[...] /> ="lstsrd">1- ="trms">religious incentive (moharek محرک)
="lstsrd">2- both against the Ottoman Turks
="lstsrd">3- commercial incentive
="lstsrd">4- ="trms">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 ='lgc'>[...='lgc'>] with Adam ="ppl">Olearius chosen to chronicle the ="trms">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 ex="trms">="trms"nttrm="cluster,club">clusive ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights to export silk from the area, thus squeezing out the other European competition, especially the Dutch”

="large lg2" stl="font-size:112%"> his ="trms">methodology
(="ppl">Olearius's ="trms">citational mobilization) a typical Baroque ="trms">writer, he ="trms">cites classical and Renaissance sources copiously and compares them to each other, thus paying homage to the scholarly tradition
="lsts lst1">•="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list the main features of a subject under discussion
="lsts lst1">•quote classical and contemporary ="trms">authorities ='lgc'>='lgc'>--> elicit ="trms">different opinions
="lsts lst1">•

='strcls'>*correction of faulty source ="trms">material imperative='strcls'>*

Harvey's new theory of the circulation of blood

="ppl">Olearius='lgc'>:
="lsts lst1">•seasickness could be caused by motion of the waves
="lsts lst1">•“="trms">monsters” living along the Siberian coast are wrong
="lsts lst1">•

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

="ppl">Olearius's trip ='lgc'>='lgc'>==> production of (superior maps)
="ppl">Olearius ='lgc'>='lgc'>==> maps
Qazwini ='lgc'>='lgc'>==> ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists
="ppl">Sa'di ='lgc'>='lgc'>==> de-vice

="ppl">Olearius's The Vermehrte Newe Beschreibung in="trms"nttrm="cluster,club">cludes large, detailed, ="trms">fold-out maps describing...
as well our ="trms">technique in our work, with ="frds scrmbld">Sana
="prgrph">-our work/contribution in="trms"nttrm="cluster,club">cludes placing maps and figures with the flux of discourse (='lgc'>=/= ="ppl">Olearius)

description of (the Persian) “natives” and their “="trms">nature” ='lgc'>='lgc'>--> a ="trms">codification of his human hosts


traditional western stereotypes regarding exotic ="trms">eroticism

Shah Safi's banquet (sur سور) cor="trms">responds fully to a European's notion of what an oriental feast should entail

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


Baroque's ="trms">excess of information
(as ="frds scrmbld">Pierre also noted in my style of ="trms">language)

Beschreibung

='strcls'>*** the customs of the observed peoples ='strcls'>***
='lgc'>='lgc'>-->(="trms">language of pictorial re="trms">presentation emphasized)

temporal displacements ='lgc'>[in his frames pictures='lgc'>]
inscriptions, conveying a sense of movement


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

="ppl">Olearius ='lgc'>+ Hakwirdi ='lgc'>='lgc'>--> Golestan of ="ppl">Sa'di

="ppl">Sa'di's influence on German baroque ="trms">literature='lgc'>:
="lsts lst1">•Grimmelshausen (Simplicissimus)
="lsts lst1">•Lohenstein (Ibrahim Bassa and Ibrahim Sultan)
="lsts lst1">•Gryphius (Catherina von Georgien)
="lsts lst1">•Montesquieu (Letters Persanes)
="lsts lst1">•="ppl">Goethe (West-östlicher Divan)

="large lg3" stl="font-size:110%">
Jens from Kiel library, like ="ppl">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 ='lgc'>='lgc'>--> “Wunderbuch” (="trms">book of ="trms">wonders), with its insistence on the concepts of ="trms">writing ='lgc'>+ drawing

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

="large lg4" stl="font-size:110%"> ="ppl">Olearius's didactic program='lgc'>: to entertain while ="trms">instructing

(="nms">tasavof's) ="trms">world as ='strcls'>*mundus ="trms">symbolicus='strcls'>* ='lgc'><='lgc'>== ="trms">cosmos of significance (='lgc'>='lgc'>~= art ='lgc'>+ ="trms">history ='lgc'>+ ="trms">nature)

='lgc'>[Das grosse Wunderbuch die Welt='lgc'>]

='strcls'>*theatrum mundi='strcls'>*
="trms">staging of ="trms">nature (='lgc'>~ ="nms">ajayeb) ='lgc'>: ="trms">nature in all its various manifestations (="trms">animal, vegetable, and mineral) must be displayed on a ="trms">stage (of the title page, on the compartments of Kunstkammer)
="lsts lst1">•an arch of gateway resting on a platform or plinth (='lgc'>='lgc'>--> a basic model provided by classical architecture for the majority of Renaissance and Baroque ="trms">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
="lsts lst1">•(early ="trms">modern title page ='strcls'>*iconographic program='strcls'>*) incorporating the feature of the triumphal arch in order to signify the ="trms">symbolic entry into the ="trms">written work ='lgc'>[='lgc'><='lgc'>-- we don't need to do this!!='lgc'>] ='lgc'>='lgc'>--> ='strcls'>*formal monumental opening='strcls'>* (leading the “="trms"nttrm="already,spread">reader” to the ‘="trms">interior of’)='lgc'>='lgc'>--> ="ppl">Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's ="trms">interest)='lgc'>:
="lsts lst2">◦(to com="trms">memorate) official functions at the court
="lsts lst2">◦="trms">literary activities

='lgc'>[='strcls'>*='lgc'>]baroque='lgc'>: ='strcls'>***the art of not rejecting anything='strcls'>*** (el arte de no r="trms">enunciar a nada -Montesinos)
(am i baroque='qstn'>?)

="large lg5" stl="font-size:162%"> ="trms">different types of frontispiece='lgc'>:
="lstsrd">1. divided into ="trms">geometrical compartments (german o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin='qstn'>?)
="lstsrd">2. depicting a particular s="trms">cene (german invention) ='lgc'>[images/elements chosen/in="trms"nttrm="cluster,club">cluded for doctrinal and controversial significance='lgc'>]
="lstsrd">3. single cartouche (school of Fontainebleau), a predilection for Mannerist irrationality and illusionism; ="trms">interlocking, complicated scroll-work and s="trms">trapwork; imitating the three-dimensional scrolling, with ="trms"nttrm="knowledge,Knowledge">edges curling forward around the inscription; fantastic architectural structures, and grotesque figures and ="trms">monsters taken from classical mythology
="lstsrd">4. architectural title page (with the most monumental and most three-dimensional character), arrangement of sculpture-like allegorical figures or personifications


shifts from the ="trms">techniques of woodcut ='lgc'>--to='lgc'>='lgc'>--> engraving (='lgc'>--to='lgc'>='lgc'>-->='qstn'>? digital) ='lgc'>='lgc'>==> greater pictorial detail ='and'>& better illusionism


='strcls'>*="ppl">Sa'di's advice and devices='strcls'>* ='lgc'>[title='lgc'>]
(="ppl">Sa'di's ="trms">relationship to) ‘the accumulated knowl="trms"nttrm="knowledge,Knowledge">edge’(='lgc'>='lgc'>==> device)
='lgc'>[='strcls'>*='lgc'>]device (="trms">symbolum)='lgc'>: a combination of a picture and a personal motto. a private adage (امثال و حکم) or clever aphorism ='lgc'>='lgc'>--> heraldic image ='lgc'>--fusion='lgc'>='lgc'>='lgc'>~=> device='lgc'>: a personal message by means of which a knight would define himself='lgc'>--developed from the chivalric tradition='strcls'>** ='lgc'>==='qstn'>?='lgc'>='lgc'>==> ="ppl">Sa'di's moral devices
="prgrph">-theoretical advice and examples of devices
="prgrph">-a ="trms">craftsmann, a pa="trms">inter or goldsmith, would then supply the visual form of ='thdf'>the idea that the learned scholar created
(moral) device ='lgc'>--discuss='lgc'>='lgc'>--> general qualities and characteristics such as courage, nobility, ="trms">obligation ='lgc'>='lgc'>==> (genre of) ='lgc'>[='strcls'>*='lgc'>]emblem='lgc'>: ='lgc'>--(pictorial ='lgc'>+ ="trms">verbal)-striving='lgc'>='lgc'>--> for ='strcls'>*universal applicability='strcls'>*
='strcls'>*emblem ='lgc'><='lgc'>-- th[...]