[...] a ="trms">monstrous creature (="trms">animal or human), execution of a famous criminal, tales of witches, devils, ="trms">religious or political propaganda='lgc'>]
Flugblatt counterparts='lgc'>:
="lsts lst2">◦Flugshrift (flying ="trms">writ, flying pamphlet), popularized by ="ppl">Martin Luther, four pages with woodcut gracing, for audience with ability and leisure to ="trms"nttrm="already,spread">read longer tracts
="lsts lst1">•illustrated costume ="trms">book. with Mannerist s="trms">trapwork, grotesque, garlands, allegorical personifications; in s="trms">cenes re="trms">presenting the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal reason why humans need to wear clothing
="lsts lst1">•(Norbert when he uses “we” in his ="trms">language) ='lgc'>='lgc'>--> ='strcls'>*="trms">author='strcls'>*='lgc'>: active, nude, individual with his scissors, not dressed for battle, who will actively clothe the other figures ... ='lgc'>[in frontispiece to Hans Weigel's Trachtenbuch the personifications of the non-Europeans are all prepared for battle='lgc'>] (male warriors in female continents ='lgc'>[continents are usually re="trms">presented by female figures, derived from biblical and classical sources such as Roman coins='lgc'>]) ='lgc'>{Amerindian's headdress once was removed from its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal ethnographic context, “decontextualized,” and then “recontextualized in a ="trms">different setting ='lgc'>='lgc'>--> europeans might have thought that it was a skirt. the reverse is the ="trms">story of shalite شلیته='qstn'>?='lgc'>}
mid 16th century also saw the development of the periodical newssheet (adapted from broadside)
consisting of image and text='lgc'>--work together in order to provide meaning for the design ='lgc'>='lgc'>--> view needed to combine ='lgc'>==> a ="trms">composing/="trms">composer subjectivity
allegorical putti (="trms">symbolizing industry)
inscription at their feet
flora beside each of them
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="ppl">Olearius's frontispiece for Orientalischen Reise='lgc'>:
="lsts lst1">•mixture of rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic and fantastic
="lsts lst1">•illusionistic cloths denote a process not only of uncovering, but of discovery as well (theatrical curtains pulled back to reveal the true subject='lgc'>: the paradisical s="trms">cene of “natives”) ='lgc'>[the scenic event of arrival in any civilized zone is ="trms">embodied by the monument of the natives='lgc'>]
="lsts lst1">•flora and fauna of Paradise
to place the viewer in (an atrium-like building)
monumental inscription
(our anti-globe video in the exhibition ='lgc'>=/=='qstn'>?) a s="trms">cene showing a robed man standing on a globe ='lgc'>~-> “You lead me through your counsel”
the explorer ="trms">writes his observation into his ='strcls'>*magnum opus='strcls'>*, the ="trms">traveler account (just as God ="trms">writes in “das grosse Wunderbuch die Welt”)
='lgc'>=/= my amazon project
textual proclamation of the ="trms">author's faith
="ppl">Olearius's ="trms">translation of the sufi lore collected by the celebrated Persian ="trms">poet ="ppl">Sa'di, in a con="trms">densed visual form, (acknowl="trms"nttrm="knowledge,Knowledge">edged later by ="ppl">Goethe) with the help of Hakwirdi
="ppl">Brancaforte='lgc'>: Golestan speaks to an audience that has recently suffered from the ravages of war (or pre="trms">dicting it='qstn'>?!)
="prgrph">-Golestan (“valley of roses”) ="trms">written soon after the bloodbath is therefore a document of its time ="trms">composed by a man of reason who always stresses the practical ='lgc'>[praised by ="ppl">Olearius as a “lustiger Kopff” (fun="trms">loving spirit)='lgc'>]='lgc'>--appealing to a classical ="trms">authority
="prgrph">-blending personal experience, humorous insights, and aphorisms (of an ethical/didactic ="trms">nature)
="prgrph">-Muhammadian like the manner of Virgil='lgc'>='lgc'>-->='lgc'>{the ="trms">past as legacy, disposing with the divine mechanism, purchase Virgil's tomb and worshipped it, ="trms">poetry as a tool of divination, ="trms">embodiment of experience, ="trms">pastoral and ="trms">erotic, attraction toward people of any gender, agriculture as man's struggle against a hostile ="trms">natural ="trms">world, way of a comparison with foreign marvels,='lgc'>}
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="trms">religious relativism in ="ppl">Olearius's orientalism ='lgc'>='lgc'>--> in deference to his christian audience and as a dependent of the Gottorf court='lgc'>--he disparages islam (verführischer Glauben, seductive belief)
="prgrph">-he is also a forerunner to the comparative ="trms">religious studies (when he uses the word “Gott/God” rather than the name “Allah”)
="prgrph">-manipulating Hakwirdi's voice in the propagandistic confrontation between the great ="trms">religions ='lgc'>='lgc'>--> ="ppl">Olearius speaking for his persian friend='lgc'>: who feels the customs of his homeland do not ="trms">measure up to those of his adopted country ='lgc'>[like Norbert!='lgc'>]
‘other's blindness’='lgc'>: (a ='strcls'>*textual disclaimer='strcls'>* of) the other who exists in spiritual and ="trms">religious darkness ='lgc'>=/= pictorial depiction
(in Persianischer ="ppl">Rosenthal the entire) ='strcls'>***enterprise of ="trms">translation='strcls'>*** (from ="trms">Farsi to German) is cloaked in highly ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric ="trms">language, charged with fostering the development of the german ="trms">language ='lgc'>+ nationalized sentiment, “our German ="trms">language that used to lie beneath the dust of contempt now shines forth once again” (='lgc'><='lgc'>-- i meet this all the time when i was living and working in Germany)
“Die Persianer” in ="ppl">Olearius is an ambiguous term, it could stand for either ="ppl">Sa'di or the text of the Golestan, or Hakwirdi, but this “Persians” is to be “let inside, wearing a German coat,” ="ppl">Olearius's body is charged with teaching “the Persian to speak German” (='lgc'>='lgc'>--> ="trms">integration)
other ="trms">translations of Golestan='lgc'>:
="lsts lst1">•Andre du Ryer
="lsts lst1">•Johan Ochsenbach
="lsts lst1">•Georg Gentius
='strcls'>*Golestan
taut and well-="trms">translated epigrams
end-rhyme ="trms">poems
a ‘treasury’ of ="trms">rhetorical and ="trms">poetical motifs
a voluminous index of sayings
="prgrph">-='strcls'>*short and astute speeches='strcls'>* (ایجاز ijaz ناقلا naghola)
='strcls'>*the genre of aphorism='strcls'>*='lgc'> = "apophthegma” (concise saying ='lgc'>='lgc'>--> fit for advice, ='lgc'>='lgc'>--> emblem)
(clever and) ='strcls'>*sharp='strcls'>* ='lgc'>==> ="trms">memorable
practical advice for individuals (="trms">members of the bourgeois, merchants) who wanted to climb the ="trms">social ladder and learn ='strcls'>*how to behave at court='strcls'>*
Golestan was considered a rich sourch of (such) “oriental wisdom”
(why ="ppl">Olearius is so into ="ppl">Sa'di's Golestan='lgc'>:) the aphorisms try to convey mental images or pictures ='lgc'>[...='lgc'>] the apophthegma are the ="trms">verbal equivalent of the images of the frontispiece ='lgc'>--="ppl">Brancaforte='lgc'>='lgc'>--> both genres try to convey a great deal of information in a con="trms">densed form (="trms">verbal or pictorial) ='lgc'>[='lgc'>='lgc'>--> this is also why i am into ="ppl">Olearius and ="ppl">Sa'di ='at'>#baroque='lgc'>]
(frontispiece ='lgc'>+ Golestan's) architectural framework ='lgc'>--serving='lgc'>='lgc'>--> organizing structure; formal entrance to the s="trms">cene
='lgc'>[='lgc'>]
="trms">relation to the sove="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rign in ="ppl">Sa'di
in Golestan, the tales speak of the ="trms">love or ="trms">affection between a man and a young male. however, in the introduction to his ="trms">translation, ="ppl">Olearius notes that he has sub="trms">situted the term “girl, ="trms">lover, person, or human being” for “youth,” so that it will not offend young people who ="trms"nttrm="already,spread">read the ="trms">book ='lgc'>='lgc'>--> (resisting the) jocular mora="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic-didactic use of the momo="trms">erotic motif a much deeper understanding of Sufi terminology and motivation than one can expect from a 17th century ="trms">translator
="ppl">Olearius normalizes the discourse (of sufi) for fear of offending the sensibilities of his ="trms"nttrm="already,spread">reading public
angelic piety
Englische Frömmigkeit
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the lionskin ="trms">story
lion ="trms">symbolizing the element of fire as well as purification
astrological ="trms">relationship between lion and sun, in the image of Mithras, entwined by snake, ="trms">symbolizing the path of the sun
mithraic influences survived into the islamic era as well, and became even more prevalent with the safavid dynasty ='lgc'>='lgc'>--> lion imagery became strongly as="trms">sociated with ="frds scrmbld"nttrm="Alice,Shariati">Ali, the fist imam in twelver shi'ism
cosmic imagery and forms of address
the persian sun/lion ="trms">symbol becomes intelligible for a european audience, when it is re="trms">presented as a ="trms">symbol of royalty
the lionskin, in ="ppl">Olearius's title, Persianischer ="ppl">Rosenthal
the ="trms">animal's ="trms">interior surface contains the ="trms">writing, which provides the information about Persian ="trms">society
Finn and Jake (given to wanderlust and creative risk) in Adventure Time ='lgc'>='lgc'>--> “more powerful through spoils”
(this tradition goes back to Hercules, trophy, skin of the ="trms">beast,)
“slain and flayed, exposed to the European audience, the lion/skin serves as a background on which the German ="trms">author inscribes the ="trms">story='lgc'>[/="trms">history='lgc'>]” (="ppl">Brancaforte)
='lgc'>[="ppl">Brancaforte studying='lgc'>] the early ="trms">modern European frontispieces that were as="trms">sociated with the Orient
...superfluity of details mannered and ="trms"nttrm="cluster,club">cluttered with un="trms"nttrm="already,spread">read decorative motifs set in an un="trms"nttrm="already,spread">readable space
='lgc'>[16th century frontispiece; ='mywrk'>my work is sometimes like that='lgc'>]
='lgc'>=/= (Rubin's title pages='lgc'>:) portrayed in an intelligible space, imbued with dramatic light effects, with a sense of movement, monumental architecture with three-dimensional figures moving in a ="trms"nttrm="already,spread">readable illusionistic space
‘stretched-out ="trms">animal skin with the head in the top center’ ='lgc'>='lgc'>--> Rubin's artistic ="trms">vocabulary ='lgc'>[='lgc'>='lgc'>--> followed in today way of layout='lgc'>]
lion='lgc'> = saint's attribute ='lgc'>--transformed='lgc'>='lgc'>--> medium for ="trms">writing
='lgc'>='lgc'>--> (underscoring the) significance of ='strcls'>**trophy='strcls'>**='lgc'>: subjugating a ="trms">wild d="trms"nttrm="danger,stranger">angerous ="trms">animal and then displaying it proudly for all to admire
="ppl">Olearius's choice of lionskin='lgc'>:
="lstsrd">1- dramatic visual introduction (to Golestan)
="lstsrd">2- piques the ="trms"nttrm="already,spread">reader's ="trms">interest in the work
="lstsrd">3- stands for d="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been ="trms">symbolically tamed and displayed for the Western viewer
="lstsrd">4- ="trms">material of ="trms">writing ='lgc'>+ ="trms">material being ="trms">written about
deictic
the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor mortis of the body
the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
='lgc'>+ martyr-like European hero who suffers the slings and arrows of outrageous Tatars
='lgc'>}='lgc'>='lgc'>--> theater of cruelty
bellicosity (amade be jang آماده به جنگ)
="trms"nttrm="already,spread">reader/viewer is horrified ='and'>& fascinated ='lgc'>--provide='lgc'>='lgc'>--> a tale of ='strcls'>*oriental atrocities='strcls'>* ='lgc'>--set-for='lgc'>='lgc'>--> ="trms">stage adventure ="trms">stories that follow...
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less obviously, from standard geographical texts of the Islamic ="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “="trms">scientific” standards of the Enlightenment.
maps are cultural artifacts
Persia='lgc'>: exotic ='lgc'>+ faraway
map ='lgc'>==> analysis
a map='lgc'>--like a frontispiece='lgc'>--is comprised of both visual and textual elements, combining word and image; it re="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “="trms"nttrm="already,spread">read” correctly
maps are never completely ="trms">translatable (nor ="trms"nttrm="already,spread">readable)
="trms">language ="trms">translates into ="trms">historical practice
carto-="trms">literacy
="trms">rhetorical device, ekphrasis='lgc'>: description
graph-o sug="trms">gests both picture and ="trms">writing ='strcls'>*
the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf
mathematical principles ='lgc'>+ projection ="trms">methods
14th century, seeks to in="trms"nttrm="cluster,club">clude “ancient and ="trms">modern discoveries in one ="trms">verbal and visual description”
early ="trms">modern age military and strategic ="trms">situation of europe
establish fortifications
(Harley='lgc'>:) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
="prgrph">-global empire building
="prgrph">-preservation of the nation-state
="prgrph">-local assertion of individual property ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
='lgc'>}='lgc'>='lgc'>--> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual ="trms">apparatus of power ='strcls'>**
individual niches ='lgc'>[on='lgc'>] architectural plinth
in Newe Landesbeschreibung='lgc'>: “in the beginning of the ="trms">world, God created everything at once, with his clever/intelligent finger, using ="trms">measure, weight and number ... because God is not a God of disorder, but wants everything to proceed in a proper manner and with the proper ="trms">differentiation.” (="trms">translated in Vision of Persia, p.123)
illustrious predecessors
through their patronage and linked to the noble art of geography
the map is framed by scale bars (the cartouche ='lgc'>[of title='lgc'>] rests on a kind of architectural base in which a scale bar is contained)='strcls'>***
(graticules, more details,)
typography plays a role in emphasizing (novelty='qstn'>?)
geographical purview (meydan-e did, چشم رس، ميدان ديد) of the rulers
map and approval
="trms">different layers of information in the map='lgc'>: by looking at it all at once, it is difficult to comprehend the entire ="trms">story that the ="trms">author/artist are trying to tell. by examining individual visual elements in the map, and then linking them to the text, one can trace the ="trms">different ="trms">narratives extant='lgc'>--manifest and latent='lgc'>--in the work (="ppl">Brancaforte on ="ppl">Olearius cartographic work)
(this visual ="trms">rhetoric is also what i am using in my ="trms">storytellings) (i also need to be careful with my collages='lgc'>: (not='qstn'>?) to map out creations that are totalities much greater than its ="trms">author's own appreciation or conscious knowl="trms"nttrm="knowledge,Knowledge">edge of them; to emerge an often confused and paradoxical but signatory “self” in the liminal/marginal areas of the page)
="lsts lst1">•“the mass of textual ="trms">material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble (por-harf پرحرف، روان، سليس، چرب و نرم، خوش زبان), copious (mofasal مفصل), emphatic (mo'akad تاکيد شده), printed discourse that strives to tell of the invisible ="trms">history that the image cannot put into words.” (="ppl">Conley)
grid, superimposed on the map
a common topos in Persian painting='lgc'>: a male protagonist expecting the female to pour wine or some other liquid into the shallow bowl he is holding
this ‘anticipation of drink’ is construed (in the title of ="ppl">Olearius map of persia) as a ="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress ='lgc'>='lgc'>--> “promise and peril” ='lgc'>[riches to be found ='lgc'>+ d="trms"nttrm="danger,stranger">angers encountered; treasures ='lgc'>+ giant snakes='lgc'>]
this continues today='lgc'>: the image of an ="nms">iranian woman in native dress
on the Persians’ inner ="trms">nature and customs
the dedicatory cartouche's ='lgc'>[special effects='lgc'>]='lgc'>: ruler's name, capitalized, special style of italics
establishing the Duke's geographical purview ='lgc'>='lgc'>--> linked to foreign territories
through ‘knowl="trms"nttrm="knowledge,Knowledge">edge’ and ‘discovery’ ='lgc'>='lgc'>--> learn about Safavid Persia
(="ppl">Conley)
(cartography during early ="trms">modern age afforded to) the emerging self and the self's ="trms">relation to ='thdf'>the idea of national space
between raw perception and creative ="trms">imagination
surveying and plotting the ="trms">world
the drama of european ="trms">literature='lgc'>: an unforeseen theatricalization of the self in the 15th-17th century
="prgrph">-the self seems to be produced in the form of a subject, as a paradoxical being divided between a re="trms">presentation of the conditional ="trms">relations it is producing and the com="trms">posite ="trms">nature of the ="trms">simultaneously aural and visual medium of print
="prgrph">-growth of cartography parallels that of the coming of autobiography ='lgc'>='lgc'>--> mapping is ="trms">responsible for the consciousness that leads to the production of the ="trms">fashioned self
rise of='lgc'>:
="lsts lst1">•autobiography
="lsts lst1">•opera
="lsts lst1">•="trms">natural ="trms">history
="ppl">Olearius multiplicity of roles
artist, geographer, ="trms">historian, tourist, merchant, diplomat,
="ppl">Olearius's production of self
mantle of artist is passed on to the ="trms">author, who asserts himself and his new status in pictorial form
='lgc'>[in the corner of the map of Flensborg from Newe Landsbeschreibung='lgc'>] a hat obscures the ="trms">specific character traits of the individual ='lgc'>[artist/cartographer='lgc'>], and the image opts instead to emphasize the professional activity of the geographer ='lgc'>[='lgc'>==> ='strcls'>*expert='lgc'>: a new subject ruled by laws of classification or ideology, an expert ="trms">cosmographer or topographer='lgc'>]
='lgc'>+ beautiful theories of a fire that burned in the human heart
he stick to his calculations despite the criticism he receives from colleagues and friends
="ppl">Olearius's ="trms">scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher='lgc'>: “some think that the earth, as well as the heavens have their intelligent angels or spirits which move inside them and thus bring the waters out of their depth” (Vision of Persia p.153)
therefore the waters were driven by a ="trms">natural power through the hidden veins of the earth and rose up into the mountains, just as in a human being the blood rises from the liver to the heart and moves upward to the head through the vena cava. ='lgc'>--='qstn'>?='lgc'>='lgc'>--> Harvey's discovery of the circulation of blood
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...cartographic ="trms">literature both reflected and brought about changing perceptions of the ="trms">world
about Marco Polo
Gabriel='lgc'>: Marco Polo did not have the influence on geography that one might have expected ='lgc'>[...='lgc'>] he had no cor="trms">responding education, had been unable to make astronomical observation, and the results of these thrown-together maps was complete chaos ='lgc'>[!='lgc'>]
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the shape-shifting Caspian sea
='strcls'>*** Tabula Asiae ='strcls'>***
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="ppl">Olearius's ="trms">travel account also seeks to be encyclopedic
...describe and judges the deviations from the European norm
common
barbarous
destruction of the body itself
Munster's final[...]