Margaret Cavendish is a very difficult thinker to place in context. Given her stern critique of the “experimental philosophy” in the Observations on the Experimental Philosophy, one might be tempted to place Cavendish among the opponents of Francis Bacon and his experimental thought. But, I argue, her relation to Baconianism is much more subtle than that would suggest. I begin with an overview of Cavendish’s philosophical program, focusing mainly on her later natural philosophical thought in Philosophical and Physical Opinions (1663), Philosophical Letters (1664), Observations on the Experimental Philosophy (1666/68) and her Grounds of Natural Philosophy (1668). I then turn to Francis Bacon, and talk about how he understood his philosophical program in the 1620s, and how it had been transformed by later Baconians in the 1650s and 1660s. While Bacon held a vitalistic natural philosophy, what was most visible, particularly in Royal Society propaganda, was his experimentalism. But Margaret Cavendish’s natural philosophical program is, in a way, the exact contrary. While she was skeptical of Bacon’s experimentalism, she was an enthusiastic advocate for a vitalistic materialism that may well have been inspired, at least in part, by Bacon’s thought. Because of her opposition to the experimental philosophy, her contemporaries may not have seen her as a Baconian. But even so I think that she was a philosopher whom Bacon himself would have recognized as a kindred spirit.
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{"title":"Jetze Touber, Spinoza and Biblical Philology in the Dutch Republic, 1660–1710","authors":"I. Bujor, Zeta Books","doi":"10.5840/jems2020918","DOIUrl":"https://doi.org/10.5840/jems2020918","url":null,"abstract":"<jats:p />","PeriodicalId":53837,"journal":{"name":"Journal of Early Modern Studies-Romania","volume":"9 1","pages":"149-153"},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71263820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the powers of the lodestone for two authors, Francis Bacon and Giovan Battista della Porta, relating their observations on magnetism and human emotions to the field of learned natural magic. It investigates some of Bacon’s and Porta’s remarks on experimental work with lodestones and the ways in which both authors translated the inexplicable powers of lodestones and magnetized iron into a series of principles that also served as a structure and explanation of human emotions (and vice versa). I suggest that at work here is not merely an anthropomorphic projection at nature, but also (and conversely) an interest in and fascination with the naturalization and mechanization of human emotions. My contribution examines passages from Bacon’s Advancement of Learning, the Novum organum, the Sylva sylvarum and his Essays; from Della Porta’s Magia naturalis (second edition 1589) and his comedy Sorella (1604). First, the insight that Bacon’s and Della Porta’s perception of magnetic movements have a strong common bias: the identification with human emotions. Both authors postulate not merely a close analogy, but a mutual convertibility between the two phenomena and with animal spirits. Second, this syn-optic approach is no one-way-street merely creating a characteristic perception of the phenomenon of magnetism: it also conditions the modes in which the human mind and emotions are perceived. Third, emotions—in particular love and hatred—are in principle as predictable as the movements of attraction and repulsion exercised by iron and lodestone.
{"title":"Needles and Pins on the Scaffold: Francis Bacon and Giovan Battista della Porta on the Motions of the Human Soul and the Passions of the Lodestone","authors":"Sergius Kodera, Zeta Books","doi":"10.5840/jems2020912","DOIUrl":"https://doi.org/10.5840/jems2020912","url":null,"abstract":"This article discusses the powers of the lodestone for two authors, Francis Bacon and Giovan Battista della Porta, relating their observations on magnetism and human emotions to the field of learned natural magic. It investigates some of Bacon’s and Porta’s remarks on experimental work with lodestones and the ways in which both authors translated the inexplicable powers of lodestones and magnetized iron into a series of principles that also served as a structure and explanation of human emotions (and vice versa). I suggest that at work here is not merely an anthropomorphic projection at nature, but also (and conversely) an interest in and fascination with the naturalization and mechanization of human emotions. My contribution examines passages from Bacon’s Advancement of Learning, the Novum organum, the Sylva sylvarum and his Essays; from Della Porta’s Magia naturalis (second edition 1589) and his comedy Sorella (1604). First, the insight that Bacon’s and Della Porta’s perception of magnetic movements have a strong common bias: the identification with human emotions. Both authors postulate not merely a close analogy, but a mutual convertibility between the two phenomena and with animal spirits. Second, this syn-optic approach is no one-way-street merely creating a characteristic perception of the phenomenon of magnetism: it also conditions the modes in which the human mind and emotions are perceived. Third, emotions—in particular love and hatred—are in principle as predictable as the movements of attraction and repulsion exercised by iron and lodestone.","PeriodicalId":53837,"journal":{"name":"Journal of Early Modern Studies-Romania","volume":"9 1","pages":"33-65"},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71263625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Guidelines for Authors","authors":"","doi":"10.5840/jems20209219","DOIUrl":"https://doi.org/10.5840/jems20209219","url":null,"abstract":"<jats:p />","PeriodicalId":53837,"journal":{"name":"Journal of Early Modern Studies-Romania","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Centuries II and III of Francis Bacon’s posthumous natural history Sylva Sylvarum are largely dedicated to sound. This paper claims that Bacon’s investigation on this topic is fruitfully read against the background of the Aristotelian theory of sound, as presented in De anima commentaries. I argue that Bacon agreed with the general lines of this tradition in a crucial aspect: he rejected the reduction of sound to local motion. Many of the experimental instances and more theoretical remarks from his natural history of sound can be elucidated against this wider concern of distinguishing sound from motion, a theme that had been a staple of Aristotelian discussions of sound and hearing since the Middle Ages. Bacon admits that local motion is part of the efficient cause of sound, but he denies that it is its form, which means that sound cannot be reduced to a type of local motion. This position places him outside subsequent developments in natural philosophy in the seventeenth century.
{"title":"Francis Bacon and the Aristotelian Tradition on the Nature of Sound","authors":"Claudia Dumitru, Zeta Books","doi":"10.5840/jems20209211","DOIUrl":"https://doi.org/10.5840/jems20209211","url":null,"abstract":"Centuries II and III of Francis Bacon’s posthumous natural history Sylva Sylvarum are largely dedicated to sound. This paper claims that Bacon’s investigation on this topic is fruitfully read against the background of the Aristotelian theory of sound, as presented in De anima commentaries. I argue that Bacon agreed with the general lines of this tradition in a crucial aspect: he rejected the reduction of sound to local motion. Many of the experimental instances and more theoretical remarks from his natural history of sound can be elucidated against this wider concern of distinguishing sound from motion, a theme that had been a staple of Aristotelian discussions of sound and hearing since the Middle Ages. Bacon admits that local motion is part of the efficient cause of sound, but he denies that it is its form, which means that sound cannot be reduced to a type of local motion. This position places him outside subsequent developments in natural philosophy in the seventeenth century.","PeriodicalId":53837,"journal":{"name":"Journal of Early Modern Studies-Romania","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71264024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-14DOI: 10.13128/JEMS-2279-7149-24883
Paola Ventrone
The purpose of the article is to investigate the complex link between theatre, as a practice involving a number of people, and the change in the use of dramatic texts occurred at the origins of the Italian printing industry, when dramatic texts were no longer only acted but also read as books. With the invention of printed books, theatre has been transformed from a performative action to a container of memory images fixed through the book illustration. On the one hand, the article investigates the printed tradition of sacre rappresentazioni (‘sacred plays’) in connection with the other religious literary texts published between the end of the fifteenth and the beginning of sixteenth centuries, putting it in relation with the birth of devotional books widely used in Florence during the age of Savonarola. On the other hand, it deals with the problem of illustrations by reconstructing the relationship between faithful people and sacred images before their diffusion was multiplied by the printing industry, and by looking at the real meaning of the link between written texts and woodcuts, in order to understand how the sacra rappresentazione , being a dramatic genre, was conceived when it was transformed into an object for reading.
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Pub Date : 2019-03-14DOI: 10.13128/JEMS-2279-7149-24880
Darwin Smith
The article gives an overview of the writing processes of theatre performances in medieval France. At the crossroads of all processes is the original (the Book, le Livre , les originaux ) containing the full text, and from which all kind of copies were produced for different reading practices – entertainment, meditation, devotion, teaching, learning – identified by specific content, layout and material features. With the case study of Maistre Pierre Pathelin , a late fifteenth-century comedy, is shown how the text varies in the performance process and extemporizing practices of professional players, and finally sediments in its written circulation. Detail of the same process can be closely observed with the Mystere des Trois Doms , a great urban play of the early sixteenth century for which, exceptionally, both the Book and an account register of a unique performance have come to us. We conclude that, in the medieval history of theatre performance in France, the author is as much corporate as individual, and that extemporizing practices of professional players, from the thirteenth to the fifteenth century may well be a key in understanding the origins of the Italian commedia dell’arte which is generally presented as the beginning of modern professional theatre practices.
本文概述了中世纪法国戏剧表演的写作过程。在所有过程的十字路口是包含全文的原件(the Book, le Livre, les originaux)，并由此产生各种副本，用于不同的阅读实践-娱乐，冥想，奉献，教学，学习-由特定的内容，布局和材料特征确定。以15世纪晚期的喜剧《Maistre Pierre Pathelin》为例，展示了文本在表演过程和专业演员的即兴表演中是如何变化的，并最终沉淀在其书面流通中。同样的过程的细节可以通过《三块土地的奥秘》仔细观察，这是16世纪早期的一部伟大的城市戏剧，它的书和一个独特的表演记录都给了我们。我们得出的结论是，在法国中世纪的戏剧表演历史中，作者既是集体的，也是个人的。从13世纪到15世纪，专业演员的即兴表演很可能是理解意大利艺术喜剧起源的关键，意大利艺术喜剧通常被认为是现代专业戏剧实践的开端。
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Pub Date : 2019-03-14DOI: 10.13128/JEMS-2279-7149-24879
L. Petersen
This introductory essay constitutes a survey of the contributions gathered in this issue of JEMS. It begins with an overview of the volume’s area of study and moves on to build a glossary for an academic field whose perimeters are perhaps not all that clear. The survey next dwells – in a little more depth – on the various perspectives offered and issues raised in the volume, concluding with an afterthought on where this collection of papers leaves us as a scholarly community wishing to continue to engage with a difficult interstitial field beyond books and plays and between cultures and practices of writing in early modern theatre
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Pub Date : 2019-03-14DOI: 10.13128/JEMS-2279-7149-24885
T. Pettitt
Alongside the irregular ‘stage history’, early English plays also had a ‘vernacular afterlife’, comprising both a professional strand of performances by strolling players and puppet-masters, and a ‘folk’ strand of performances by local youths under customary, festive auspices. And while continuity on the high road of theatrical performance, thanks to intervening revolutions in staging and production, is mainly literary, continuity along the low road of the vernacular afterlife, thanks to intervening textual degradation, is more in regard to performance aspects, offering a different set of insights, not least on the matter of relationships between performance and text. Of the various options available, the article undertakes comparative analyses juxtaposing passages found in mummers’ plays from ca 1780-1920 with their sources in specific early English stage productions (two plays, an opera, a Tudor interlude, and a droll). They reveal the impact on texts of both re-contextualization and recollection from memory in performance, and point to areas inviting further research, including the persisting significance of the Clown, and a neglected folk drama of amateur, festive performances independent of the mummers’ plays, of which a concluding illustration is provided. The exercise is also designed to open up a new research avenue between Theatre History and Folklore, with folk traditions now seen as derivative from, rather than a source for, theatre productions.
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Pub Date : 2019-03-14DOI: 10.13128/JEMS-2279-7149-24888
Maria Grazia Dongu
The article aims to reconstruct the eighteenth-century discussion about knowledge and its connection to a new kind of acting. Mise en sc e ne , that is, the collective and negotiable creation of meaning in theatre, will be at the core of the following pages. I will examine the eighteenth-century essayists who redefined the body as a readable text and senses as useful tools for understanding others, participants in the process. Metatexts, engendered by both the dramaturgic text and its staging, will demonstrate how these essayists orientated acting and theatrical reception. Key-words around which the main concepts have been developed will be considered as markers of the pervasiveness of the discourse on passions and sensibility in many literary and performative genres. As a case-study, the article focuses on Macbeth , affirming that essays written on the art of acting and related topics concurred in creating meaningful refractions in Garrick’s performances, whose manifold instances were disseminated by reviewers. The process of knowledge examined in essays was literally acted out in the theatrical space and commented in letters shedding light on Shakespeare’s text and its previous adaptations. However, the article’s focus can only be retrospective and highly influenced by contemporary pivotal studies on these topics.
本文旨在重构18世纪关于知识的讨论及其与一种新行为的联系。Mise en sc e ne，即戏剧中意义的集体和可协商的创造，将是以下几页的核心。我将考察18世纪的散文家，他们将身体重新定义为可读的文本，将感官重新定义为理解他人的有用工具。由戏剧文本及其舞台产生的元文本将展示这些散文家如何定位表演和戏剧接受。围绕主要概念发展的关键词将被视为许多文学和表演体裁中激情和情感话语的普遍性的标志。作为一个案例研究，本文将重点放在《麦克白》上，肯定了关于表演艺术和相关主题的文章在加里克的表演中创造了有意义的折射，评论家们传播了他的多种实例。文章中所考察的知识过程，实际上是在戏剧空间中表现出来的，并在信件中加以评论，从而揭示了莎士比亚的文本及其先前的改编。然而，本文的重点只能是回顾性的，并受到当代对这些主题的关键研究的高度影响。
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