By Enenkel, K.A.E. (ed.), Smith, P.J. (ed.), Karel A. E. Enenkel, Paul J. Smith
Ранняя современная зоология: животные в области науки, литературы и изобразительного искусства .Художественный прогресс в живописи и рисунка привел к точности изображения животных в иллюстрациях.Сборник представляет интерес для студентов изучающих историю науки , литературы и искусства .The new definition of the animal is without doubt one of the attention-grabbing positive aspects of the highbrow lifetime of the early glossy interval. The 16th century observed the discovery of the recent technology of zoology. This went hand in hand with the (re)discovery of anatomy, body structure and – within the seventeenth century – the discovery of the microscope. the invention of the recent global faced intellectuals with hitherto unknown species, which came across their method into courtly menageries, interest cupboards and educational collections. creative development in portray and drawing led to a brand new precision of animal illustrations. during this quantity, experts from a variety of disciplines (Neo-Latin, French, German, Dutch, heritage, background of technology, paintings heritage) discover the interesting early smooth discourses on animals in technology, literature and the visible arts. the quantity is of curiosity for all scholars of the background of technology and highbrow lifestyles, of literature and paintings historical past of the Early glossy interval.
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Extra resources for Early Modern Zoology: The Construction of Animals in Science, Literature and the Visual Arts (Intersections)
The Image of the Stag. Iconographic Themes in Western Art (Baden-Baden: 1992). 26 Our starting point lies more in the work or works themselves and in the way they reÁect upon animals. In her contribution Paulette Choné studies the role of ‘natural antipathy’ in an illustrated architectural treatise by the French architect Joseph Boillot. 27 Vincent Buyens deals with the perception of natural history in Willem van der Borcht’s Sedighe Sinne-beelden (1642), a Dutch collection of animal emblems that goes back not to the medieval animal allegories, but to a Latin medical encyclopaedia: the Historia medica (1639) by the Brussels doctor Willem van den Bossche.
14 Progress, however, although one of the best accepted dogmas of modern science, is not an adequate tool for the understanding of the functioning and organisation of early modern science. The authors of this volume, therefore, do not depart from a teleological conception of the history of science. They make an effort to investigate the various discourses in which animals are discussed in zoological treatises and other genres of literature and art. Their approach is characterised by awareness that these discourses may differ fundamentally from modern ones, and that they are connected to speciÀc historical contexts, interests, needs, and literary, theological, philosophical and artistic traditions.
Les animaux et les créatures monstrueuses d’Ulisse Aldrovandi (Arles: 2005). htm. 21 See Haupt H. – Vignau-Wilberg T. – Irblich E. , Le Bestiaire de Rodolphe II. Cod. min. 129 et 130 de la Bibliothèque nationale d’Autriche (Paris: 1990). -C. – Balis A. , De albums van Anselmus De Boodt (1550 –1632). Geschilderde natuurobservatie aan het Hof van Rudolf II te Praag (Tielt: 1989). 23 See also Egmond F. – Mason P. ), The Whale Book. , Het Visboek. De wereld volgens Adriaen Coenen 1514–1587 (Zutphen – The Hague: 2005).