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Ichthyology in Context (1500–1880) provides a broad spectre of early modern manifestations of human fascination with fish – “fish” understood in the early modern sense of the term, as aquatilia: all aquatic animals, including sea mammals and crustaceans. It addresses the period’s quickly growing knowledge about fish in its multiple, varied and rapidly changing interaction with culture. This topic is approached from various disciplines: history of science, cultural history, history of collections, historical ecology, art history, literary studies, and lexicology. Attention is given to the problematic questions of visual and textual representation of fish, and pre- and post-Linnean classification and taxonomy. This book also explores the transnational exchange of ichthyological knowledge and items in and outside Europe.
Contributors: Cristina Brito, Tobias Bulang, João Paulo S. Cabral, Florike Egmond, Dorothee Fischer, Holger Funk, Dirk Geirnaert, Philippe Glardon, Justin R. Hanisch, Bernardo Jerosch Herold, Rob Lenders, Alan Moss, Doreen Mueller, Johannes Müller, Martien J.P. van Oijen, Pietro Daniel Omodeo, Anne M. Overduin-de Vries, Theodore W. Pietsch, Cynthia Pyle, Marlise Rijks, Paul J. Smith, Ronny Spaans, Robbert Striekwold, Melinda Susanto, Didi van Trijp, Sabina Tsapaeva, and Ching-Ling Wang.
Contributors: Cristina Brito, Tobias Bulang, João Paulo S. Cabral, Florike Egmond, Dorothee Fischer, Holger Funk, Dirk Geirnaert, Philippe Glardon, Justin R. Hanisch, Bernardo Jerosch Herold, Rob Lenders, Alan Moss, Doreen Mueller, Johannes Müller, Martien J.P. van Oijen, Pietro Daniel Omodeo, Anne M. Overduin-de Vries, Theodore W. Pietsch, Cynthia Pyle, Marlise Rijks, Paul J. Smith, Ronny Spaans, Robbert Striekwold, Melinda Susanto, Didi van Trijp, Sabina Tsapaeva, and Ching-Ling Wang.
Series:
Intersections, Volume: 87
Ichthyology in Context (1500–1880) provides a broad spectre of early modern manifestations of human fascination with fish – “fish” understood in the early modern sense of the term, as aquatilia: all aquatic animals, including sea mammals and crustaceans. It addresses the period’s quickly growing knowledge about fish in its multiple, varied and rapidly changing interaction with culture. This topic is approached from various disciplines: history of science, cultural history, history of collections, historical ecology, art history, literary studies, and lexicology. Attention is given to the problematic questions of visual and textual representation of fish, and pre- and post-Linnean classification and taxonomy. This book also explores the transnational exchange of ichthyological knowledge and items in and outside Europe.
Contributors: Cristina Brito, Tobias Bulang, João Paulo S. Cabral, Florike Egmond, Dorothee Fischer, Holger Funk, Dirk Geirnaert, Philippe Glardon, Justin R. Hanisch, Bernardo Jerosch Herold, Rob Lenders, Alan Moss, Doreen Mueller, Johannes Müller, Martien J.P. van Oijen, Pietro Daniel Omodeo, Anne M. Overduin-de Vries, Theodore W. Pietsch, Cynthia Pyle, Marlise Rijks, Paul J. Smith, Ronny Spaans, Robbert Striekwold, Melinda Susanto, Didi van Trijp, Sabina Tsapaeva, and Ching-Ling Wang.
Contributors: Cristina Brito, Tobias Bulang, João Paulo S. Cabral, Florike Egmond, Dorothee Fischer, Holger Funk, Dirk Geirnaert, Philippe Glardon, Justin R. Hanisch, Bernardo Jerosch Herold, Rob Lenders, Alan Moss, Doreen Mueller, Johannes Müller, Martien J.P. van Oijen, Pietro Daniel Omodeo, Anne M. Overduin-de Vries, Theodore W. Pietsch, Cynthia Pyle, Marlise Rijks, Paul J. Smith, Ronny Spaans, Robbert Striekwold, Melinda Susanto, Didi van Trijp, Sabina Tsapaeva, and Ching-Ling Wang.
The Literary Reception of Herman Hugo's "Pia Desideria" in the Polish-Lithuanian Commonwealth
Author:
This book is available in open access thanks to the generous support of the Adam Mickiewicz University, Poznań
This is the first monographic study of the reception of Herman Hugo's emblem book Pia desideria (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original edition were used by Polish-speaking authors. Attention is also given to the reception of the engravings in paintings. Furthermore, the author examines the reasons for the book's popularity, proving that it was determined by the interest of women who did not know Latin, yet constituted the most important target group for the numerous and varied Polish adaptations.
This is the first monographic study of the reception of Herman Hugo's emblem book Pia desideria (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original edition were used by Polish-speaking authors. Attention is also given to the reception of the engravings in paintings. Furthermore, the author examines the reasons for the book's popularity, proving that it was determined by the interest of women who did not know Latin, yet constituted the most important target group for the numerous and varied Polish adaptations.
The Literary Reception of Herman Hugo's "Pia Desideria" in the Polish-Lithuanian Commonwealth
Author:
This book is available in open access thanks to the generous support of the Adam Mickiewicz University, Poznań
This is the first monographic study of the reception of Herman Hugo's emblem book Pia desideria (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original edition were used by Polish-speaking authors. Attention is also given to the reception of the engravings in paintings. Furthermore, the author examines the reasons for the book's popularity, proving that it was determined by the interest of women who did not know Latin, yet constituted the most important target group for the numerous and varied Polish adaptations.
This is the first monographic study of the reception of Herman Hugo's emblem book Pia desideria (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original edition were used by Polish-speaking authors. Attention is also given to the reception of the engravings in paintings. Furthermore, the author examines the reasons for the book's popularity, proving that it was determined by the interest of women who did not know Latin, yet constituted the most important target group for the numerous and varied Polish adaptations.
Author:
Abstract
This work discusses ten different translations and adaptations of Herman Hugo’s emblem book Pia desideria (1624) in the Polish–Lithuanian Commonwealth. It shows how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors. The author examines the reasons for the phenomenon of the volume’s popularity and proves that it was determined by the interest of non-Latin speaking women.
Author:
Abstract
This article examines Japanese experiments concerning the power of “thoughtography,” demonstrating how sensory disagreements between psychologists and physicists were concretized through divergent gendered personae within contested spaces of experiment. Specifically, I analyze thoughtography as a story of conflicts between personae of “gentleman” and “detective” within the private, nuclear-familial home of the “housewife.” In the early twentieth century, the psychological laboratory had yet to establish its authority in Japan. Successful experiment thus required visiting subjects and navigating the intersensorial spaces of their homes. The strategies through which researchers adapted to homes, and the strategies by which housewives manipulated homes to their advantage, reveal contestations over how to look, touch, and feel in the presence of others. They furthermore reveal that the drive to emulate “Western science” met with contradictions in “Westernization” itself, particularly between demands concerning new protocols of masculine scholarly sociability and the prerogatives of the bourgeois wife and mother.
In:
Nuncius
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Abstract
According to a history of Medina written in the first half of the fourteenth century, in the year 557/1162 two Christians from the Iberian Peninsula attempted to steal the remains of the Prophet Muḥammad from his grave. In a later source, the culprit is presented as a Shīʿī. This paper seeks to explain how the story—full of colorful details—came into being, how it relates to other stories dealing with attempts at stealing the Prophet’s body and with Christian attacks on Muslim holy sites, and why in the earliest extant source the protagonists are Iberian Christians. This study demonstrates that to understand the central role given to Christian agents in such narratives one should consider how the Andalusīs, forced to migrate from their land because of Christian territorial advance in the Iberian Peninsula, tried—unsuccessfully—to influence the policies of rulers in the Mashriq (Islamic East) to save their homeland from Christian conquest.
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Abstract
This study takes a renewed look at Urraca of León-Castile (c.1080–1126) through the medium of five different coin types with her ‘portrait’ that were produced over the course of her seventeen-year reign. In the past decade, heretofore unknown coins and new examples of little studied coins have been published by numismatists, and together they shed fresh light on the complex picture of Urraca as reigning queen. The present study assesses the visual and material evidence together with textual sources to understand the reasons behind the minting of multiple portrait-types coins. In doing so, Urraca both broke with the past and established a pattern that would be followed by her successors. I argue that Urraca’s portrait coins allow us more direct access to her ambitions as ruler, without the intermediation of father, son, or consorts, in a way that an examination of the textual sources alone has not been able to achieve.
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Abstract
The first half of the thirteenth century saw dramatic change in the geopolitical configuration of the Iberian Peninsula, as King Fernando III of Castile (r. 1217–1252) led a series of military victories against the Islamic Almohad south, expanding Castilian control into almost all of al-Andalus. Yet the rhetoric of interreligious warfare found echoes far behind the military frontline. This contribution analyses a liturgical prayer to be used “in time of war against the Saracens”, invoking divine protection for the Castilian king and his armies against the “Muslim people” or gens Maurorum. Inscribed in a thirteenth-century sacramentary in the archive of Burgos cathedral, this prayer appears to be modelled on the ‘crusading clamour’, a liturgical form associated with crusade to Jerusalem. The adaptation of this form for a Castilian context and audience brings a new, liturgical perspective from which to examine the interreligious conflict of thirteenth-century Iberia, as well as highlighting the interconnectedness of medieval Castile within wider Latin liturgical trends. A transcription and translation of the Oratio in tempore belli adversus Saracenos can be found at the end of this chapter.
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The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.
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This essay proposes that Valeria Luiselli’s Los ingrávidos rethinks modes of critical reading in the twenty-first century, arguing that the writer trains her reader in a mode of reading which anticipates Rita Felski’s opposition to critique, relishing acceptance and deference over suspicion and interrogation. By focusing on Luiselli’s intervention into readerly practice in this way, the essay moves beyond stringent national and historicist frameworks which often risk obscuring that novelist’s experimental forms and avant-garde project.
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Abstract
Among the most popular hagiographies throughout Eastern and Coptic Christianity, Athanasius’ Life of Antony has exercised profound influence upon Western visual and literary art, not least Vladimir Nabokov’s Bend Sinister. Querying the alleged originality of Nabokov’s “symbol of the Divine power,” this article examines Nabokov’s engagement with the Antonian hagiographic tradition—represented by Athanasius’ Life, Hieronymus Bosch’s Triptych of the Temptation of St. Anthony, and Gustave Flaubert’s Le Tentation de saint Antoine—to reveal the religious ground of protagonist Adam Krug’s saint-like identity and the novel’s metaliterary mysticism in the Lord’s figural descent upon an inclined beam of light at the end of Antony’s temptations. Providing a transgressive theological terroir for Nabokov to probe the porous varieties of the real, the Antonian sources of Krug’s “haloed hallucination” invite further reconsideration of Nabokov’s self-styled “indifference” to the Christian imaginary.