[...] ...superfluity of details mannered and lss="trms"nttrm="cluster,club">cluttered with unlss="trms"nttrm="already,spread">read decorative motifs set in an unlss="trms"nttrm="already,spread">readable space
<lgc clss='lgc'>[lgc>16th century frontispiece; lss='mywrk'>my work is sometimes like that<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>=/=lgc> (Rubin's title pages<lgc clss='lgc'>: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 lss="trms"nttrm="already,spread">readable illusionistic space

‘stretched-out lss="trms">animal skin with the head in the top center’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Rubin's artistic lss="trms">vocabulary <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> followed in today way of layout<lgc clss='lgc'>]lgc>
lion<lgc clss='lgc'> = lgc>saint's attribute <lgc clss='lgc'>--lgc>transformed<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> medium for lss="trms">writing
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (underscoring the) significance of ls clss='strcls'>**ls>trophyls clss='strcls'>**ls><lgc clss='lgc'>:lgc> subjugating a lss="trms">wild dlss="trms"nttrm="danger,stranger">angerous lss="trms">animal and then displaying it proudly for all to admire
l clss="ppl">Oleariusl>'s choice of lionskin<lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1- dramatic visual introduction (to Golestan)
lstsrd> <lstsrd clss="lstsrd">2- piques the lss="trms"nttrm="already,spread">reader's lss="trms">interest in the work
lstsrd> <lstsrd clss="lstsrd">3- stands for dlss="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been lss="trms">symbolically tamed and displayed for the Western viewer
lstsrd> <lstsrd clss="lstsrd">4- lss="trms">material of lss="trms">writing <lgc clss='lgc'>+lgc> lss="trms">material being lss="trms">written about
lstsrd>

deictic

the lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor mortis of the body


<lrg clss="large lg2" stl="font-size:111%"> the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “lss="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
<lgc clss='lgc'>+lgc> martyr-like European hero who suffers the slings and arrows of outrageous Tatars
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theater of cruelty

lrg>
bellicosity (amade be jang آماده به جنگ)

lss="trms"nttrm="already,spread">reader/viewer is horrified lss='and'>& fascinated <lgc clss='lgc'>--lgc>provide<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a tale of ls clss='strcls'>*ls>oriental atrocitiesls clss='strcls'>*ls> <lgc clss='lgc'>--lgc>set-for<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">stage adventure lss="trms">stories that follow...

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

less obviously, from standard geographical texts of the Islamic lss="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “lss="trms">scientific” standards of the Enlightenment.

maps are cultural artifacts
Persia<lgc clss='lgc'>:lgc> exotic <lgc clss='lgc'>+lgc> faraway

<lrg clss="large lg1" stl="font-size:114%"> map <lgc clss='lgc'>==>lgc> analysis
a map<lgc clss='lgc'>--lgc>like a frontispiece<lgc clss='lgc'>--lgc>is comprised of both visual and textual elements, combining word and image; it relss="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “lss="trms"nttrm="already,spread">read” correctly
lrg>

maps are never completely lss="trms">translatable (nor lss="trms"nttrm="already,spread">readable)

lss="trms">language lss="trms">translates into lss="trms">historical practice

carto-lss="trms">literacy

lss="trms">rhetorical device, ekphrasis<lgc clss='lgc'>:lgc> description

graph-o suglss="trms">gests both picture and lss="trms">writing ls clss='strcls'>*ls>

the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf

mathematical principles <lgc clss='lgc'>+lgc> projection lss="trms">methods

14th century, seeks to inlss="trms"nttrm="cluster,club">clude “ancient and lss="trms">modern discoveries in one lss="trms">verbal and visual description”


early lss="trms">modern age military and strategic lss="trms">situation of europe

establish fortifications

(Harley<lgc clss='lgc'>:lgc>) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
lss="prgrph">-global empire building
lss="prgrph">-preservation of the nation-state
lss="prgrph">-local assertion of individual property lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual lss="trms">apparatus of power ls clss='strcls'>**ls>


individual niches <lgc clss='lgc'>[lgc>on<lgc clss='lgc'>]lgc> architectural plinth

in Newe lss='trgt hghlght 1'href='?q=L'>Landesbeschreibung<lgc clss='lgc'>:lgc> “in the beginning of the lss="trms">world, God created everything at once, with his clever/intelligent finger, using lss="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 lss="trms">differentiation.” (lss="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 clss='lgc'>[lgc>of title<lgc clss='lgc'>]lgc> rests on a kind of architectural base in which a scale bar is contained)ls clss='strcls'>***ls>
(graticules, more details,)
typography plays a role in emphasizing (noveltylss='qstn'>?)
geographical purview (meydan-e did, چشم رس، ميدان ديد) of the rulers

map and approval

lss="trms">different layers of information in the map<lgc clss='lgc'>:lgc> by looking at it all at once, it is difficult to comprehend the entire lss="trms">story that the lss="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 lss="trms">different lss="trms">narratives extant<lgc clss='lgc'>--lgc>manifest and latent<lgc clss='lgc'>--lgc>in the work (l clss="ppl">Brancafortel> on l clss="ppl">Oleariusl> cartographic work)
(this visual lss="trms">rhetoric is also what i am using in my lss="trms">storytellings) (i also need to be careful with my collages<lgc clss='lgc'>:lgc> (notlss='qstn'>?) to map out creations that are totalities much greater than its lss="trms">author's own appreciation or conscious knowllss="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 clss="lsts lst1">•“the mass of textual lss="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 lss="trms">history that the image cannot put into words.” (l clss="ppl">Conleyl>)
lsts>

grid, superimposed on the map

a common topos in Persian painting<lgc clss='lgc'>: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 l clss="ppl">Oleariusl> map of persia) as a lss="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “promise and peril” <lgc clss='lgc'>[lgc>riches to be found <lgc clss='lgc'>+lgc> dlss="trms"nttrm="danger,stranger">angers encountered; treasures <lgc clss='lgc'>+lgc> giant snakes<lgc clss='lgc'>]lgc>
this continues today<lgc clss='lgc'>:lgc> the image of an lss="nms">iranian woman in native dress

on the Persians’ inner lss="trms">nature and customs

the dedicatory cartouche's <lgc clss='lgc'>[lgc>special effects<lgc clss='lgc'>]lgc><lgc clss='lgc'>:lgc> ruler's name, capitalized, special style of italics
establishing the Duke's geographical purview <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> linked to foreign territories


through ‘knowllss="trms"nttrm="knowledge,Knowledge">edge’ and ‘discovery’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> learn about Safavid Persia

(l clss="ppl">Conleyl>)
(cartography during early lss="trms">modern age afforded to) the emerging self and the self's lss="trms">relation to lss='thdf'>the idea of national space
between raw perception and creative lss="trms">imagination
surveying and plotting the lss="trms">world
the drama of european lss="trms">literature<lgc clss='lgc'>:lgc> an unforeseen theatricalization of the self in the 15th-17th century
lss="prgrph">-the self seems to be produced in the form of a subject, as a paradoxical being divided between a relss="trms">presentation of the conditional lss="trms">relations it is producing and the comlss="trms">posite lss="trms">nature of the lss="trms">simultaneously aural and visual medium of print
lss="prgrph">-growth of cartography parallels that of the coming of autobiography <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> mapping is lss="trms">responsible for the consciousness that leads to the production of the lss="trms">fashioned self

<lrg clss="large lg3" stl="font-size:111%"> rise of<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•autobiography
lsts> <lsts clss="lsts lst1">•opera
lsts> <lsts clss="lsts lst1">•lss="trms">natural lss="trms">history
lsts>lrg>

l clss="ppl">Oleariusl> multiplicity of roles
artist, geographer, lss="trms">historian, tourist, merchant, diplomat,

l clss="ppl">Oleariusl>'s production of self
mantle of artist is passed on to the lss="trms">author, who asserts himself and his new status in pictorial form
<lgc clss='lgc'>[lgc>in the corner of the map of Flensborg from Newe lss='trgt hghlght 1'href='?q=L'>Landsbeschreibung<lgc clss='lgc'>]lgc> a hat obscures the lss="trms">specific character traits of the individual <lgc clss='lgc'>[lgc>artist/cartographer<lgc clss='lgc'>]lgc>, and the image opts instead to emphasize the professional activity of the geographer <lgc clss='lgc'>[lgc><lgc clss='lgc'>==>lgc> ls clss='strcls'>*ls>expert<lgc clss='lgc'>:lgc> a new subject ruled by laws of classification or ideology, an expert lss="trms">cosmographer or topographer<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>+lgc> beautiful theories of a fire that burned in the human heart

<lrg clss="large lg4" stl="font-size:112%"> lrg>

he stick to his calculations despite the criticism he receives from colleagues and friends

l clss="ppl">Oleariusl>'s lss="trms">scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher<lgc clss='lgc'>: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 lss="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 clss='lgc'>--lgc>lss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Harvey's discovery of the circulation of blood


<lrg clss="large lg5" stl="font-size:122%"> ...cartographic lss="trms">literature both reflected and brought about changing perceptions of the lss="trms">world
lrg>
about Marco Polo
Gabriel<lgc clss='lgc'>:lgc> Marco Polo did[...]