not only serves as a larger-than-life memento to those governed, but likewise manifests in his unique position the respective rulers claim to presence and autocracy. 144 5.2.2 Pictorial Representations of Law as an Institution A historically rather singular hybrid form, which can on the one hand be
In response to the dominance of Latin as the language of intellectual debate in early modern Europe, regional centers started to develop a new emphasis on vernacular languages and forms of cultural expression. This book shows that the local acts as a mark of distinction in the early modern cultural context. Interdisciplinary in scope, essays examine vernacular strands in the visual arts, architecture and literature from the fourteenth to seventeenth centuries. Contributions focus on change, rather than consistencies, by highlighting the transformative force of the vernacular over time and over different regions, as well as the way the concept of the vernacular itself shifts depending on the historical context.
Contributors include James J. Bloom, Jessica E. Buskirk, C. Jean Campbell, Lex Hermans, Sun Jing, Trudy Ko, David A. Levine, Eelco Nagelsmit, Alexandra Onuf, Bart Ramakers, and Jamie L. Smith
, while the former has remained committed to theology” (Detweiler/Jasper 2000, 2). Yet even in Britain, as a “hybrid venture,” the literature-and-theology project in Elisabeth Jay’s words “boasts no unassailable pedigree, or universally acknowledged territory” (in Hass/Jasper/Jay 2007, 3). And as F. W
supervision of Bernard van Orley, allegedly Coxcie's tea- cher. They were rendered in an early Renaissance style characte- rized by the hybrid Italianate motifs that were in fashion during the 1520S and 1530s. Upon Orley's death in 1541, Coxcie was ap- pointed his successor as cartoon painter for St. Gudule
famous secular object—a tenth-century glass bowl in the Treasury of San Marco—could mix classicizing iconography and Islamicizing ornament in order to allude to the hybrid origin of divination, at least as it was understood by the Byzantines, as both ancient Greek and contemporary Islamic. 48 To
seems to have fallen to the curate, Stephen Isaacson, and its purchase from London antique dealer John Webb2 was under way bv 16 March The pulpit survived the second rebuilding of the nave in the 1 870s and is still in the church today. The pulpit is a hybrid work, presumably assembled bv or under the
, however, we deal with productions that are a sort of narrative hybrid—productions which have qualities typical for trivially serial works, but which are nevertheless non-trivially serial. 22 Unless specified otherwise, when we use the term “TV series” we mean both strict TV series and TV serials. We are
- ted in ornately decorated specimens, it is frequently very different in nature. As a rule it is a hybrid of various kinds of pen flourishing associated with the County of Holland. For example, in manuscripts with Delft saints in the Calendar one regularly finds pen flourishing that is very similar to
hybrid Arabic/Christian figure (Fig. 10) who symbolizes the 'above' and 'below' of distillation. Such Christian visualizations of Eastern concepts (in this case the writings of Avicenna) were common in alchemical illustration, as
84 the roots of the science stem from ancicnt Egyptian and Arabic
hybrid female monsters in several major works of English literature, including The Faerie Queene ’s Duessa and Paradise Lost ’s Sin.
In the context of his Æneis , though, this misogynistic trope takes on added significance as a sign that women pose a special threat to the ability of men to