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Guy Freeland (auth.), Guy Freeland, Anthony Corones (eds.)'s 1543 and All That: Image and Word, Change and Continuity in PDF

By Guy Freeland (auth.), Guy Freeland, Anthony Corones (eds.)

ISBN-10: 9048153026

ISBN-13: 9789048153022

ISBN-10: 9401594783

ISBN-13: 9789401594783

Australia and New Zealand boast an lively group of students operating within the box of historical past, philosophy and social reports of technological know-how. Australasian reports in heritage and Philosophy of Seien ce goals to supply a particular booklet of essays on a attached outlet for his or her paintings. every one quantity includes a gaggle topic, edited by means of an Australian or a brand new Zealander with unique services in that specific zone. In every one quantity, a majority of the individuals is from Australia or New Zealand. Contributions from in other places are certainly not governed out, although, and are certainly actively inspired anyplace applicable to the stability of the quantity in query. prior volumes within the sequence were welcomed for considerably advancing the dialogue of the subjects they've got handled. i feel that the current quantity could be greeted both enthusiastically through readers in lots of components of the realm. R. W Horne common Editor Australasian stories in historical past and Philosophy of technological know-how ix checklist OF ILLUSTRATIONS Frontispiece. Andreas Vesalius, 6th Plate ofthe muscle groups, woodcut, designed through Jan Steven van Kalkar, from De humani corporis fabrica (Basel, 1543). (Photo. clinical representation; repr. via style permission of the collage of recent South Wales Library. ) In: man FREELAND, 'Introduction: In compliment of Toothing-Stones' Fig. 1. Michael Esson, Vesalian Interpretation three (1992). (Repr. through type permission ofthe Artist. ) Fig. 2. Reliefs, collage of Padua.

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Our habit of assuming certain kinds of role for representation in our various modern sciences may provide us with very misleading criteria when we approach the texts and images of past eras. I remain sufficient of an empiricist to believe that the characterisation of the role of representation in science cannot be adequately achieved without a close study of how illustrations actually functioned in their particular historical environments. The present paper is designed to take the two sciences of 1543, anatomy and astronomy, sciences which apparently rely upon very different modes of visualisation and representation, and to look at how illustrative material functioned in relation to the agendas of the scientists.

Omitted something essential or ... 3lnc in:ölIIOocl mchotiJCKOpo nC'J'(c ,quam undc tOlUm fimut pofllt Illumtnilr6lquid(rn non tntplequidOlm IUC'C'Jnam mundl l alFl mrnltm. alrjr«l:ortm uo. nr. {ro unquam In {OIIO rl gar. il Artrcrum r~mlI1i1rn. ltrio I feJ ~I ~r,fiO'(ltS de. n .. i Lu na w r(rn (ogn:lUo 1\( habn:. InuuumUII « Figure 10. (Right) Petrus Apianus, Chorography Compared to Pictures ofthe Eye and Ear, from Astronomicum caesareum (Ingolstadt, 1540). Figure 11. (Left) Nicholas Copemicus, Diagram of the Orbits of the Earth and Planets, woodcut with underlining in pen, and paste marks, from De revolutionibus orbium coelestium (Nuremberg, 1543).

B. Eustachio, Tabulae anatomicae (Rome, 1722); see Roberts and TomIinson, The Fabric, pp. 188-93. 31 32 P.

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1543 and All That: Image and Word, Change and Continuity in the Proto-Scientific Revolution by Guy Freeland (auth.), Guy Freeland, Anthony Corones (eds.)

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