Michael Brydon
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199204816
- eISBN:
- 9780191709500
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199204816.003.0008
- Subject:
- Religion, Church History
In the debates of the Anglican church, Hooker continues to be appealed to by a remarkable spectrum of churchmanship regarding the central question of where the heart of their faith lies. Such ...
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In the debates of the Anglican church, Hooker continues to be appealed to by a remarkable spectrum of churchmanship regarding the central question of where the heart of their faith lies. Such differing emphases offer an index to the changing understandings of the Reformation, which were hammered out in the 17th century. Although Hooker ultimately became an abridged emblem for the values and identity of Anglicanism, this examination of the contingencies and argumentative structures involved shows that it was never a foregone conclusion.Less
In the debates of the Anglican church, Hooker continues to be appealed to by a remarkable spectrum of churchmanship regarding the central question of where the heart of their faith lies. Such differing emphases offer an index to the changing understandings of the Reformation, which were hammered out in the 17th century. Although Hooker ultimately became an abridged emblem for the values and identity of Anglicanism, this examination of the contingencies and argumentative structures involved shows that it was never a foregone conclusion.
Trent Pomplun
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377866
- eISBN:
- 9780199869466
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377866.003.0002
- Subject:
- Religion, Church History
This chapter begins in 1715 as Ippolito Desideri and his traveling companion Manoel Freyre make their way across the great deserts of Western Tibet in the company of a mixed Mongol‐Tibetan caravan. ...
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This chapter begins in 1715 as Ippolito Desideri and his traveling companion Manoel Freyre make their way across the great deserts of Western Tibet in the company of a mixed Mongol‐Tibetan caravan. It introduces readers to Ignatius Loyola, the Jesuits, and their religious institutions and devotes special attention to the Jesuits' own emphasis on images and image‐production in iconography, in literature, and in meditation. It also provides the historical context necessary to understand Desideri's own fantasies about Tibet and Tibetans.Less
This chapter begins in 1715 as Ippolito Desideri and his traveling companion Manoel Freyre make their way across the great deserts of Western Tibet in the company of a mixed Mongol‐Tibetan caravan. It introduces readers to Ignatius Loyola, the Jesuits, and their religious institutions and devotes special attention to the Jesuits' own emphasis on images and image‐production in iconography, in literature, and in meditation. It also provides the historical context necessary to understand Desideri's own fantasies about Tibet and Tibetans.
Leofranc Holford-Strevens
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199264827
- eISBN:
- 9780191718403
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199264827.003.0010
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter begins by tracing the separate transmission of Gellius' chapter on the ability of palm-wood, reinterpreted as the palm-tree to resist pressure, which proved congenial to Christians for ...
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This chapter begins by tracing the separate transmission of Gellius' chapter on the ability of palm-wood, reinterpreted as the palm-tree to resist pressure, which proved congenial to Christians for its moral message and their own association of the palm with martyrdom. It is found in florilegia, emblem-books, and even the song ‘Anke van Tharaw’. It is also present in John of Salisbury, from whom it passed into a sermon by Guibert of Tournai, along with other matter from John wrongly ascribed to Gellius. Attention is then paid to fragmentary manuscripts, including a 12th-century bifolium now in Brussels, and copies known to have existed but now lost, one of which was the source of a manuscript now in the Vatican Library (and itself the source of one in Milan) that ends with a tribute to the conciliar Pope Alexander V.Less
This chapter begins by tracing the separate transmission of Gellius' chapter on the ability of palm-wood, reinterpreted as the palm-tree to resist pressure, which proved congenial to Christians for its moral message and their own association of the palm with martyrdom. It is found in florilegia, emblem-books, and even the song ‘Anke van Tharaw’. It is also present in John of Salisbury, from whom it passed into a sermon by Guibert of Tournai, along with other matter from John wrongly ascribed to Gellius. Attention is then paid to fragmentary manuscripts, including a 12th-century bifolium now in Brussels, and copies known to have existed but now lost, one of which was the source of a manuscript now in the Vatican Library (and itself the source of one in Milan) that ends with a tribute to the conciliar Pope Alexander V.
John Baxter
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126012
- eISBN:
- 9780813135601
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126012.003.0001
- Subject:
- Film, Television and Radio, Film
Von Sternberg asked for some onions when he visited the famous Emerald Room of the Australia Hotel, the most prestigious hotel in Sydney, if not the most modern. He boasted to his friends that when ...
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Von Sternberg asked for some onions when he visited the famous Emerald Room of the Australia Hotel, the most prestigious hotel in Sydney, if not the most modern. He boasted to his friends that when he was in California, he always ate onions and garlic to cure things. In every direction of the Hotel, tables covered in linen, ironed glossy with starch, extended to infinity. Out of sight a fountain played, while marble nymphs observed the guests covertly from a jungle of potted ferns. Each plate, bowl, dish, cup, and saucer bore the hotel's emblem. The flatware, scratched to dullness by generations of use, had the heaviness of tools—soup spoons like shovels, knives as hefty as trowels.Less
Von Sternberg asked for some onions when he visited the famous Emerald Room of the Australia Hotel, the most prestigious hotel in Sydney, if not the most modern. He boasted to his friends that when he was in California, he always ate onions and garlic to cure things. In every direction of the Hotel, tables covered in linen, ironed glossy with starch, extended to infinity. Out of sight a fountain played, while marble nymphs observed the guests covertly from a jungle of potted ferns. Each plate, bowl, dish, cup, and saucer bore the hotel's emblem. The flatware, scratched to dullness by generations of use, had the heaviness of tools—soup spoons like shovels, knives as hefty as trowels.
Richard Higgins and Robert D. Richardson
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520294042
- eISBN:
- 9780520967311
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294042.001.0001
- Subject:
- Literature, American, 19th Century Literature
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his ...
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Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.Less
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.
Paul Hammond
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780199572601
- eISBN:
- 9780191702099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572601.003.0010
- Subject:
- Literature, Drama
In King Lear, characters exist in an uncertain, displaced, relationship to language. The play is built from commonplaces, proverbs, and rhetorical formulae, and from quotations of fable and song, as ...
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In King Lear, characters exist in an uncertain, displaced, relationship to language. The play is built from commonplaces, proverbs, and rhetorical formulae, and from quotations of fable and song, as if many voices, many generations of experience inhabit each phrase. The play of quotation and commonplace in King Lear dissolves coherence, displaces the individual characters, prising apart the relationship between self and utterance. A decomposition of language decomposes its speakers. It is Lear who begins to make language the subject as well as the medium of the tragedy. Lear uses emblems to give himself stability and coherence at moments when his world seems to be dissolving. His madness takes him into strange new territory. As the play moves towards a conclusion, Shakespeare gives us several near-endings, too many near-closures: the romance ending in which Lear and Cordelia are reunited, the history-play ending in which Albany resigns the kingdom to Lear, and the tragic ending in which Lear dies.Less
In King Lear, characters exist in an uncertain, displaced, relationship to language. The play is built from commonplaces, proverbs, and rhetorical formulae, and from quotations of fable and song, as if many voices, many generations of experience inhabit each phrase. The play of quotation and commonplace in King Lear dissolves coherence, displaces the individual characters, prising apart the relationship between self and utterance. A decomposition of language decomposes its speakers. It is Lear who begins to make language the subject as well as the medium of the tragedy. Lear uses emblems to give himself stability and coherence at moments when his world seems to be dissolving. His madness takes him into strange new territory. As the play moves towards a conclusion, Shakespeare gives us several near-endings, too many near-closures: the romance ending in which Lear and Cordelia are reunited, the history-play ending in which Albany resigns the kingdom to Lear, and the tragic ending in which Lear dies.
Matthew Wagner
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199641819
- eISBN:
- 9780191749025
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641819.003.0014
- Subject:
- Literature, 16th-century and Renaissance Literature, Shakespeare Studies
This chapter considers Cardenio from a time-centred perspective; it examines the 2009 performance script of The History of Cardenio, Gary Taylor’s ‘creative reconstruction’ of the lost ...
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This chapter considers Cardenio from a time-centred perspective; it examines the 2009 performance script of The History of Cardenio, Gary Taylor’s ‘creative reconstruction’ of the lost Shakespeare/Fletcher collaboration, to compare that script’s treatment of time with prominent temporal characteristics of Shakespearean drama. Of a wide variety of such characteristics, two emerge as most germane to Cardenio: the play’s prevalent thematic interest in time, and the era’s emblematic and iconographic traditions associated with time. In particular, the chapter analyses the relationship between time and death, especially as figured in varying mementi mori, most notably the coffin in Cardenio. From these explorations, the chapter strives to illuminate some key aspects of the play itself (while acknowledging that the ‘play itself’ is yet evolving), and to aid in positioning the play within the broader framework of the Shakespearean canon.Less
This chapter considers Cardenio from a time-centred perspective; it examines the 2009 performance script of The History of Cardenio, Gary Taylor’s ‘creative reconstruction’ of the lost Shakespeare/Fletcher collaboration, to compare that script’s treatment of time with prominent temporal characteristics of Shakespearean drama. Of a wide variety of such characteristics, two emerge as most germane to Cardenio: the play’s prevalent thematic interest in time, and the era’s emblematic and iconographic traditions associated with time. In particular, the chapter analyses the relationship between time and death, especially as figured in varying mementi mori, most notably the coffin in Cardenio. From these explorations, the chapter strives to illuminate some key aspects of the play itself (while acknowledging that the ‘play itself’ is yet evolving), and to aid in positioning the play within the broader framework of the Shakespearean canon.
Lina Bolzoni
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266502
- eISBN:
- 9780191884221
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266502.003.0002
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Orlando Furioso by Ludovico Ariosto, published in 1516 (and later in 1521 and 1532), very quickly became a bestseller, the first great classic of modernity. An important part of this success was due ...
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Orlando Furioso by Ludovico Ariosto, published in 1516 (and later in 1521 and 1532), very quickly became a bestseller, the first great classic of modernity. An important part of this success was due to the fact that illustrations began to be produced for the poem almost immediately. We will see how the early illustrated editions of the Orlando Furioso clearly attempted to influence its reception and the memory of the reader, while at the same time addressing the themes and narrative structure of the text. This essay will analyse the enduring popularity of the visual imagery of the poem, beginning with the emblems that frame the text in the editions prepared for publication by the author himself and concluding with an example of video art that reinterprets the illustrations from the Valgrisi edition published in 1556.Less
Orlando Furioso by Ludovico Ariosto, published in 1516 (and later in 1521 and 1532), very quickly became a bestseller, the first great classic of modernity. An important part of this success was due to the fact that illustrations began to be produced for the poem almost immediately. We will see how the early illustrated editions of the Orlando Furioso clearly attempted to influence its reception and the memory of the reader, while at the same time addressing the themes and narrative structure of the text. This essay will analyse the enduring popularity of the visual imagery of the poem, beginning with the emblems that frame the text in the editions prepared for publication by the author himself and concluding with an example of video art that reinterprets the illustrations from the Valgrisi edition published in 1556.
Howard Marchitello
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199608058
- eISBN:
- 9780191729492
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199608058.003.0006
- Subject:
- Literature, 16th-century and Renaissance Literature, Shakespeare Studies
This chapter begins with a discussion of The Winter's Tale in which we see Shakespeare negotiating the art–nature contest in two complexly related moments. The first is Polixenes' declaration that ...
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This chapter begins with a discussion of The Winter's Tale in which we see Shakespeare negotiating the art–nature contest in two complexly related moments. The first is Polixenes' declaration that “art itself is nature.” The second is the conjuring of Hermione's statue, a spectacular event that depends upon the logic of the trompe l'oeil figured not only in Giulio Romano's statue, but in the play itself, that contests Polixenes' “naturalness of art” argument. The chapter then shifts to the early modern garden and the response to the art–nature debate that emerges from within mid-seventeenth-century garden theory and practice. Focusing particularly on John Evelyn's Elysium Britannicum, this chapter argues that the early modern garden is an ideal locus for a consideration of the nature of nature for it is here that one witnesses a dismantling of the “naturalness of nature” argument and its replacement with the understanding of nature's artificial nature.Less
This chapter begins with a discussion of The Winter's Tale in which we see Shakespeare negotiating the art–nature contest in two complexly related moments. The first is Polixenes' declaration that “art itself is nature.” The second is the conjuring of Hermione's statue, a spectacular event that depends upon the logic of the trompe l'oeil figured not only in Giulio Romano's statue, but in the play itself, that contests Polixenes' “naturalness of art” argument. The chapter then shifts to the early modern garden and the response to the art–nature debate that emerges from within mid-seventeenth-century garden theory and practice. Focusing particularly on John Evelyn's Elysium Britannicum, this chapter argues that the early modern garden is an ideal locus for a consideration of the nature of nature for it is here that one witnesses a dismantling of the “naturalness of nature” argument and its replacement with the understanding of nature's artificial nature.
Jeremy Tambling and Louis Lo
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099371
- eISBN:
- 9789882207660
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099371.003.0006
- Subject:
- History, Asian History
One can find the traces of Portuguese colonialism all over Macao. Some of these are found in Christian emblems and signs, which Chinese influences have been made to resignify. This chapter discusses ...
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One can find the traces of Portuguese colonialism all over Macao. Some of these are found in Christian emblems and signs, which Chinese influences have been made to resignify. This chapter discusses neo-classicism and the different neo-classical structures found in Macao.Less
One can find the traces of Portuguese colonialism all over Macao. Some of these are found in Christian emblems and signs, which Chinese influences have been made to resignify. This chapter discusses neo-classicism and the different neo-classical structures found in Macao.
Laurence A. Rickels
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816666652
- eISBN:
- 9781452946566
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816666652.003.0032
- Subject:
- Literature, Criticism/Theory
This chapter is about science fiction writer Philip K. Dick’s novel Dr. Futurity, which entitles the medical profession to raise the healing snake emblem above all other totems in an alternate future ...
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This chapter is about science fiction writer Philip K. Dick’s novel Dr. Futurity, which entitles the medical profession to raise the healing snake emblem above all other totems in an alternate future of mankind. The novel’s protagonist, Parsons, is a physician who slips in time into the future where healing and surviving are outmoded personal effects readily sacrificed to the future life of the race, species, or kind. Parsons was summoned or met halfway by a renegade Indian clan, led by Clothis, seeking to restore the family values of reproduction in a Teen Age that cooks up its future generation out of the frozen stock taken from boys fixed in preadolescence. Sexuality is thus charged with child abuse. Before Parsons enters the plot as substitute engenderer of a line rededicated to healing, the line Clothis was giving was postcolonial criticism as redemption of the terrible past. Mastery itself would have been overturned through his application of time travel.Less
This chapter is about science fiction writer Philip K. Dick’s novel Dr. Futurity, which entitles the medical profession to raise the healing snake emblem above all other totems in an alternate future of mankind. The novel’s protagonist, Parsons, is a physician who slips in time into the future where healing and surviving are outmoded personal effects readily sacrificed to the future life of the race, species, or kind. Parsons was summoned or met halfway by a renegade Indian clan, led by Clothis, seeking to restore the family values of reproduction in a Teen Age that cooks up its future generation out of the frozen stock taken from boys fixed in preadolescence. Sexuality is thus charged with child abuse. Before Parsons enters the plot as substitute engenderer of a line rededicated to healing, the line Clothis was giving was postcolonial criticism as redemption of the terrible past. Mastery itself would have been overturned through his application of time travel.
Paul Ekman
- Published in print:
- 1999
- Published Online:
- March 2012
- ISBN:
- 9780198524519
- eISBN:
- 9780191689215
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198524519.003.0003
- Subject:
- Psychology, Cognitive Psychology
This chapter revises and expands formulations which distinguish among a number of different types of body movements and facial expressions. Some of the terminology and most of the conceptual ...
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This chapter revises and expands formulations which distinguish among a number of different types of body movements and facial expressions. Some of the terminology and most of the conceptual distinctions have been preserved, but refinements and expansions have benefited from empirical findings and theoretical developments. The crucial issue remains to distinguish among quite different activities, which are shown in facial and/or bodily movement, but which have quite different functions, origins, and coding.Less
This chapter revises and expands formulations which distinguish among a number of different types of body movements and facial expressions. Some of the terminology and most of the conceptual distinctions have been preserved, but refinements and expansions have benefited from empirical findings and theoretical developments. The crucial issue remains to distinguish among quite different activities, which are shown in facial and/or bodily movement, but which have quite different functions, origins, and coding.
Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.003.0002
- Subject:
- Philosophy, General
This chapter presents a detailed critique of Alain Badiou's philosophical writings on cinema. It focuses on the ‘False Movements of Cinema’ chapter of his Handbook of Inaesthetics, his essay ...
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This chapter presents a detailed critique of Alain Badiou's philosophical writings on cinema. It focuses on the ‘False Movements of Cinema’ chapter of his Handbook of Inaesthetics, his essay Philosophy and Cinema and ‘Cinema as a Democratic Emblem’. The chapter considers the more immediate problems raised by these works and discusses a number of questions Badiou left unanswered.Less
This chapter presents a detailed critique of Alain Badiou's philosophical writings on cinema. It focuses on the ‘False Movements of Cinema’ chapter of his Handbook of Inaesthetics, his essay Philosophy and Cinema and ‘Cinema as a Democratic Emblem’. The chapter considers the more immediate problems raised by these works and discusses a number of questions Badiou left unanswered.
Margaret Munro
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748638772
- eISBN:
- 9780748653539
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638772.003.0012
- Subject:
- Society and Culture, Scottish Studies
This chapter considers ways in which the use of tartan in performance, often in the form of the kilt, in the last fifty years has been recognised by audiences both nationally and internationally as a ...
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This chapter considers ways in which the use of tartan in performance, often in the form of the kilt, in the last fifty years has been recognised by audiences both nationally and internationally as a Scottish emblem. It notes that the various ways in which identity may be created often focus on the difference between national and collective identity. It quotes an argument from Philip Schlesinger which suggested that ‘national identity is best understood as a specific form of collective identity’, but that relevant work has mostly ‘failed to conceptualise national identity as opposed to the identities of emergent collectivities within established nation-states’. It adds Schlesinger's suggestion that ‘collective identity requires the constant action of an agent within a determinate set of social relations and requires taking account of space and time’.Less
This chapter considers ways in which the use of tartan in performance, often in the form of the kilt, in the last fifty years has been recognised by audiences both nationally and internationally as a Scottish emblem. It notes that the various ways in which identity may be created often focus on the difference between national and collective identity. It quotes an argument from Philip Schlesinger which suggested that ‘national identity is best understood as a specific form of collective identity’, but that relevant work has mostly ‘failed to conceptualise national identity as opposed to the identities of emergent collectivities within established nation-states’. It adds Schlesinger's suggestion that ‘collective identity requires the constant action of an agent within a determinate set of social relations and requires taking account of space and time’.
Richard Higgins and Richard Higgins
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520294042
- eISBN:
- 9780520967311
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294042.003.0012
- Subject:
- Literature, American, 19th Century Literature
Thoreau felt a deep affinity for Pinus strobus, Eastern white pine, the tallest tree east of the Rockies. He called it the emblem of his life. He loved its erect posture, how its whorled branches ...
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Thoreau felt a deep affinity for Pinus strobus, Eastern white pine, the tallest tree east of the Rockies. He called it the emblem of his life. He loved its erect posture, how its whorled branches jutt almost horizontal to its ramrod straight trunk. The pine was a sign of nature’s vigor. The scent of pines was an elixir to him. He identified with the pine’s wild spirit. Nothing stands up more free from blame than a pine tree. White pines played a big role in American history. Sought for masts by England, they became an early symbol of American identity. The tallest pines are not gone. Researchers have found 17 white pines in Massachusetts at least 160 feet.Less
Thoreau felt a deep affinity for Pinus strobus, Eastern white pine, the tallest tree east of the Rockies. He called it the emblem of his life. He loved its erect posture, how its whorled branches jutt almost horizontal to its ramrod straight trunk. The pine was a sign of nature’s vigor. The scent of pines was an elixir to him. He identified with the pine’s wild spirit. Nothing stands up more free from blame than a pine tree. White pines played a big role in American history. Sought for masts by England, they became an early symbol of American identity. The tallest pines are not gone. Researchers have found 17 white pines in Massachusetts at least 160 feet.
Steven Mullaney
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226547633
- eISBN:
- 9780226117096
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226117096.003.0011
- Subject:
- Literature, 16th-century and Renaissance Literature
The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and ...
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The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and neighbors dumped in a marsh. Radical protestants sought to dissociate the present from the past in extreme, traumatic, and not-always theologically driven ways. Such “rage[s] against the dead” sought to erase a deep and affective form of historical memory. Post-Reformation England used a wide range of affective media and technologies in its efforts to understand the gaps that had opened up in the social and affective landscape. Early modern amphitheater drama, a melding of available media, was one of the more telling responses. It was a key component in the period’s “equipment for living,” in Kenneth Burke’s phrase—providing a public place where audiences could experience, investigate, dig into, or salve the cognitive and affective conditions of their own possibility.Less
The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and neighbors dumped in a marsh. Radical protestants sought to dissociate the present from the past in extreme, traumatic, and not-always theologically driven ways. Such “rage[s] against the dead” sought to erase a deep and affective form of historical memory. Post-Reformation England used a wide range of affective media and technologies in its efforts to understand the gaps that had opened up in the social and affective landscape. Early modern amphitheater drama, a melding of available media, was one of the more telling responses. It was a key component in the period’s “equipment for living,” in Kenneth Burke’s phrase—providing a public place where audiences could experience, investigate, dig into, or salve the cognitive and affective conditions of their own possibility.
Debra Hawhee
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226398174
- eISBN:
- 9780226398204
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226398204.003.0008
- Subject:
- Classical Studies, Ancient Greek, Roman, and Early Christian Philosophy
The conclusion dips into early modern emblems with a special focus on one early seventeenth-century portrayal of Rhetorica in which she holds a three-headed beast with a cord or leash. The beast has ...
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The conclusion dips into early modern emblems with a special focus on one early seventeenth-century portrayal of Rhetorica in which she holds a three-headed beast with a cord or leash. The beast has not yet been discussed by scholars in a satisfactory way, and my own discussion offers a reading of the beast that underscores the constitutive work of animals in rhetoric’s Western history, setting up further concluding arguments about rhetoric’s transdisciplinarity, especially when it comes to animal relations.Less
The conclusion dips into early modern emblems with a special focus on one early seventeenth-century portrayal of Rhetorica in which she holds a three-headed beast with a cord or leash. The beast has not yet been discussed by scholars in a satisfactory way, and my own discussion offers a reading of the beast that underscores the constitutive work of animals in rhetoric’s Western history, setting up further concluding arguments about rhetoric’s transdisciplinarity, especially when it comes to animal relations.
Susan Gaylard
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780823251742
- eISBN:
- 9780823252855
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823251742.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
Hollow Men analyzes texts and art objects from the late 14th to the late 16th centuries to show that Renaissance theories of emulating classical heroes generated a deep skepticism about ...
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Hollow Men analyzes texts and art objects from the late 14th to the late 16th centuries to show that Renaissance theories of emulating classical heroes generated a deep skepticism about representation, as these theories forced men to construct a public image that seemed fixed but could adapt to changing circumstances. The book shows that writers and their patrons appropriated objects to create a public image that would be both fixed and adaptable: a paradox deriving from ideals of exemplary imitation, which taught that an educated man must emulate the ancients to present a coherent identity and be memorialized as an example for future generations. Yet Italian intellectuals were increasingly cut off from political power; their classical models (both texts and objects) were broken and unreadable; and men had to adapt to changing political circumstances while avoiding the suspicion of “feminine” changeability. There emerged a growing distrust surrounding claims for the equivalence between exemplary external image and inner state, as self-presentation increasingly resembled deception. Chronologically-arranged analyses show that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation; and that this questioning contributed to a new awareness of representation as representation. Hollow Men also demonstrates that the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well under way in the mid-15th century (much earlier than their typical 16th-century dating); and that these changes were hastened by the rapid development of the printed image, over the following century.Less
Hollow Men analyzes texts and art objects from the late 14th to the late 16th centuries to show that Renaissance theories of emulating classical heroes generated a deep skepticism about representation, as these theories forced men to construct a public image that seemed fixed but could adapt to changing circumstances. The book shows that writers and their patrons appropriated objects to create a public image that would be both fixed and adaptable: a paradox deriving from ideals of exemplary imitation, which taught that an educated man must emulate the ancients to present a coherent identity and be memorialized as an example for future generations. Yet Italian intellectuals were increasingly cut off from political power; their classical models (both texts and objects) were broken and unreadable; and men had to adapt to changing political circumstances while avoiding the suspicion of “feminine” changeability. There emerged a growing distrust surrounding claims for the equivalence between exemplary external image and inner state, as self-presentation increasingly resembled deception. Chronologically-arranged analyses show that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation; and that this questioning contributed to a new awareness of representation as representation. Hollow Men also demonstrates that the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well under way in the mid-15th century (much earlier than their typical 16th-century dating); and that these changes were hastened by the rapid development of the printed image, over the following century.
Desmond Rea and Robin Masefield
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781781381502
- eISBN:
- 9781781382172
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381502.003.0008
- Subject:
- Political Science, Public Policy
This short chapter deals with the contentious issue of symbolism, in relation to the creation of a new emblem and flag for the PSNI. The Commission’s judgement that the new beginning could not be ...
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This short chapter deals with the contentious issue of symbolism, in relation to the creation of a new emblem and flag for the PSNI. The Commission’s judgement that the new beginning could not be achieved unless the issue of the nationalist community feeling unable to identify with the present name and symbols associated with the police was addressed. The Commission had recommended an emblem free from association with both the British and Irish States. The chapter describes how the Board took ownership of the issue in its very early days, quickly and unanimously reaching a widely-applauded solution that did contain elements of both traditions. It demonstrated what could be achieved across the political spectrum if representatives worked together. The process of introducing the new uniform is also described, again on a timescale that meant the new emblem and uniform were available at 5 April 2002 for the graduation of the first PSNI recruits.Less
This short chapter deals with the contentious issue of symbolism, in relation to the creation of a new emblem and flag for the PSNI. The Commission’s judgement that the new beginning could not be achieved unless the issue of the nationalist community feeling unable to identify with the present name and symbols associated with the police was addressed. The Commission had recommended an emblem free from association with both the British and Irish States. The chapter describes how the Board took ownership of the issue in its very early days, quickly and unanimously reaching a widely-applauded solution that did contain elements of both traditions. It demonstrated what could be achieved across the political spectrum if representatives worked together. The process of introducing the new uniform is also described, again on a timescale that meant the new emblem and uniform were available at 5 April 2002 for the graduation of the first PSNI recruits.
Kenneth Borris
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780198807070
- eISBN:
- 9780191844843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198807070.003.0003
- Subject:
- Literature, 16th-century and Renaissance Literature
Focusing on Spenser’s Shepheardes Calender, this chapter newly shows that one of the texts most marginal in previous readings, Plato’s Phaedrus, is one of the Calender’s foundational references. ...
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Focusing on Spenser’s Shepheardes Calender, this chapter newly shows that one of the texts most marginal in previous readings, Plato’s Phaedrus, is one of the Calender’s foundational references. There Plato defines and coordinates love, beauty, the soul, its prospects, and the modes of revelatory furor, including the lover’s and the poet’s. Whereas the Calender’s Platonic affinities have typically seemed too vague to merit investigation, attention to the poem’s flight motif, to the precedents for its pictures in early modern iconography and emblem books, and especially to the quasi-emblematic interplay of the Maye eclogue’s poem and its illustration featuring two winged coach-horses shows that those Phaedran doctrines energized Spenser’s notions of poetry’s inspirations, power, and national significance. These findings profoundly change understanding of the Calender, Spenser’s literary development, and his intellectual biography.Less
Focusing on Spenser’s Shepheardes Calender, this chapter newly shows that one of the texts most marginal in previous readings, Plato’s Phaedrus, is one of the Calender’s foundational references. There Plato defines and coordinates love, beauty, the soul, its prospects, and the modes of revelatory furor, including the lover’s and the poet’s. Whereas the Calender’s Platonic affinities have typically seemed too vague to merit investigation, attention to the poem’s flight motif, to the precedents for its pictures in early modern iconography and emblem books, and especially to the quasi-emblematic interplay of the Maye eclogue’s poem and its illustration featuring two winged coach-horses shows that those Phaedran doctrines energized Spenser’s notions of poetry’s inspirations, power, and national significance. These findings profoundly change understanding of the Calender, Spenser’s literary development, and his intellectual biography.
