The Science of Describing: Natural History in Renaissance by Brian W. Ogilvie

By Brian W. Ogilvie

Out of the various traditions of clinical humanism, classical philology, and traditional philosophy, Renaissance naturalists created a brand new technology dedicated to researching and describing crops and animals. Drawing on released ordinary histories, manuscript correspondence, backyard plans, travelogues, watercolors, and drawings, The technology of Describing reconstructs the evolution of this self-discipline of description via 4 generations of naturalists. within the past due 15th and early 16th centuries, naturalists curious about figuring out old and medieval descriptions of the wildlife, yet through the mid-sixteenth century naturalists became towards distinguishing and cataloguing new plant and animal species. to take action, they built new options of looking at and recording, created botanical gardens and herbaria, and exchanged correspondence and specimens inside of a world group. by way of the early 17th century, naturalists all started the daunting job of sorting throughout the wealth of data that they had gathered, placing a brand new emphasis on taxonomy and class. Illustrated with woodcuts, engravings, and images, The technological know-how of Describing is the 1st huge interpretation of Renaissance typical heritage in additional than a iteration and should attraction broadly to an interdisciplinary viewers. (20060805)

Show description

Read Online or Download The Science of Describing: Natural History in Renaissance Europe PDF

Best renaissance books

The Oxford Handbook of Tudor Literature (Oxford Handbooks)

This can be the 1st significant selection of essays to examine the literature of the total Tudor period,from the reign of Henry VII to demise of Elizabeth I. Written through specialists from Europe, North the United States, and the United Kingdom,the forty-four chapters within the Oxford guide to Tudor Literature recoversome of the specific voices of sixteenth-century writing, its energy,variety, and inventiveness.

The Science of Describing: Natural History in Renaissance Europe

Out of the varied traditions of clinical humanism, classical philology, and usual philosophy, Renaissance naturalists created a brand new technology dedicated to researching and describing vegetation and animals. Drawing on released traditional histories, manuscript correspondence, backyard plans, travelogues, watercolors, and drawings, The technological know-how of Describing reconstructs the evolution of this self-discipline of description via 4 generations of naturalists.

Logical Fictions in Medieval Literature and Philosophy

Within the 12th and 13th centuries, new methods of storytelling and inventing fictions seemed within the French-speaking parts of Europe. This new paintings nonetheless impacts our worldwide tradition of fiction. Virginie Greene explores the connection among fiction and the advance of neo-Aristotelian common sense in this interval via an in depth exam of seminal literary and philosophical texts by way of significant medieval authors, corresponding to Anselm of Canterbury, Abélard, and Chrétien de Troyes.

Goethe and His Age

Publication by means of Lukacs, Georg

Additional resources for The Science of Describing: Natural History in Renaissance Europe

Example text

Hope arises in the blank space theater asks us to fill, the sole core of benevolence in the Shakespearean universe. 2 The Promise Friar Laurence Stunned by Juliets evanescent beauty, the ghostly Father Friar Laurence speaks these words when he first sees her: Here comes the lady. O, so light a foot Will ne'er wear out the everlasting flint; A lover may bestride the gossamers That idles in the wanton summer air, And yet not fall; so light is vanity. 16-20) A haunting disclosure. The Friar beholds her, and thinks at once of her death.

Her sleeping with him can in no way transform the father into her son. But in another way, the solution is evident: father and son are effectively identical in hypostatic union, when the father is God, and the son is Christ. The curious solution to the more-curious riddle is not sexual, but theological. Because I am concerned to write about a godless Shakespeare, the reader should not think that I am recommending this solution as key to the play. Quite the opposite. Buried in the riddle is a perfect image for the kind of thing religion always does, the thing that Job comes to realize: it leaves seekers of the truth helpless to understand, because it either buries much-needed answers in riddles, or pretends that there are much-needed answers.

Strikingly, each signifier of the riddle is conspicuously transparent or matchable to a signified, except for one. We can see how the daughter feeds 'on mothers flesh' (all children do); and it is obvious how she is 'mother, wife - and yet his child/ having taken the mothers place. But when she seemingly identifies Antiochus as 'father, son, and husband mild/ the incest identification stumbles. ) In what way is the father the same as the son? the riddle compels us to ask, and in this context, the immediate, worldly answer comes: he is not.

Download PDF sample

Rated 4.99 of 5 – based on 23 votes