500 Part C: the major population changes and demographic trends from 1250 to ca. 1520 European Population, 1000 - 1300 • (1) From the ‘Birth of Europe’ in the 10th century, Europe’s population more than doubled: from about 40 million to at least 80 million – and perhaps to as much as 100 million, by 1300 • (2) Since Europe was then very much underpopulated, such demographic growth was entirely positive: Law of Eventually Diminishing Returns • (3) Era of the ‘Commercial Revolution’, in which all sectors of the economy, led by commerce, expanded -- with significant urbanization and rising real incomes. Demographic Crises, 1300 – 1500 • From some time in the early 14th century, Europe’s population not only ceased to grow, but may have begun its long two-century downswing • Evidence of early 14th century decline • (i) Tuscany (Italy): best documented – 30% -40% population decline before the Black Death • (ii) Normandy (NW France) • (iii) Provence (SE France) • (iv) Essex, in East Anglia (eastern England) The Estimated Populations of Later Medieval and Early Modern Europe Estimates by J. C. Russell (red) and Jan de Vries (blue) Population of Florence (Tuscany) Date Estimated Urban Population 1300 120,000 1349 36,000? 1352 41, 600 1390 60,000 1427 37,144 1459 37,369 1469 40,332 1488 42,000 1526 (plague year) 70,000 Evidence of pre-Plague population decline in 14th century ESSEX Population Trends on Essex Manors The Great Famine: Malthusian Crisis? • (1) The ‘Great Famine’ of 1315-22 • (if we include the sheep -
Portrait of Queen Elizabeth I (1533–1603) with a Hidden Serpent
Portrait of Queen Elizabeth I (1533–1603) with a hidden serpent By an unknown artist Oil on panel, c.1580s–90s Given by the Mines Royal, Mineral and Battery Societies, 1865 The portrait and its condition This display has provided a rare opportunity to show this portrait in its unrestored condition. Due to loss of paint from the surface, it is now difficult to see how the painting would have originally looked. The composition was based on an existing portrait formula and numerous versions of this portrait type would have been painted, although very few survive today. Elizabeth is shown wearing the Lesser George, the medal signifying membership of the Order of the Garter, on a ribbon around her neck. A portrait underneath The recent technical analysis has shown that the portrait of Elizabeth has been painted over an unfinished portrait of an entirely different sitter. X-ray shows a female head in a higher position, facing in the opposite direction to the portrait of Elizabeth. The eyes and nose of the face underneath can now be seen where paint has been lost from Elizabeth’s forehead. The lips and headdress can also be seen, as can the ruff which was positioned underneath Elizabeth’s chin. The identity of the original sitter remains a mystery but the unfinished portrait appears to have been very competently painted, probably by a different artist. The original sitter appears to have been wearing a French hood of a type that was fashionable in the 1570s and 1580s, suggesting that there may have been a period of a few years before the panel was re-used.