TAGB: Book practices and knowledge from books 1450-1750
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Lucas Burkart / Hole Roessler, Department of History, University of Lucerne, Michael Gnehm / Tristan Weddigen, Art History Department, University of Zurich, Werner Oechslin Library Foundation 21.06.2010-23.06.2010, Einsiedeln
Report by: Anne-Chantal
Zimmermann / Heinz Nauer, University of Lucerne
From 21 to 23 June the History Department at the University of Lucerne and the Art History Institute of the University of Zurich in cooperation with the Werner Oechslin Library Foundation in Einsiedeln, a symposium on "book learning and practice Paper 1450-1750." The library Werner Oechslin its more than 40,000 volumes on the history of architecture and architectural theory and for the European intellectual and cultural history, the organizers of Lucas Burke (Luzern), Michael Gnehm (Zurich), Hole Rössler (Luzern) and Tristan Weddigen (Zurich) is a suitable location was chosen in order to reflect substantive and practical aspects of pre-modern book culture.
Dealing with book practice and content of books in the early modern period does have its relevance. In the Internet age is often forgotten that at least the topos of "book flood"
is not new and has already set in the 17th Century in dealing with the growing wealth of Unrezipierbare Information are largely the same questions were asked as today. Much has in recent years and decades have been complaining about the flood of insufficient quality online publications, anthologies, which would have been better unwritten and digitization projects to make the substantive point in the not too distant future become redundant. A possible answer to the question of how to deal with this totality of information, has announced in 2007 the Paris literature professor Pierre Bayard: by non-reading. In his readable little book "How to talk about books that you have not read" Bayard distinguishes four main types of books: books
unknown, Books that have been cross-read books that you know only by hearsay, and those whose content you have already forgotten. All four underlying practices, which also demonstrated an in-point, ultimately, were legitimate and not necessarily misleading ways of dealing with book learning.
Werner Oechslin (Einsiedeln) argued in his opening speech to the contrary: you should read very well, whenever possible in specific directories and not in their digitized. The book as a material object - often with significant traces of reading - whether for a historical perspective as important as its content, because most books are no crime novels that one could read from front to back, but containers for everything under the networked knowledge bases, each of which has its own story.
is so because the order of the books never happen, but given history. Even so Oechslin pleaded to visit the books in their real environment. The best in the rare free reference libraries, for not only the book itself tells stories, but - as already noted Aby Warburg - also its neighbors. Man has two possibilities in a library: to admire either the walls of books or pick up a book and read.
Anthony Grafton (Princeton) said in his evening lecture, "Jewish Christian Books and Readers: Another renaissance" of Jewish influence on Christian books of the early modern period. The original texts of biblical exegesis was due to poor or non-existent knowledge of Hebrew for Christians often impossible. Some scholars, therefore, sought a Jewish teacher to learn the language of the Old Testament. Through the exchange with their teachers but they finally got more than just language: The teacher brought them the Jewish culture. Although Christians saw in the early modern period, see themselves as the Jewish culture as inferior, they developed in cooperation a growing understanding that was reflected in its book culture. Was able scholar of the early modern period, the Pointe Grafton, exceeding in reading and writing of books, religious and cultural boundaries.
MARIE THERES STAUFFER (Geneva) said in her lecture on "The representation catoptric practices in early modern writings. She examined the mirror experiments in the books of the Jesuit Athanasius Kircher polyhistorian by their illustrations and explanations. Talking about catoptrics was inspired by the imagination and far more spectacular than was the actual effects of the real experiment. This shows the example of an (in Schrodinger
reminiscent) cat in a box lined with mirrors, which, according to legend, was nearly shot by whether the many cats that they had stared at by all sides. But where exactly is the light came into this box? And how could the scholars see the cat there? The function of the machine remains a mystery for the readers, ultimately, what was the statement said Stauffer, the reason why the experiments was believed in the books. In his books produced Athanasius Kircher something like "Science Fiction". In the medium "book" could not work with the machines in churches Roman Museum.
TINA ASMUSSEN (Luzern) tried it then, this remove the contradiction between Musäum Kircherianum and publications Kircher. She lifted it out of the symbiosis between the museum and book. The medium "book" (illustrated by the example of Giorgio de Sepis museum catalog "Romani collegium Societatis Jesus Musäum Celeberrimum"
of 1678) was in fact the only place were, would have worked at the Kircher experiments and have no real relationships, but represents an "ideal space "produced. Subsequently, Asmussen was the "self-referential loop ', which shows the moving church with its publications. The museum was indeed an "imagined space of knowledge" was, but one that corresponded in his account with the philosophy of nature Kircher. Kircher was thinking in analogies, and transferred this thinking to his museum, in which he wanted to depict the whole world in miniature. According to the same reference system ("omnia in omnibus"), then, did the work after Science Church.
equal circled several lectures on the concepts of "truth", "credibility" and "authenticity" in connection with the use of images in the printed book. Sun noted PETER SCHMIDT (Munich) for the 17 Century, an inflationary increase of publications that contain the word "true" resulted in the title. Dorothee Schmidt (Basel) raised the example of the travelogue collection "petits voyages" of the Dutch publishing family, the importance of de Bry the eyewitness to the credibility of travel overrides in the eyes of readers in 1600 shows. "Truth" had in this richly illustrated texts revealed only by examination of images and text.
HOLE RÖSSLER (Luzern) spoke about the literary figure of the "unread book." He set out three lines of argument, defended by those in the early modern practices of the non-reading or sentenced. Thus gave (and are) under the charge of Rössler "bibliomania," the indiscriminate piling of books that are not read. This was criticized by scholars of a fraudulent practice
book: books one should read and not with the Light of accumulated learning. In the "Bibliophobie" was the unread book a symbol of moral hazard. It should be possible to read a few to draw one's own thinking has not prescribed paths to
Geniuses do not read, think, but. To this day, have the practice of "not reading" their place in self-fashioning "of scholars. The third (and latest historical) Roessler strand called the "Bibliopathie", the view, then, that reading books weakened body and soul. It's healing promised by fresh country air and tranquility. Does the unread book as a concrete object usually without trace existence, it is a rhetorical figure, however, important for the symbolic Construction of learning.
also FLEMMING SHOCK (Darmstadt) emphasized in the context of early modern publication flood the criticism of scholars who seemed "burst" to "sheer knowledge." On the basis of polygraph Wissenskompendien of baroque as Eberhard Werner Happel and Erasmus Francisci described shock as the practice of collecting art from reading excerpt and "copy-paste". Books were in the 17 Century increasingly commercialized and popularized. was "knowledge managers" as Happel or Francisci is also a matter of "pruning" of knowledge, to make it to the commercially oriented book market, to a non-academic audience. It moved in a seemingly endless Continuum of books and references, and books were increasingly the subject of the conversation and not just reading. You had the old classics not necessarily have read the original to know and to shine with them. Books were in the 17 Century "quarries", which could be composed of compilers and over again.
MARTIN Mulsow (Erfurt / Gotha) tells the tragicomic story of Hermann von der Hardt, professor of oriental languages at the University of Helmstedt. By Bible too idiosyncratic interpretations of these was occupied by a publication ban and confiscate some of his manuscripts. He immediately fired the responsible Duke a series of lavishly illustrated "comic strips of despair", including with bats, the way the stories told on emblematic of his conceded and unpublished books. The strong imagery Mulsow led to the fact that, according to Hardt and the Bible of the image structures are subject, which is a series of mind-images, which he used it very real in his defense.
Without success, however: The bats were transformed not in pigeons.
MICHAEL Thimann (Florence) presented as a "problem map"
before presentation designed to be an educational project to artists and artists reading. So far, according to Thimann was not yet connected investigated, could have hampered the way in which language barriers or high book prices in the early modern period, the relationship between the artist and the book. This material (such as traditional register of the libraries of artists) was tried in the past often hastily put to use for individual cases. Thimann would not be content with determining the size and content of libraries artist, but hopes to also evidence of artist education, reading and knowledge in the early modern period.
The total of 14 speakers provided a great technical and methodological
range: an architectural history Lecture was BUCHI TOBIAS (Einsiedeln). In it he outlined the systematization of the 16th Fortifikationswissen and 17 Century based on the categories developed in logic and rhetoric. A techno-historical approach to the subject showed KARIN LEONHARD (Eichstätt): You lit the transition from hand-painted colors in the book to be printed in the late 17th and 18 Century, which at that time, had at least commercially, with little success. made commercially available colored pictures in books should be printed only in the second half of the 19th be century. LOTHAR SCHMITT (Zurich) spoke of Erasmus of Rotterdam, the materiality of book dedications and how Erasmus, one of the first scholars of Letter could live, the new medium of printing for advertising purposes in their own right used. ACHATZ OF MULLER (Basel) spoke about Robert Burton's book "Anatomy of Melancholy" and the question was whether the book is a "new theology," or rather "a book on the profile" is.
may summarize, be noted that we have succeeded in organizing the symposium, to achieve, despite a large range of technical and methodological coherence of the contributions, the many references made possible under the individual results. Something fundamental in the books was research, clearly visible: We know a lot about the book content, but is still little on the concrete and personal contact with books in the early modern period is known, since the mere determining the ownership of books still says little about their readership and popular reading practices.
Werner Oechslin (Einsiedeln): Selected Books about
Anthony Grafton (Princeton): Jewish Christian Books and Readers: Another Renaissance
Peter Schmidt (Munich / Frankfurt aM): "true image". Comments on an exchange of images right at the time of early printing
Dorothee Schmidt (Basel): art of painting - Truck of the Scriptures.
intermedia in the "petits voyages" de Bry, the publisher
Marie Theres Stauffer (Geneva): Book images. The presentation catoptric practices in early modern writings
Tina Asmussen (Solothurn): sense images of knowledge. The exegesis of nature in Athanasius Kircher
Achatz von Müller (Basel): Robert Burton's Anatomy of Melancholy. " A new theology or a book on the leaves?
Hole Roessler (Luzern): The unread book. Booms a polemical figure
Martin Mulsow (Erfurt / Gotha): Comic Strips of despair. Censorship, academic freedom and personalization of books
Lothar Schmitt (Zurich): The double Text: The materiality of book dedications
Tobias Büchi (Einsiedeln): synopses in the 16th Fortifikationsliteratur and 17 Century
Flemming shock (Darmstadt): The shrunken library. The book as object-collecting reading the Baroque
Michael Thimann (Florence): Books and Books. Intensive and extensive reading in early modern artists
Karin Leonhard (Eichstätt): color in the book
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