Conclusion

2018 ◽  
Author(s):  
Chris Barrett
Keyword(s):  
Early Modern ◽  
Spatial Representation ◽  
Regional Area ◽  
The World ◽  
Richard Hakluyt

While Chapters 1–3 examine early modern texts that take the work of spatial representation as an opportunity to consider the labor, dangers, and possibilities of representation, the Conclusion (which takes its title from remarks by Richard Hakluyt in describing how as a child he became fascinated by maps) considers three contemporary objects: a mug, a Mapparium, and recent revisions to the famous boot-shaped silhouette of Louisiana. Each of these objects represents a global or regional area in some novel way: foregrounding their artifice in order to exploit the same cartographic anxieties of representation articulated in works by Spenser, Drayton, and Milton, these objects suggest that the contemporary moment’s efforts to reimagine the space of the world in rhetorically affecting if overtly non-mimetic ways reflects the triumph of an early modern poetics of anxiety, a poetics that might be generative still, in the Anthropocene.

“All in a Garden Green”: Shakespeare's Staging of Garden Imagery

2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon
Keyword(s):  
Early Modern ◽  
Literary Tradition ◽  
The Public ◽  
The World ◽  
Audience Interaction ◽  
The Many ◽  
Green World

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.

Divine Machines

2011 ◽  
Author(s):  
Justin E. H. Smith
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Scientific Inquiry ◽  
Life Sciences ◽  
Theoretical Interest ◽  
Living World ◽  
Mechanical Philosophy ◽  
Organic Life ◽  
The World ◽  
Generation Theory

Though it did not yet exist as a discrete field of scientific inquiry, biology was at the heart of many of the most important debates in seventeenth-century philosophy. Nowhere is this more apparent than in the work of G. W. Leibniz. This book offers the first in-depth examination of Leibniz's deep and complex engagement with the empirical life sciences of his day, in areas as diverse as medicine, physiology, taxonomy, generation theory, and paleontology. The book shows how these wide-ranging pursuits were not only central to Leibniz's philosophical interests, but often provided the insights that led to some of his best-known philosophical doctrines. Presenting the clearest picture yet of the scope of Leibniz's theoretical interest in the life sciences, the book takes seriously the philosopher's own repeated claims that the world must be understood in fundamentally biological terms. Here it reveals a thinker who was immersed in the sciences of life, and looked to the living world for answers to vexing metaphysical problems. The book casts Leibniz's philosophy in an entirely new light, demonstrating how it radically departed from the prevailing models of mechanical philosophy and had an enduring influence on the history and development of the life sciences. Along the way, the book provides a fascinating glimpse into early modern debates about the nature and origins of organic life, and into how philosophers such as Leibniz engaged with the scientific dilemmas of their era.

The Paradox of “A High Standard of Public Honesty”

2017 ◽  
Author(s):  
James Kennedy ◽  
Ronald Kroeze
Keyword(s):  
The Netherlands ◽  
Early Modern ◽  
Side Effect ◽  
High Standard ◽  
Dutch Republic ◽  
Liberal Politics ◽  
Patronage Politics ◽  
Starting Point ◽  
The World ◽  
Late Nineteenth

This chapter takes as its starting point the contemporary idea that the Netherlands is one of the least corrupt countries in the world; an idea that it dates back to the late-nineteenth and early-twentieth centuries. In this chapter, the authors explain how corruption was controlled in the Netherlands against the background of the rise and fall of the Dutch Republic, modern statebuilding and liberal politics. However, the Dutch case also presents some complexities: first, the decrease in some forms of corruption was due not to early democratization or bureaucratization, but was rather a side-effect of elite patronage-politics; second, although some early modern forms of corruption disappeared around this period, new forms have emerged in more recent times.

Introduction

2018 ◽  
Author(s):  
Anna-Maria Hartmann
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Literary History ◽  
First Generation ◽  
Early Modern England ◽  
Related Material ◽  
Wide Range ◽  
The World ◽  
Early English

Mythographies were books that collected, explained, and interpreted myth-related material. Extremely popular during the Renaissance, these works appealed to a wide range of readers. While the European mythographies of the sixteenth century have been utilized by scholars, the short, early English mythographies, written from 1577 to 1647, have puzzled critics. The first generation of English mythographers did not, as has been suggested, try to compete with their Italian predecessors. Instead, they made mythographies into rhetorical instruments designed to intervene in topical debates outside the world of classical learning. Because English mythographers brought mythology to bear on a variety of contemporary issues, they unfold a lively and historically well-defined picture of the roles myth was made to play in early modern England. Exploring these mythographies can contribute to previous insights into myth in the Renaissance offered by studies of iconography, literary history, allegory, and myth theory.

The Baroque and Philosophy

2018 ◽  
pp. 601-622
Author(s):  
Michael Moriarty
Keyword(s):  
Modern Philosophy ◽  
Early Modern ◽  
Visual Arts ◽  
Common Sense ◽  
The Self ◽  
Early Modern Philosophy ◽  
The World ◽  
Baroque Art ◽  
Art And Architecture

Although the concept “baroque” is less obviously applicable to philosophy than to the visual arts and music, early modern philosophy can be shown to have connections with baroque culture. Baroque style and rhetoric are employed or denounced in philosophical controversies, to license or discredit a certain style of philosophizing. Philosophers engage with themes current in baroque literature (the mad world, the world as a stage, the quest for the self) and occasionally transform these into philosophical problems, especially of an epistemological kind (are the senses reliable? how far is our access to reality limited by our perspective?) Finally, the philosophies of Malebranche and Berkeley, with their radical challenges to so-called common sense, and their explanation of conventional understandings of the world as based on illusion, have something of the disturbing quality of baroque art and architecture.

From Messina to Delhi: Much Ado about Staging Global Shakespeares in Olympic Times

Sederi ◽  
2013 ◽  
pp. 57-78
Author(s):  
Sofía Muñoz-Valdivieso
Keyword(s):  
Cultural Capital ◽  
Early Modern ◽  
Present Article ◽  
International Performance ◽  
Royal Shakespeare Company ◽  
Much Ado About Nothing ◽  
The World ◽  
Performance Issues ◽  
The Uk

The present article discusses one of the contributions of the Royal Shakespeare Company to the World Shakespeare Festival, a celebration of the Bard as the world’s playwright that took place in the UK in 2012 as part of the so-called Cultural Olympiad. Iqbal Khan directed for the RSC an all-Indian production of the comedy Much Ado about Nothing that transposed the actions from early modern Messina to contemporary Delhi and presented its story of love, merry war of wits and patriarchal domination in a colourful setting that recreated a world of tradition and modernity. Received with mixed reviews that in general applauded the vibrant relocation while criticising some directorial choices, this 2012 Much Ado about Nothing in modern-day Delhi raises a number of questions about cultural ownership and Shakespeare’s international performance – issues that are particularly relevant if we see the play in relation to other productions of the World Shakespeare Festival in this Olympic year but also in the context of the increasing internationalization of Shakespeare’s cultural capital in contemporary times.

The Poetics of Friendship in Early Modern Spain

2020 ◽  
Author(s):  
Donald Gilbert-Santamaria
Keyword(s):  
Early Modern ◽  
Spanish Literature ◽  
Human Experience ◽  
Important Work ◽  
Early Modern Spain ◽  
Shared Experiences ◽  
The World ◽  
Key Concepts ◽  
Alternative Modality ◽  
Sancho Panza

This book posits the Aristotelian-Ciceronian notion of perfect male friendship as an independent poetic force within the development of Spanish literature in the sixteenth and early seventeenth centuries. Through a re-examination of Spanish critic Juan Bautista Avalle-Arce’s notion of the “tale of two friends” tradition, the book shows how the poetics of friendship evolves in relation to other key concepts from the period—most notably exemplarity and imitatio—in a series of carefully selected examples from several important genres including the pastoral novel, the picaresque, and the Spanish comedia. Particular attention is given to the trajectory whereby the highly formalized narrativization of the traditional Aristotelian paradigm for friendship gives way to representations of personal intimacy grounded in a recognition of the idiosyncratic particularity of human experience in the world beyond the text. This alternative modality for representing friendship, which encompasses a variety of relationships beyond the Aristotelian paradigm—between women, erstwhile lovers, and pícaros, to take just three examples—reaches its fullest expression in the depiction of the evolving intimacy that grows up between the two unlikely companions, Don Quixote and Sancho Panza, whose shared experiences provide the main focus for Cervantes’s most important work.

The world as narrative Reconfiguring vision in early modern Eurasia

2012 ◽  
Vol 18 (1-2) ◽  
Author(s):  
Monica Juneja
Keyword(s):  
Early Modern ◽  
The World

ZusammenfassungDieser Aufsatz behandelt Prozesse einer sich formenden und sich neu konfigurierenden Visualität in der frühen Neuzeit, betrachtet unter dem Aspekt der Schaffung und Narrativierung der Welt. Er fragt danach, in welchem Maße die Begegnung mit der Welt über das gemalte Bild vermittelt und gedeutet wurde. Infolgedessen betrachtet er die unterschiedlichen Weisen, in denen Bilder selbst durch ihre spezifischen Produktionsprozesse zum Ort der Herstellung von Weltlichkeit werden. Obwohl sein primärer Fokus auf Südasien liegt, stellt er die Erforschung künstlerischer Praktiken der Visualisierung der Welt in einen transkulturellen Bezugsrahmen, um das konstitutive Potenzial von Beziehungen über geographische und kulturelle Grenzen hinweg zu untersuchen, die durch die Wanderung von Gegenständen, handelnden Personen, Bildern, mythischen Idealen und Praktiken vermittelt werden. Das Bild der Welt und die verschiedenen Weisen seiner Darstellung werden auf zwei verschiedenen, aber miteinander in Verbindung stehenden Ebenen untersucht: erstens die abstrakte Darstellung der Welt durch einen Gegenstand, den Globus, und zweitens das Narrativ der Welt, das untrennbar ist von dem perspektivischen Blick, welcher eine Weltsicht im gemalten Bild neu konfiguriert. Dieses funktioniert dann als Raum kosmopolitischer Erfahrung aufgrund seines Potenzials, das andere visuell festzuschreiben und gleichzeitig zu zähmen.

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