[...]ttribute ='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

="large lg2" stl="font-size:111%">
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...

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

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)

="large lg1" stl="font-size:119%"> ="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

="large lg3" stl="font-size:110%"> ="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


...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'>]

="large lg4" stl="font-size:111%">
the shape-shifting Caspian sea


='strcls'>*** Tabula Asiae ='strcls'>***

="ppl">Olearius's ="trms">travel account also seeks to be encyclopedic
...describe and judges the deviations from the European norm

="large lg5" stl="font-size:147%"> common
barbarous
destruction of the body itself

Munster's final[...]