[...]nd reaction, in which things happen. we must train ourselves on an effort to describe the iterations/durations/modes of “being taking place.”

...................................

Said: “the idea of representation is a theatrical one: the Orient is the stage on which the whole East is confined. on this stage will appear figures whose role it is to represent the larger whole from which they emanate...”
[when we use “theater” in a cartographic sense it refers to the dynamic space where the “I” or the “self” sees itself engaged in a public space (of kin, of others, of economic and political forces)]

the theatrical arts: spoken work + visual spectacle --> rise of opera
[--> rise of natural history]


observers of the differences between their civilization and that of the Persians, their standards of measure were those of the West:
Xenophon
Herodotus
Quintus Curtius Rufus
Strabo
Pausanias
Ammianus Marcellinus
Barnabas Brissonius
Pietro Bizzarri
Johannes de Laet
Thomas Herbert
Hans Schiltberger
Hans Christoph von Teufel
Stefan Kakasch
Anthony Jenkinson
Anthony and Robert Sherley
Thomas Coryat
Pietro della Valle
Garcai de Silva y Figueroa
Jean Babtiste Tavernier
Raphael du Mans
Olearius (1636)
Engelbert Kaempfer

a Greek invented dichotomy:
(Greek) small democracies =/= (Persian) powerful empire
modestia (cult of the simple and good) =/= superbid (pride)
law =/= monarch


‘conflict’ is a theme


Europe/Persia reasons for contact according to Cambridge History of Iran:
1- religious incentive (moharek محرک)
2- both against the Ottoman Turks
3- commercial incentive
4- travelers passed through Persia


Duke Frederick's commercial venture that would put the tiny territory on the map, as it were, and eliminate all its debts [...] with Adam Olearius chosen to chronicle the mission as its official secretary
“Duke's stated aim in sending the embassy to Persia was to establish a trade route with Persia and obtain exclusive rights to export silk from the area, thus squeezing out the other European competition, especially the Dutch”

his methodology
(Olearius's citational mobilization) a typical Baroque writer, he cites classical and Renaissance sources copiously and compares them to each other, thus paying homage to the scholarly tradition
•list the main features of a subject under discussion
•quote classical and contemporary authorities --> elicit different opinions
•

*correction of faulty source material imperative*

Harvey's new theory of the circulation of blood

Olearius:
•seasickness could be caused by motion of the waves
•“monsters” living along the Siberian coast are wrong
•

Olearius's methodology is that of a comparatist
he juxtaposes (the customs and social structures of the people he meets with those of his native land)

Olearius's trip ==> production of (superior maps)
Olearius ==> maps
Qazwini ==> lists
Sa'di ==> de-vice

Olearius's The Vermehrte Newe Beschreibung includes large, detailed, fold-out maps describing...
as well our technique in our work, with Sana
-our work/contribution includes placing maps and figures with the flux of discourse (=/= Olearius)

description of (the Persian) “natives” and their “nature” --> a codification of his human hosts


traditional western stereotypes regarding exotic eroticism

Shah Safi's banquet (sur سور) corresponds fully to a European's notion of what an oriental feast should entail

he marks the poles of Persian culture: as the site, on the one hand, of voluptuous, erotic encounters, and of unnatural cruelty and despotism on the other hand --> meant for the moral edification/codification of its western readers. (readers were taught about different countries + taught to be better European persons [with proper differences])


Baroque's excess of information
(as Pierre also noted in my style of language)

Beschreibung

*** the customs of the observed peoples ***
-->(language of pictorial representation emphasized)

temporal displacements [in his frames pictures]
inscriptions, conveying a sense of movement


scorpion bites Olearius (“Ich vom Scorpion gestochen” --> oriental danger) --> specimen scorpion (--> immobilized and tamed) --> back in the Kunstkammer --> Duke's cabinet of curiosities (--> on display)
["his” experience =/= Sa'di's technologies of writing]

Olearius + Hakwirdi --> Golestan of Sa'di

Sa'di's influence on German baroque literature:
•Grimmelshausen (Simplicissimus)
•Lohenstein (Ibrahim Bassa and Ibrahim Sultan)
•Gryphius (Catherina von Georgien)
•Montesquieu (Letters Persanes)
•Goethe (West-östlicher Divan)


Jens from Kiel library, like Olearius, is appointed court librarian, by state/Duke, given the task of cataloging and expanding the ducal/official collection, and developing the Duke's Kunstkammer/Wunderkammer

Gotterffische Kunstkammer --> “Wunderbuch” (book of wonders), with its insistence on the concepts of writing + drawing

Olearius's genre of frontispiece, his engraved title pages --follow--> Norbert: kluger Vater or fleissiger Praeceptor
clever father / industrious preceptor مرشد مربى #Pir [--> “our common father in heaven"], wants to introduce his children and students to something in arts or sciences, “make them understand” by means of his mouth + pen :
*analogy/simile: showing something grand by showing them something small --> an astronomer shows on a small hand-globe (*globo coelesti*) the make-up of the great heaven with all its visible bodies, where a point means a star ~(in the same way)~> the geographer represents on a small terestrial globe (*globo terrestri*) the entire circle of the earth with all its landscapes ~(in the same way)~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his children and students) the great book of wonders --recognize--> Himself
}--> (the concepts of) microcosm & macrocosm : something small (a dot on a globe) stands for something else, larger than itself (a city) ==> individual objects of study or curiosities of nature, that are collected and presented to a reader/observer, represent a greater whole ==> interconnectedness --> “the great chain of being” ~-> God teaches humans by means of natural wonders #ajayeb
}==> (microcosmic world of the) frontispiece = visual macrocosm of the larger book, *the textual macrocosm* that it introduces
[my video atlas in Eckernförde was reworking with frontispiece as it is meant to intrigue the reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be decoded after reading the book that follows. Olearius brings all desciplines onto the stage of his's world: ethnography, history, natural science, geography, architecture, and literature --> this is very baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the symbolic entry into the written work [<-- we don't need to do this!!] --> *formal monumental opening* (leading the “reader” to the ‘interior of’)--> Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's interest):
◦(to commemorate) official functions at the court
◦literary activities

[*]baroque: ***the art of not rejecting anything*** (el arte de no renunciar a nada -Montesinos)
(am i baroque?)
[...]