The University of Chicago a Vital Matter: Alchemy
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Alchemical Journey Into the Divine in Victorian Fairy Tales
Studia Religiologica 51 (1) 2018, s. 33–45 doi:10.4467/20844077SR.18.003.9492 www.ejournals.eu/Studia-Religiologica Alchemical Journey into the Divine in Victorian Fairy Tales Emilia Wieliczko-Paprota https://orcid.org/0000-0001-8662-6490 Institute of Polish Language and Literature University of Gdańsk [email protected] Abstract This article demonstrates the importance of alchemical symbolism in Victorian fairy tales. Contrary to Jungian analysts who conceived alchemy as forgotten knowledge, this study shows the vivid tra- dition of alchemical symbolism in Victorian literature. This work takes the readers through the first stage of the alchemical opus reflected in fairy tale symbols, explains the psychological and spiritual purposes of alchemy and helps them to understand the Victorian visions of mystical transforma- tion. It emphasises the importance of spirituality in Victorian times and accounts for the similarity between Victorian and alchemical paths of transformation of the self. Keywords: fairy tales, mysticism, alchemy, subconsciousness, psyche Słowa kluczowe: bajki, mistyka, alchemia, podświadomość, psyche Victorian interest in alchemical science Nineteenth-century fantasy fiction derived its form from a different type of inspira- tion than modern fantasy fiction. As Michel Foucault accurately noted, regarding Flaubert’s imagination, nineteenth-century fantasy was more erudite than imagina- tive: “This domain of phantasms is no longer the night, the sleep of reason, or the uncertain void that stands before desire, but, on the contrary, wakefulness, untir- ing attention, zealous erudition, and constant vigilance.”1 Although, as we will see, Victorian fairy tales originate in the subconsciousness, the inspiration for symbolic 1 M. Foucault, Fantasia of the Library, [in:] Language, Counter-Memory, Practice: Selected Essays and Interviews, D.F. -
CO2 Capture from Flue Gas Using Amino Acid Salt Solutions
CO2 capture from flue gas using amino acid salt solutions Jacco van Holst, Patricia. P. Politiek, John P. M. Niederer, Geert F. Versteeg* University of Twente, Faculty Science and Technology (UT TNW), P.O. Box 217, 7500 AE Enschede, The Netherlands Abstract An initial kinetic study was performed on the reaction of CO2 with various potassium amino acid salt solutions at 298 K. Kinetics were measured at 0.5 kmol/m3, reason for which only apparent ki- netic constants are presented. The results were compared with the work of Kumar et al. [1] and Penny and Ritter [2]. Keywords: CO2, flue gas treatment, kinetics, potassium amino acid salt solutions Introduction One of the most alarming global environmental problems of today is the increase of the natural greenhouse effect. This problem is mainly caused by the increasing atmospheric carbon dioxide concentration due to the burning of fossil fuels for power generation. To reduce these problems, the carbon dioxide emissions from flue and fuel gases produced in combustion and gasification proc- esses in power plants have to be decreased by efficiency improvements and carbon dioxide capture. The removal of acid gases such as carbon dioxide, H2S or COS by absorption in aqueous alkanola- mine solutions is widely used in the chemical industry. Carbon dioxide reacts with primary and sec- ondary amines, reaching an equilibrium of carbamate, bicarbonate, and carbonate species. The ini- tial absorption reaction is the formation of the carbamate, which can then undergo hydrolysis to the bicarbonate and, if conditions such as pH are suitable, the carbonate species. The degree of hydroly- sis of the carbamate is determined by parameters such as amine concentration, solution pH, and the chemical stability of the carbamate [3]. -
Bull. Hist. Chem. 13- 14 (1992-93)
ll. t. Ch. 13 - 14 (2 2 tr nnd p t Ar n lt nftr, vd lfr, th trdtnl prnpl f ltn r ldf qd nn ft n pr plnr nd fx vlttn, tn, rprntn "ttr." S " xt Alh", rfrn prnd fr t rrptn." , pp. 66, 886. 25. Ibid., p. 68: "... prpr & xt lnd n pr 4. W. n, "tn Clavis Str Key," Isis,1987, tll t n ..." 78, 644. 26. W. n, The "Summa perfectionis" of pseudo-Geber, 46. hllth, Introitus apertus, BCC, II, 66, "... lphr xtr dn, , pp. 42. n ..." 2. l, "tn Alht," rfrn , pp. 224. 4. frn 4, pp. 24. 28. [Ern hllth,] Sir George Ripley's Epistle to King 48. bb, Foundations , rfrn , p. 28. Edward Unfolded, MS. Gl Unvrt, rn 8, pp. 80, 4. l, " xt Alh", rfrn , p. 64. p. 0. bb, Foundations, rfrn , pp. 22222. 2. MS. rn 8, p. Cf. l Philalethes,Introitusapertus, . Wtfll, Never at Rest, rfrn 8, p. 8. in Bibliotheca chemica curiosa, n Mnt, rfrn 2, l. II, p. 2. r t ll b fl t v bth tn prphr 664. (Cbrd Unvrt brr, Kn MS. 0, f. 22r nd th 30. Ibid., MS. rn 8, pp. 2. rnl (hllth, Introitus apertus, in Bibliotheca chemica curi- 31. Ibid. osa, l. II, p. 66: 32. Ibid., pp. 6. Newton: h t trr prptr ltn , t 33. Ibid. nrl trx prptr nrl n p ltntr, t 4. l, "tn Alht," rfrn , p. 20. tn r vltl, t l [lphr] n tr rvlvntr . [Ern hllth,] Sir George Riplye' s Epistle to King ntnt n ntr , d ntr tt t & trrn d Edward Unfolded, n Chymical, Medicinal, and Chyrurgical AD- prf llnt. -
Cromwelliana 2012
CROMWELLIANA 2012 Series III No 1 Editor: Dr Maxine Forshaw CONTENTS Editor’s Note 2 Cromwell Day 2011: Oliver Cromwell – A Scottish Perspective 3 By Dr Laura A M Stewart Farmer Oliver? The Cultivation of Cromwell’s Image During 18 the Protectorate By Dr Patrick Little Oliver Cromwell and the Underground Opposition to Bishop 32 Wren of Ely By Dr Andrew Barclay From Civilian to Soldier: Recalling Cromwell in Cambridge, 44 1642 By Dr Sue L Sadler ‘Dear Robin’: The Correspondence of Oliver Cromwell and 61 Robert Hammond By Dr Miranda Malins Mrs S C Lomas: Cromwellian Editor 79 By Dr David L Smith Cromwellian Britain XXIV : Frome, Somerset 95 By Jane A Mills Book Reviews 104 By Dr Patrick Little and Prof Ivan Roots Bibliography of Books 110 By Dr Patrick Little Bibliography of Journals 111 By Prof Peter Gaunt ISBN 0-905729-24-2 EDITOR’S NOTE 2011 was the 360th anniversary of the Battle of Worcester and was marked by Laura Stewart’s address to the Association on Cromwell Day with her paper on ‘Oliver Cromwell: a Scottish Perspective’. ‘Risen from Obscurity – Cromwell’s Early Life’ was the subject of the study day in Huntingdon in October 2011 and three papers connected with the day are included here. Reflecting this subject, the cover illustration is the picture ‘Cromwell on his Farm’ by Ford Madox Brown (1821–1893), painted in 1874, and reproduced here courtesy of National Museums Liverpool. The painting can be found in the Lady Lever Art Gallery in Port Sunlight Village, Wirral, Cheshire. In this edition of Cromwelliana, it should be noted that the bibliography of journal articles covers the period spring 2009 to spring 2012, addressing gaps in the past couple of years. -
Re-Settling Woes and Rebellions: the Role of Irelands Naturall History in the Cromwellian Era
Re-Settling Woes and Rebellions: The Role of Irelands Naturall History in the Cromwellian Era Rana Fahmy A Thesis in The Department of History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (History) at Concordia University Montreal, Quebec, Canada April 2019 © Rana Fahmy, 2019 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Rana Fahmy Entitled: Re-Settling Woes and Rebellions: The Role of Irelands Naturall History in the Cromwellian Era and submitted in partial fulfillment of the requirements for the degree of Master of Arts (History) and complies with the regulations of the University and meets the accepted standards with respect to ordinality and quality. Signed by the final Examining Committee: Barbara Lorenzkowski Chair Chair’s Name Anya Zilberstein Examiner Examiner’s Name Gavin Foster Examiner Examiner’s Name Ted McCormick Supervisor Supervisor’s Name Approved by Barbara Lorenzkowski Chair of Department or Graduate Program Director April 2019 André G. Roy Dean of Faculty ABSTRACT Re-Settling Woes and Rebellions: The Role of Irelands Naturall History in the Cromwellian Era Rana Fahmy Irelands Naturall History, written by the Dutch physician Gerard Boate, is a key document in the history of science during the seventeenth century. Yet, scholars have undermined its significance in the Cromwellian resettlement of Ireland and its influence on colonial projects under the umbrella of ‘science’ during the 1650s. The interconnections between the advancement of the new learning during a period of political turmoil that began with the Irish rebellion of 1641 raises new questions for colonial narratives. -
SALTS of FATTY ACIDS
SALTS of FATTY ACIDS Prepared at the 33rd JECFA (1988), published in FNP 38 (1988) and in FNP 52 (1992). Metals and arsenic specifications revised at the 55th JECFA (2000). An ADI 'not specified' was established at the 33rd JECFA (1988) SYNONYMS INS No. 470 DEFINITION These products consist of calcium, potassium or sodium salts of commercial myristic, oleic, palmitic, stearic, acids or mixtures of these acids from edible fats and oils. The article of commerce can be further specified by: - saponification value, - solidification point for the fatty acids obtained from the salts, - iodine value, - residue on ignition including assay of the cation, and - moisture content Assay Not less than 95% total fatty acid salts, dry weight basis DESCRIPTION Hard, white or faintly yellowish, somewhat glossy and crystalline solids or semi-solids or white or yellowish-white powder FUNCTIONAL USES Anticaking agent, emulsifier CHARACTERISTICS IDENTIFICATION Solubility (Vol. 4) Potassium and sodium salts are soluble in water and ethanol; calcium salts are insoluble in water, ethanol and ether Test for cations Heat 1 g of the sample with a mixture of 25 ml of water and 5 ml of hydrochloric acid. Fatty acids are liberated, floating as a solid or oil layer on the surface which is soluble in hexane. After cooling, aqueous layer is decanted and evaporated to dryness. Dissolve the residue in water and test for the appropriate cation. Fatty acid composition Using the Method of Assay, identify the individual fatty sample. The fatty acid(s) in primary abundance should conform to those declared on the label of the product PURITY Free fatty acids Not more than 3% Measure free fatty acids as directed in the method Free Fatty Acids. -
Verse and Transmutation History of Science and Medicine Library
Verse and Transmutation History of Science and Medicine Library VOLUME 42 Medieval and Early Modern Science Editors J.M.M.H. Thijssen, Radboud University Nijmegen C.H. Lüthy, Radboud University Nijmegen Editorial Consultants Joël Biard, University of Tours Simo Knuuttila, University of Helsinki Jürgen Renn, Max-Planck-Institute for the History of Science Theo Verbeek, University of Utrecht VOLUME 21 The titles published in this series are listed at brill.com/hsml Verse and Transmutation A Corpus of Middle English Alchemical Poetry (Critical Editions and Studies) By Anke Timmermann LEIDEN • BOSTON 2013 On the cover: Oswald Croll, La Royalle Chymie (Lyons: Pierre Drobet, 1627). Title page (detail). Roy G. Neville Historical Chemical Library, Chemical Heritage Foundation. Photo by James R. Voelkel. Library of Congress Cataloging-in-Publication Data Timmermann, Anke. Verse and transmutation : a corpus of Middle English alchemical poetry (critical editions and studies) / by Anke Timmermann. pages cm. – (History of Science and Medicine Library ; Volume 42) (Medieval and Early Modern Science ; Volume 21) Includes bibliographical references and index. ISBN 978-90-04-25484-8 (hardback : acid-free paper) – ISBN 978-90-04-25483-1 (e-book) 1. Alchemy–Sources. 2. Manuscripts, English (Middle) I. Title. QD26.T63 2013 540.1'12–dc23 2013027820 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1872-0684 ISBN 978-90-04-25484-8 (hardback) ISBN 978-90-04-25483-1 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. -
A New Vision of the Senses in the Work of Galileo Galilei
Perception, 2008, volume 37, pages 1312 ^ 1340 doi:10.1068/p6011 Galileo's eye: A new vision of the senses in the work of Galileo Galilei Marco Piccolino Dipartimento di Biologia, Universita© di Ferrara, I 44100 Ferrara, Italy; e-mail: [email protected] Nicholas J Wade University of Dundee, Dundee DD1 4HN, Scotland, UK Received 4 December 2007 Abstract. Reflections on the senses, and particularly on vision, permeate the writings of Galileo Galilei, one of the main protagonists of the scientific revolution. This aspect of his work has received scant attention by historians, in spite of its importance for his achievements in astron- omy, and also for the significance in the innovative scientific methodology he fostered. Galileo's vision pursued a different path from the main stream of the then contemporary studies in the field; these were concerned with the dioptrics and anatomy of the eye, as elaborated mainly by Johannes Kepler and Christoph Scheiner. Galileo was more concerned with the phenomenology rather than with the mechanisms of the visual process. His general interest in the senses was psychological and philosophical; it reflected the fallacies and limits of the senses and the ways in which scientific knowledge of the world could be gathered from potentially deceptive appearances. Galileo's innovative conception of the relation between the senses and external reality contrasted with the classical tradition dominated by Aristotle; it paved the way for the modern understanding of sensory processing, culminating two centuries later in Johannes Mu« ller's elaboration of the doctrine of specific nerve energies and in Helmholtz's general theory of perception. -
The Philosopher's Stone
The Philosopher’s Stone Dennis William Hauck, Ph.D., FRC Dennis William Hauck is the Project Curator of the new Alchemy Museum, to be built at Rosicrucian Park in San Jose, California. He is an author and alchemist working to facilitate personal and planetary transformation through the application of the ancient principles of alchemy. Frater Hauck has translated a number of important alchemy manuscripts dating back to the fourteenth century and has published dozens of books on the subject. He is the founder of the International Alchemy Conference (AlchemyConference.com), an instructor in alchemy (AlchemyStudy.com), and is president of the International Alchemy Guild (AlchemyGuild. org). His websites are AlchemyLab.com and DWHauck.com. Frater Hauck was a presenter at the “Hidden in Plain Sight” esoteric conference held at Rosicrucian Park. His paper based on that presentation entitled “Materia Prima: The Nature of the First Matter in the Esoteric and Scientific Traditions” can be found in Volume 8 of the Rose+Croix Journal - http://rosecroixjournal.org/issues/2011/articles/vol8_72_88_hauck.pdf. he Philosopher’s Stone was the base metal into incorruptible gold, it could key to success in alchemy and similarly transform humans from mortal Thad many uses. Not only could (corruptible) beings into immortal (incor- it instantly transmute any metal into ruptible) beings. gold, but it was the alkahest or universal However, it is important to remember solvent, which dissolved every substance that the Stone was not just a philosophical immersed in it and immediately extracted possibility or symbol to alchemists. Both its Quintessence or active essence. The Eastern and Western alchemists believed it Stone was also used in the preparation was a tangible physical object they could of the Grand Elixir and aurum potabile create in their laboratories. -
Ethan Allen Hitchcock Soldier—Humanitarian—Scholar Discoverer of the "True Subject'' of the Hermetic Art
Ethan Allen Hitchcock Soldier—Humanitarian—Scholar Discoverer of the "True Subject'' of the Hermetic Art BY I. BERNARD COHEN TN seeking for a subject for this paper, it had seemed to me J- that it might prove valuable to discuss certain aspects of our American culture from the vantage point of my own speciality as historian of science and to illustrate for you the way in which the study of the history of science may provide new emphases in American cultural history—sometimes considerably at variance with established interpretations. American cultural history has, thus far, been written largely with the history of science left out. I shall not go into the reasons for that omission—they are fairly obvious in the light of the youth of the history of science as a serious, independent discipline. This subject enables us to form new ideas about the state of our culture at various periods, it casts light on the effects of American creativity upon Europeans, and it focuses attention on neglected figures whose value is appreciated abroad but not at home. For example, our opinion of American higher education in the early nineteenth century is altered when we discover that at Harvard and elsewhere the amount of required science and mathematics was exactly three times as great as it is today in an "age of science."^ In the eighteenth century when, according to Barrett Wendell, Harvard gave its » See "Harvard and the Scientific Spirit," Harvard Alumni Bull, 7 Feb. 1948. 3O AMERICAN ANTIQUARIAN SOCIETY [April, students only "a fair training in Latin -
Galileo in Early Modern Denmark, 1600-1650
1 Galileo in early modern Denmark, 1600-1650 Helge Kragh Abstract: The scientific revolution in the first half of the seventeenth century, pioneered by figures such as Harvey, Galileo, Gassendi, Kepler and Descartes, was disseminated to the northernmost countries in Europe with considerable delay. In this essay I examine how and when Galileo’s new ideas in physics and astronomy became known in Denmark, and I compare the reception with the one in Sweden. It turns out that Galileo was almost exclusively known for his sensational use of the telescope to unravel the secrets of the heavens, meaning that he was predominantly seen as an astronomical innovator and advocate of the Copernican world system. Danish astronomy at the time was however based on Tycho Brahe’s view of the universe and therefore hostile to Copernican and, by implication, Galilean cosmology. Although Galileo’s telescope attracted much attention, it took about thirty years until a Danish astronomer actually used the instrument for observations. By the 1640s Galileo was generally admired for his astronomical discoveries, but no one in Denmark drew the consequence that the dogma of the central Earth, a fundamental feature of the Tychonian world picture, was therefore incorrect. 1. Introduction In the early 1940s the Swedish scholar Henrik Sandblad (1912-1992), later a professor of history of science and ideas at the University of Gothenburg, published a series of works in which he examined in detail the reception of Copernicanism in Sweden [Sandblad 1943; Sandblad 1944-1945]. Apart from a later summary account [Sandblad 1972], this investigation was published in Swedish and hence not accessible to most readers outside Scandinavia. -
A Short Course in Forgetting Chemistry
[This is from What Painting Is (New York: Routledge, 1998). This was originally posted on www.jameselkins.com. This version is unillustrated: some illustrations are on the website. Some alchemical symbols have dropped out of this file. See the website for context, other material from the book, and for contact information for the author. (September 2009).] 1 A short course in forgetting chemistry Painting is alchemy. Its materials are worked without knowledge of their properties, by blind experiment, by the feel of the paint. A painter knows what to do by the tug of the brush as it pulls through a mixture of oils, and by the look of colored slurries on the palette. Drawing is a matter of touch: the pressure of the charcoal on the slightly yielding paper, the sticky slip of the oil crayon between the fingers. Artists become expert in distinguishing between degrees of gloss and wetness—and they do so without knowing how they do it, or how chemicals create their effects. Monet’s paintings are a case in point. They seem especially simple to many people, as if Monet were the master of certain moods—of moist bluish twilight or candent yellow beaches— but nothing more: as if he had no sense that painting could be anything but a method for fixing light onto canvas. In his singleminded pursuit of the grain and feel of light, he seems to forget who he is, and who he is painting. He has only a weak attachment to people, and he treats the figures who stray into his pictures as if they were colored dolls instead of friends and relatives.i Instead his attention is riveted to the blurry shapes that come forward through the imperfect atmosphere, and on the shifting tints of light that somehow congeal into meadows and oceans and haystacks.