O mundo criado pelas imagens: paisagens e espaços coloniais na obra do holandês Frans Post

The aims of this dissertation is to study formation of the Dutch view seeing the colonial scenery in screens by Frans Post, as well as, to perceive a colonial world constitution through landscape paintings by him with his natural and human representation. The artist was the first to portray South American views, after he landed in Pernambuco with retinue of Dutch governor of colony, John Maurice, Prince of Nassau-Siegen. Post, by his 24 years old, was designated to represent for Dutch people their colony. The text reflects on visual construction of natural and human aspects in landscapes by Dutchman and how that aspects were included in colonizer imaginary about the strange world of America. European (Dutch) look about their conquered possessions in the New World was charged with exoticism and imagination. In order to understand that view, it`s paramount to study imaginary pictures reared by Frans Post, on his return to the Netherlands, and notions of landscape and exotic, wild and unspoiled nature which the Dutch people had when they thought about the Dutch colony in America. Our principal (visual) sources of research are six paintings: Vista da Sé de Olinda (1662), Vista das ruínas de Olinda (undated), Engenho (undated), Engenho (1660), Vista da cidade Maurícia e do Recife (1653), e Paisagem com rio e tamanduá (1649), all these canvases were painted when Frans Post returned to Europe. We seek to work through a methodology that focuses on investigation of primary visual and textual material, because these textual and pictorial representations reflect the 17th-century colonial view of colonial history themes of the - here called - Dutch America

A ictiologia na Amazônia brasileira de Diogo Nunes (1538) a Landi (1772): a visão dos viajantes e naturalistas que trataram de sua ictiofauna durante este período

Este trabalho visou reunir e disponibilizar informações sobre a ictiofauna da Amazônia segundo vários escritos do século XVI ao XVII. Consultaram-se, fontes documentais de várias bibliotecas e arquivos, e dos documentos selecionados procedeu-se à identificação taxonômica das espécies neles referidas. Também se fizeram observações com base nas referências textuais e iconográficas disponíveis, de forma a acrescentar informações consideradas de relevância zoológica. Constatou-se que, devido à definição então vigente do conceito de "peixe", um estudo da ictiologia do período precisaria incluir também informações sobre espécies de outros táxons aquáticos que não agnatos, elasmobrânquios e teleósteos. No início do período colonial, a idéia de peixe era generalizada simplesmente como pescado, e não havia muita preocupação em inventariar a ictiofauna do Novo Mundo. Mais tarde, alguns dos visitantes da região puseram-se a descrever e ilustrar a ictiofauna de maneira mais específica: nessa fase em que se dava mais detalhamento às espécies de peixes destacavam-se o texto atribuído ao Fr. Cristóvão de Lisboa (1625- 1631), o códice do arquiteto Antonio Giuseppe Landi (1772) e principalmente o manuscrito do Pe. João Daniel (1758-1776) — o qual se revelou um pioneiro do movimento conservacionista da Amazônia. Os visitantes que vieram à região careciam, no geral, de formação acadêmica específica e, servindo a funções várias alheias à Ciência, não seguiam uma metodologia que se pudesse chamar de científica. Devido ao fato de seus manuscritos não terem sido divulgados ou sequer impressos, por vários motivos, o conhecimento neles produzido não foi cumulativo ou analítico, e não teve influência significativa no desenvolvimento da Ictiologia. Por outro lado, os naturalistas que efetivamente não estiveram na Amazônia puderam trazer uma contribuição de maior impacto, consolidando o conhecimento obtido através principalmente da obra de Georg Marcgrave (1648) e de exemplares coletados nas possessões holandesas da América do Sul, e incluindo-o num grande sistema classificatório que mais tarde despertaria o interesse de outros cientistas em conhecer a ictiofauna amazônica.

Il lascito di Agostino Mitelli ai quadraturisti e ai decoratori del secondo Seicento bolognese attraverso le testimonianze grafiche

Agostino Mitelli (1609-1660) è una figura centrale nella vicenda artistica bolognese. Rinnova profondamente la quadratura, genere in cui opera maggiormente, e diventa il principale riferimento per le generazioni successive. Infatti ha un grande numero di allievi che si fanno interpreti del suo stile e le sue opere continuano ad essere studiate fino a Settecento inoltrato. Nel suo lavoro accorda una grande importanza al mezzo grafico, in cui eccelle e che considera strumento di verifica ed esercizio. Questa predilezione influenza anche i suoi seguaci: dopo la sua morte i suoi disegni diventano molto ricercati e vengono impiegati come repertori di soluzioni di quadratura ed elementi decorativi. Sono essi stessi strumento di studio e infatti ci è pervenuto un grande numero di copie ed esercizi in stile mitelliano. L'analisi sistematica di questo materiale anonimo e poco studiato mi ha permesso di individuare alcune delle personalità di maggiore spicco tra i suoi seguaci, quali Domenico Santi, Giacomo Antonio Mannini e Marc'Antonio Chiarini. Per valutare l'influenza dell'opera di Agostino presso le generazioni successive è centrale anche la produzione calcografica che analizzo a partire dalle quattro serie di elementi di ornato che egli stesso dà alle stampe e che riscuotono molto successo, come provano le numerose ristampe, anche francesi. Dopo la sua morte vengono incise diverse imprese che si riallacciano al suo operato: la prima è quella del figlio Giuseppe Maria Mitelli che pubblica alcuni suoi disegni. Seguono le serie di Santi, Buffagnotti, Mannini, Chiarini e diversi altri che comprendono anche quadratura e veduta e che spesso sono state riassemblate da editori e collezionisti. Anche le fonti affrontano la questione della dipendenza delle successive generazioni dagli stilemi di Agostino Mitelli, oltre a quelle a stampa ho studiato approfonditamente i manoscritti inediti dell'altro figlio di Agostino, Giovanni Mitelli, che forniscono molte nuove notizie.

Abitati rupestri e citta' fortificate nella Sicilia occidentale dai bizantini ai normanni

La ricerca effettuata, analizza in modo razionale ma contestualmente divulgativo, le dinamiche insediative che hanno caratterizzato il paesaggio della Sicilia occidentale dall'occupazione bizantina al dominio da parte dei Normanni ( 535-1194 d.C. circa ). Il volume presenta una chiara raccolta dei documenti e delle fonti letterarie che riguarda gli abitati rurali ed i borghi incastellati della Sicilia occidentale e pone l’interesse sia per la cultura materiale che per la gestione ed organizzazione del territorio. Attraverso i risultati delle attestazioni documentarie, unite alle ricerche archeologiche ( effettuate nel territorio preso in esame sia in passato che nel corso degli ultimi anni ) viene redatto un elenco dei siti archeologici e dei resti monumentali ( aggiornato fino al 2013-14 ) in funzione della tutela, conservazione e valorizzazione del paesaggio. Sulla base dei documenti rinvenuti e delle varie fonti prese in esame ( letterarie, archeologiche, monumentali, toponomastiche ) vengono effettuate alcune considerazioni sull’insediamento sparso, sull’incastellamento, sulle istituzioni e sulla formazione delle civitates. L’indagine svolta, attraverso cui sono stati individuati i documenti e le fonti, comprende anche una parziale ricostruzione topografica dei principali centri abitativi indagati. Per alcune sporadiche strutture medievali, talvolta raffigurate in fortuite stampe del XVI-XVII secolo, è stato possibile, in aggiunta, eseguire un rilievo architettonico. La descrizione degli abitati rurali e dei siti fortificati, infine, è arricchita da una serie di schede in cui vengono evidenziati i siti archeologici, i resti monumentali ed i reperti più interessanti del periodo bizantino, arabo e normanno-svevo della Sicilia occidentale.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

The Early Spörer Minimum – A Period of Extraordinary Climate and Socio-economic Changes in Western and Central Europe

Throughout the last millennium, mankind was affected by prolonged deviations from the climate mean state. While periods like the Maunder Minimum in the 17th century have been assessed in greater detail, earlier cold periods such as the 15th century received much less attention due to the sparse information available. Based on new evidence from different sources ranging from proxy archives to model simulations, it is now possible to provide an end-to-end assessment about the climate state during an exceptionally cold period in the 15th century, the role of internal, unforced climate variability and external forcing in shaping these extreme climatic conditions, and the impacts on and responses of the medieval society in Central Europe. Climate reconstructions from a multitude of natural and human archives indicate that, during winter, the period of the early Spörer Minimum (1431–1440 CE) was the coldest decade in Central Europe in the 15th century. The particularly cold winters and normal but wet summers resulted in a strong seasonal cycle that challenged food production and led to increasing food prices, a subsistence crisis, and a famine in parts of Europe. As a consequence, authorities implemented adaptation measures, such as the installation of grain storage capacities, in order to be prepared for future events. The 15th century is characterised by a grand solar minimum and enhanced volcanic activity, which both imply a reduction of seasonality. Climate model simulations show that periods with cold winters and strong seasonality are associated with internal climate variability rather than external forcing. Accordingly, it is hypothesised that the reconstructed extreme climatic conditions during this decade occurred by chance and in relation to the partly chaotic, internal variability within the climate system.

Notes : manuscript, [16---17--]

Notes on and excerpts of materials used by Harvard undergraduates in the 17th and early 18th cent.; including Prolegomena de arte in genere; William Brattle's A compendium of logick; Alexander Richardson's In dialecticam brevis commentatio; Grammatica hebraea; and other works.

Letter from Artemas Ward to Benjamin Stone, 1787 July 18

Artemas Ward wrote this letter to Benjamin Stone on July 18, 1787, expressing his concern about the expense of his son, Henry Dana Ward's, imminent studies at Harvard. Ward complains to Stone about his own debts and the failure of the government to honor their financial obligations to him, and he also expresses hope that the President of Harvard will allow his son to spend part of his time "keeping a school" during his freshman and sophomore years, thus earning an income sufficient to pay for his studies. Ward also suggests that it might be preferable that his son board with a respectable family, rather than live at the College.

Notebook of Tristram Gilman, 1757-1761

The small volume holds the notebook of Tristram Gilman interleaved on unlined pages in a printed engagement calendar. The original leather cover accompanies the notebook, but is no longer attached. The inside covers of the original leather binding are filled with scribbled words and notes. The volume holds a variety of handwritten notes including account information, transcriptions of biblical passages and related observations, travel information, community news, weather, and astronomy. The volumes does not follow a chronological order, and instead seems to have been repurposed at various times.

Triennial Catalogue annotated by Jeremy Belknap, 1791

The collection holds a heavily interleaved 1791 Triennial Catalogue annotated, in part, by Jeremy Belknap. A note by Harvard Librarian John Langdon Sibley, on the verso of the flyleaf, indicates a second annotator: "It should be observed that this catalogue is in the handwriting of two persons, Dr. Belknap & probably interlineations & additions by Rev. Dr. [John] Eliot. The interlineing part should not be too confidently relied on for accuracy. J. L. Sibley, April 14, 1848." The volume contains biographical notes, newspaper clippings, excerpts from manuscript and printed sources such as New England's First Fruits, the manuscript memoirs of Charles Chauncey, and John Winthrop's Journal, and a 1795 letter from Isaac Mansfield. In the letter, Mansfield references an item he believed to be written by his grandfather, Ames Cheever (Harvard AB 1707), and briefly describes his grandfather. A list of election sermon orators with dates is also pasted into the inside back cover, along with an obituary of the Rev. John Wales (Harvard AB 1728) from the Boston Post-Boy, March 4, 1765.

Compendium logicæ secundum principia D. Renati Descarte catechisticè propositum : [1693]

Small leather hardcover volume containing a manuscript copy of William Brattle’s abstract of René Descartes’ "Compendium Logicae" copied in Latin, likely by Thomas Phipps in 1693. A crossed out inscription on the inside back cover appears to read “Thomas Phips 1693” likely referring to Thomas Phipps, a member of the Harvard Class of 1695.

Student notebook of Ebenezer Parkman, 1720

The small hardcover notebook contains a manuscript copy of Charles Morton's Natural Philosophy copied by student Ebenezer Parkman (Harvard Class of 1721) in 1720, as well as notes on Hebrew grammar. The flyleaf has a faded note, "[This copy] was probably made by Parkman H.U. 1721 afterward minister of Westboro." The title page of the volume includes the handwritten title "Phylosophia Natvralis: Naturall Philosophy, By the Reverd Mr. Charles Morton Pastor of a Church in Charles Town, Beegan [sic] to recite it December 11, 1720 Willm Brattle's Book 1720 ended January 30 Anno Domini 1720 [January 30, 1720/1721]." The final page of the transcription is signed and dated "June 18, 1720 Parkman." The last pages of the volume consist of notes on Hebrew Grammar titled "Instruction in Hebrew."

Student notebook of Jonathan Trumbull, 1724-1725

The bound notebook contains academic texts copied by Harvard student Jonathan Trumbull in 1724 and 1725. The volume includes transcriptions of Harvard Instructor Judah Monis' Hebrew Grammar, Tutor William Brattle's Compendium of Logic, and Fellow Charles Morton's Natural Logic.

Some account of a paper call'd the Telltale, begun in colledge Sept 1721

The small leather-bound volume holds two sections, a manuscript student periodical, and written tête-bêche, an exchange on smallpox inoculation followed by notes on the rules and activities of a Harvard College student club. The volume begins with thirteen numbered manuscript issues, written in one hand, of the Tell-Tale running from September 9, 1721 to November 1, 1721. Prefaced, "This paper was entitl'd the Telltale or Criticisms on the Conversation & Beheavour of Scholars to promote right reasoning & good manner," the work is modeled after literary periodicals of the time, including the "Spectator," and is considered the oldest student publication at Harvard. The periodical appears to have circulated in manuscript form. The content varies in format and includes letters between Telltale and correspondents, short essays, and advertisements. Topics discussed include conversation, detraction, and flattery. While not specifically about Harvard it does provide some information about the College including evidence of various student activities and organizations at Harvard in the 1720s. The entry explaining the rules of the Telltale Club is heavily faded and nearly illegible. The Telltale records multiple dreams, which are populated by various characters, such as “beautiful” Kate, two “learned Physicians” debating inoculation, “four Fellows” “pushing and shoving one another,” and a “person of a very Dark & swarthy complexion in a Slovenly Dress with 7 patches & 5 sparks on his Face.”

Student notebook of James Blake on Hebrew grammar, 1767

A small paper notebook containing eight-pages of English notes on Hebrew grammar and Hebrew script written by Harvard undergraduate James Blake in 1767. The title of the first page, "Of Nouns," is annotated with the note, "Benj'm Wadsworth, 1767" and the recto of the back cover contains a personal note to "Rev'd Mr. Wadsworth" signed "J. B.," presumably referring to Benjamin Wadsworth (1750-1826; Harvard AB 1769).