Imperial Eyes. Van Dycks Porträtmalerei als globale Technologie

Zu Beginn des 17. Jahrhunderts hatte sich die Malerei in Antwerpen vor allem durch Rubens als Medium einer zunehmend global verbundenen Welt etabliert. Doch auch zahlreiche von Van Dycks Porträts sind Zeugnisse eines oft hochgradig ambivalenten Kosmopolitismus. Neben Gemälden von international agierenden Antwerpener Händlern und Gelehrten fertigte der Künstler auch in Genua und England Porträts der adligen Elite an, in welchen sich deren globale Erfahrungen und Ambitionen spiegelten. Van Dyck reagierte in der Inszenierung der Marchesa Elena Grimaldi Cattaneo, mit einem schwarzen Sklaven, wie in der des Earl of Denbigh, zwischen einheimischen und exotischen Elementen, auf spezifische Anforderungen an das repräsentative Porträt im Zeitalter des disenclavement. Diese Anforderungen werden besonders deutlich in dem für eine geplante Expedition nach Madagaskar entstandenen Porträt des Earls of Arundel und dessen Frau Alethea Talbot. Das Gemälde verbindet Elemente herrschaftlicher, merkantilistischer und intellektueller Selbststilisierung mit einer Reduktion auf wenige, innovative Elemente. Die majestätische Inszenierung des Paars ist nur in einem globalen Kontext zu erklären, so dass sich die Frage nach der Funktion des in mehreren Werkstattkopien erhaltenen Gemäldes stellt. Hatte Van Dyck in seiner Komposition eine Lösung gefunden, die im Kontext des englischen Hofes, möglicherweise als Teil eines Festes, wie auch für potentielle Investoren, sowie die verarmte Landbevölkerung, die in der Indentur ihre einzige Hoffnung sah, gleichermaßen überzeugend wirkte? Die Hybris in dem überlebensgroßen Porträts des Paares, das mit leuchtend heller Haut, in kostbar glänzende Stoffe gekleidet und mit modernen Messinstrumenten in den Händen dargestellt ist, lässt es als ideales Medium der globalen Ambitionen des Paars erscheinen.

Ms. lat. oct. 112 - Breviarium Romanum

Vorbesitzer: B N; Pietro Barozzi (Vorbesitzer?); Bertram IV, Earl of Ashburnham; Henry Yates Thompson

O EVANGELHO SEGUNDO DOSTOIÉVSKI UMA ABORDAGEM INTERTEXTUAL DA IMAGEM DE CRISTO NO ROMANCE O IDIOTA

No romance O Idiota, Dostoiévski cria, por meio do príncipe Míchkin, uma personagem com as características do Cristo. Sabe-se que a Bíblia, principalmente o Novo Testamento, acompanhou o escritor desde sua infância até o momento de sua morte. O primeiro capítulo, dedicado ao referencial teórico da pesquisa, lida com o universo da linguagem. Tanto o texto literário quanto a literatura bíblica procedem do mito. Neste sen-tido, religião e literatura se tocam e se aproximam. O segundo capítulo foi escrito na intenção de mostrar como o Cristo e os Evangelhos são temas, motivos e imagens recorrentes na obra de Dostoiévski. A literatura bíblica está presente, com mais ou menos intensidade, em diversas das principais obras do escritor russo e não somente em O Idiota. A hipótese de que Dostoiévski cria um Cristo e um Evangelho por meio de O Idiota é demonstrada na análise do romance, no terceiro capítulo. A tese proposta é: Dostoiévski desenvolve um evangelho literário, por meio de Míchkin, misto de um Cristo russo, ao mesmo tempo divino e humano, mas também idiota e quixotesco. Na dinâmica intertextual entre os Evangelhos bíblicos e O Idiota, entre Cristo e Míchkin, a literatura e o sagrado se revelam, como uma presença divina. Nas cenas e na estruturação do enredo que compõe o romance, Cristo se manifesta nas ações de Míchkin, na luz, na beleza, mas também na tragicidade de uma trajetória deslocada e antinômica. O amor e a compaixão ganham forma e vida na presen-ça do príncipe, vazio de si, servo de todos.

Botanical gazette.

v.5-6 (1880-1881)

Miscellaneous correspondence,

Includes letters from John Jervis, 1st Earl of St. Vincent, to Admiral Isaac Coffin Bart in London, and several other unaddressed or unsigned letters, as well as a copy of William Cullen Bryant’s poem, "Robert of Lincoln."

Havana, Cuba, 1762 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: A plan of the Havana and its environs : with several posts and attacks made by the British forces under the command of the Earl of Albemarle and Sr. Geo. Pocock which was taken 13 Aug. 1762, Ths. Kitchin sculpt. engraver to H.R.H. the Duke of York. It was published by J. Boydell engraver in Cheapside & R. Willcock bookseller in Cornhill, Novr. 1st 1762. Scale [ca. 1:24,000]. The image inside the map neatline is georeferenced to the surface of the earth and fit to the 'NAD 1927 Cuba Norte' coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map.This map shows features associated with the British Siege of Havana, 1762, such as roads, drainage, built-up areas and selected buildings, fortifications, lines of fire, troop placement, ship locations, ground cover, and more. Relief is shown by hachures; Depths are shown by soundings. Includes indexes for: References to the Moro -- Attack on the Moro -- References to the Town and Harbour -- Attack on the Town and Defences of that Side.This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Gibraltar, 1739 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: A new and exact plan of Gibraltar : with all its fortifications as they are at present. Showing the great strength and use of it &c., humbly inscribed to ye. Rt. Honble. the Earl of Portmore by H. Moll G. It was published by Thomas Salmon in 1739. Scale [ca. 1:7,700]. Covers Gibraltar. The image inside the map neatline is georeferenced to the surface of the earth and fit to the European Datum 1950, UTM Zone 30N coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, drainage, built-up areas and selected buildings, fortification, ground cover, and more. Relief is shown by hachures and pictorially. Includes explanation, notes, and index. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

Chester Castle, Chester, England, ca. 1745 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: A plan of the castle of Chester : with additional new works errected by order of ... the Earl of Cholmondeley, whereunto is added a project of four bastions in order to defend the antient walls against a regular seige ... by ... Alexander de Lavaux. R. Parr sculp. It was published by Alexander de Lavaux ca. 1745. Scale [ca. 1:300]. The image inside the map neatline is georeferenced to the surface of the earth and fit to the 'British National Grid' coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows fortification features such as buildings, stables, guard houses, towers, quarters, stairs, gates, parade grounds, arsenals, wells, ground cover, and more. Includes also index.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

Old library interior

Daybook, image #16

Ann Arbor Univ. Grounds

University of Michigan Diagonal

The Long Walk

On verso: N.W. (Northwest) View. J.A. Day. similar print is na 8069

David E. Heineman in his room in at Professor Winchell's in the "Octagon" with Winchell's dog "Curley"

[[title from caption accompanying picture in article in Michigan Alumnus Magazine 12/.221/1922, p.343]

Museum. Romance Languages

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958. Typed caption pasted on verso: Museum. Built in 1879. Considered finest building on campus but I notice now it is so old and obsolete it should be torn down

Romance Language Bldg.

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958.

Sarah Partridge

Daughter of Benjamin Partridge of Bay City, Mich.