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III. Here Be Dragons: the (Pre)History of the Adventure Game
III. Here Be Dragons: the (pre)history of the adventure game The past is like a broken mirror, as you piece it together you cut yourself. Your image keeps shifting and you change with it. MAX PAYNE 2: THE FALL OF MAX PAYNE At the end of the Middle Ages, Europe’s thousand year sleep – or perhaps thousand year germination – between antiquity and the Renaissance, wondrous things were happening. High culture, long dormant, began to stir again. The spirit of adventure grew once more in the human breast. Great cathedrals rose, the spirit captured in stone, embodiments of the human quest for understanding. But there were other cathedrals, cathedrals of the mind, that also embodied that quest for the unknown. They were maps, like the fantastic, and often fanciful, Mappa Mundi – the map of everything, of the known world, whose edges both beckoned us towards the unknown, and cautioned us with their marginalia – “Here be dragons.” (Bradbury & Seymour, 1997, p. 1357)1 At the start of the twenty-first century, the exploration of our own planet has been more or less completed2. When we want to experience the thrill, enchantment and dangers of past voyages of discovery we now have to rely on books, films and theme parks. Or we play a game on our computer, preferably an adventure game, as the experience these games create is very close to what the original adventurers must have felt. In games of this genre, especially the older type adventure games, the gamer also enters an unknown labyrinthine space which she has to map step by step, unaware of the dragons that might be lurking in its dark recesses. -
Recent Publications 1984 — 2017 Issues 1 — 100
RECENT PUBLICATIONS 1984 — 2017 ISSUES 1 — 100 Recent Publications is a compendium of books and articles on cartography and cartographic subjects that is included in almost every issue of The Portolan. It was compiled by the dedi- cated work of Eric Wolf from 1984-2007 and Joel Kovarsky from 2007-2017. The worldwide cartographic community thanks them greatly. Recent Publications is a resource for anyone interested in the subject matter. Given the dates of original publication, some of the materi- als cited may or may not be currently available. The information provided in this document starts with Portolan issue number 100 and pro- gresses to issue number 1 (in backwards order of publication, i.e. most recent first). To search for a name or a topic or a specific issue, type Ctrl-F for a Windows based device (Command-F for an Apple based device) which will open a small window. Then type in your search query. For a specific issue, type in the symbol # before the number, and for issues 1— 9, insert a zero before the digit. For a specific year, instead of typing in that year, type in a Portolan issue in that year (a more efficient approach). The next page provides a listing of the Portolan issues and their dates of publication. PORTOLAN ISSUE NUMBERS AND PUBLICATIONS DATES Issue # Publication Date Issue # Publication Date 100 Winter 2017 050 Spring 2001 099 Fall 2017 049 Winter 2000-2001 098 Spring 2017 048 Fall 2000 097 Winter 2016 047 Srping 2000 096 Fall 2016 046 Winter 1999-2000 095 Spring 2016 045 Fall 1999 094 Winter 2015 044 Spring -
Introduction Hic Sunt Dracones—Astrolabe Research Revisited
Medieval Medieval Encounters �3 (�0�7) 3–7 Jewish, Christian and Muslim Culture Encounters in Confluence and Dialogue brill.com/me Introduction ∵ Hic Sunt Dracones—Astrolabe Research Revisited Silke Ackermann Museum of the History of Science, Broad Street, Oxford OX1 3AZ, UK [email protected] Hic sunt dracones (Here be dragons) is said to be the phrase commonly used on medieval maps to indicate blank areas that are awaiting further exploration and are thus somewhat dangerous. In fact it is not—there appears to be only one globe that bears this phrase on the eastern coast of Asia,1 but neverthe- less the expression has taken on a life of its own, understood in a variety of contexts. Hic sunt leones (Here be lions) is used with a similar connotation by brother Jorge, the evil monk in The Name of the Rose when he is referring to danger- ous knowledge and again, now in the ambiguous sense, by the main character and hero of the book, Franciscan brother William of Baskerville when he finds Africa on a map in the library.2 It is this same William of Baskerville who, portrayed by Sean Connery in the Hollywood movie, brought an astrolabe to the attention of a wider public—a sort of outreach, if you like. Because it is he who in one of the key scenes of the movie furtively reaches for an astrolabe in his bag to take some readings (what those are we are never told),3 anxious not be seen to use this instrument introduced from the Islamic—and thus heretical, according to the church authorities—world. -
Extending Arda: Mapping Beyond the Lord of the Rings and Silmarillion
Journal of Tolkien Research Volume 11 Issue 1 Article 8 2020 Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion Stentor Danielson Slippery Rock University of Pennsylvania, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Human Geography Commons, Literature in English, British Isles Commons, and the Physical and Environmental Geography Commons Recommended Citation Danielson, Stentor (2020) "Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion," Journal of Tolkien Research: Vol. 11 : Iss. 1 , Article 8. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol11/iss1/8 This Peer-Reviewed Article is brought to you for free and open access by ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Danielson: Extending Arda Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion J.R.R. Tolkien is famous for creating an entire world (known as Arda), but his writings about it leave much of its territory sketched in only the vaguest terms. This has not prevented fans from wondering what lies beyond the edges of our canonical knowledge. In both fiction and cartography, they have sought to flesh out the geography of Arda. In doing so, they have revealed much about the ideas they have about both our primary world and the secondary world of the legendarium. Examination of such maps provides a window into the process of sub-creation: the remixing of elements the sub-creator sees in those worlds (Wolf 2019). -
Mobile Mapping Mobile Mapping Mediamatters
media Mobile Mapping matters Space, Cartography and the Digital Amsterdam University clancy wilmott Press Mobile Mapping MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Mobile Mapping Space, Cartography and the Digital Clancy Wilmott Amsterdam University Press The publication of this book is made possible by a grant from the European Research Council (ERC) under the European Community’s 7th Framework program (FP7/2007-2013)/ ERC Grant Number: 283464 Cover illustration: Clancy Wilmott Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 94 6298 453 0 e-isbn 978 90 4853 521 7 doi 10.5117/9789462984530 nur 670 © C. Wilmott / Amsterdam University Press B.V., Amsterdam 2020 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents Acknowledgements 7 Part 1 – Maps, Mappers, Mapping 1. -
1 Renaissance Articles
Renaissance Articles 1. “[Maphist] Waldseemüller questions”. 2. “1520 Petrus Apianus”. 3. “A Note on Olaus Magnus' Map”, Imago Mundi, Vol. 9 (1952), p. 82. 4. “Abel Buell 1783 Map”, 6 pp. 5. “Carta Marina or 'Navigators' Chart' of 1516 by Martin Waldseemüller”, 2 pp. 6. “Japan’s Shifting Position on Maps of the World of the Late Edo Period” 7. “Johannes Ruysch” 8. “Map of All the Countries in Jambudvipa (Nansenbushu bankoku shoka no zu)”, 4 pp. 9. “Muenster’s Western Hemisphere 1550/1588”. 10. “The Piri Reis Map of 1513: Hoaxes & Controversies”, 2007 11. “The Piri Reis map of 1513”, 11 pp. 12. “The Rediscovery of Ptolemy’s Geography (End of the Thirteenth to End of the Fifteenth Century)”, Imago Mundi Vol. 61, Part 1: 124–127 13. “The River System of South America is Shown on the Henricus Martellus Map (1489)”. 14. “The Sylvanus 1511 World Map: The New World Locked in an Old Cage”. 15. “The Trefoil of the World”, 10 pp. 16. “Waldseemüller Globe Gores”, 10 pp. 17. Abeydeera, Ananda, “The Portuguese Quest for Taprobane”, Mapline N. 93 (2001), pp. 1- 4. 18. Almagia, Roberto, “On the Cartographic Work of Francesco Rosselli”, Imago Mundi, Vol. 8 (1951), pp. 27-34. 19. Almagia, Roberto, “The Atlas of Pietro Coppo, 1520”, Imago Mundi, Vol. 7 (1950), pp. 48- 50. 20. Arbel, Benjamin, “Maps of the world for ottoman princes? Further evidence and questions concerning the mappamondo of Hajji Ahmed”, Imago Mundi, 54:1, 19-29. 21. Ayusawa, Shintaro, “The Types of World Map Made in Japan's Age of National Isolation, 22. -
The Evolution of the Western Dragon
Athens Journal of Mediterranean Studies- Volume 4, Issue 4 – Pages 265-290 The Evolution of the Western Dragon By Sharon Khalifa-Gueta The figure of the dragon seems to be magnetic for human imagination and flourishes even these days. In the present article I explore the biological and psychological reasons why dragons were initially created in the human mind. Although I focus on the Mediterranean dragon figure as it evolved over time, the theories I suggest here for the reasons for the creation of dragons hold globally. I discuss the origins of the dragon figure in snakes, explain the reasons for the various kinds of imagined dragons, and categorize the different dragon prototypes that developed in the Mediterranean region. This article provides basic information that can be the foundation for further study of the subject. Keywords: Art, Dragon, Life metaphor, Snake, Underworld Introduction It seems to me that choosing to explore the meaning and function of the dragon figure is to come face to face with one of mankind‟s most fascinating phenomenon: The dragon is one of the most intriguing products of the human imagination, and we can find images of dragons in all cultures from as early as the prehistoric era. The dragon‟s popularity soared in all of the major ancient cultures – Mesopotamian, Indo-European, Chinese, and Egyptian, as well as pre-Colombian cultures. In this article, I focus on dragon images in ancient and medieval Mediterranean cultures that constituted an inspiration for the figure of the dragon in Early Modern Europe. The long-term popularity of the dragon figure in Mediterranean cultures is proof that it serves a psychological need. -
Friendly Dragons the Final Kind of Dragon Is the Helpful, Friendly Kind of Dragon That Can Be Found in Many Children’S Stories
Historic Royal Places – Spines Format A4 Landscape Spine Width 35mm Spine Height 210mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) be dragons Here 1 Contents Here be Dragons 3 How to be a ‘Dragonologist’ 5 Seven Kinds of Dragon 7 The Littlest Dragon (story for younger children) 12 Dragon Hunt 13 Recreating the Kew Dragons 14 The Blacksmith’s Daughter (story for 9-12 year olds) 18 How to draw a Dragon (step by step guide) 21 Teacher/parent notes 24 Glossary 25 Reading list 26 Dragons and Pagodas game (snakes and ladders game redesigned) 27 More places to find Dragons 28 Here be dragons In the Middle Ages, the words hic sunt dracones (here be dragons) were written on maps to indicate dangerous or unexplored territories, often accompanied by a picture of a strange and terrifying creature. Some people think that dragons don’t exist but even today we can hear their stories and see their images all over the world. This short pack aims to introduce you to the world of dragons and help you to invent, draw and design your very own dragon. es on rac hic sunt d 3 Blue Peter Design a Dragon Competition Here Be Dragons’ is a family learning programme and trail from Kew Palace to Kew Pagoda that celebrates the history of dragons in design and decoration in the UK and in China. Working in partnership with Blue Peter and through our family learning programme, we will explore the science, art and technology involved in creating sculptures that last and will create six models to form a physical trail that leads from the palace to the Pagoda in 2018. -
Introduction I
Introduction This volume continues to show that there were clear differences in the character of Western medieval world maps, depending on the sub-period in which they were created, and the continued progress that was being made in Asian cartography. It is thus not possible to generalize accurately for the mappaemundi of this thousand-year period variously referred to as the “Medieval Period”, the “Middle Ages”, or even the “Dark Ages”. In what David Woodward calls the Patristic period, from about A.D. 400 to 700, three basic cartographic traditions - the Macrobian, Orosian, and Isidorian - were established, and these do recur throughout the entire medieval period. In the second period, from about 700 to 1100, in which a larger sample of mappaemundi first appears, little innovation is seen in Europe except in the maps of Beatus (#207, Book IIA), despite the renewed interest in natural science; however, considerable expertise was becoming evident in Asia. It is not until the third period, from about 1100 to 1300, with the influx and translation of numerous Arabic and Greek manuscripts, especially the Almagest by Ptolemy (#119, Book I), that scientific interest re-awakens (for examples of maps from these two early medieval periods, see #200-#226 in Book IIA of these monographs). The last period, from about 1300 to 1500 and the subject of this volume, stands apart from the earlier tradition of mappaemundi and acts as a transitional stage between the medieval and modern worlds of mapping. The three frameworks of maps: monastic, nautical, and Ptolemaic, which had for a while each enjoyed a separate and parallel development in Europe, came together in the 15th century and set the stage for the technical advances of the European Renaissance.