Annual Christmas Letter 2015

“Frankie, I’ve a feeling we’re not in Aurora anymore.”

February saw the demise of our gargantuan cottonwood tree under whose shade we contemplated not peaceful repose but fear of our lives and the possibility of being crushed… she went out in a glorious symphony of chainsaws.

 

Bella entered the mature world of Hinkley High School and made the Junior Varsity volleyball team as a freshman. Bea, a senior this year, brought home a tall dark stranger and he escorted her to the Aurora West College Preparatory Academy homecoming. Jeff, who hails from Tanzania in Africa has added a spicy intrigue and sense of speculation to our otherwise mundane lives here in suburban Aurora. We are also proud to announce that Bea was accepted into CSU in Fort Collins and, all going well, hopes to attend next fall as a pre-veterinarian major. Hannah charmed seniors at the Fitzsimons Nursing Home with a lecture on dinosaurs, became active in the Performing Arts Club at Aurora West College Preparatory Academy School and is writing a realistic fiction novel.

 

Frankie became the most expensive pooch we have ever owned, and was awarded the title ‘Million- Dollar-Dog’ after a few visits to our veterinarian for bodywork.

 

Kim hit the big ‘five-o’ with celebrations that stretched out over two weeks, she became the beneficiary of a splendid portrait painted by her devoted husband, which now takes pride of place amongst her extensive art collection. Kim continued lecturing with workshops at the Art Students League of Denver and at the Community College of Aurora. She participated in her first outdoor summer Art Market in June.

 

In May we made our annual expedition to Taos, New Mexico and were privileged to experience amazing and refreshing new sights such as the Victory Ranch alpaca farm in Mora, NM; the ‘Harrell Bug Museum’ in Santa Fe; ‘Los Alamos’ – home of the Atomic Bomb, and Bandelier National Monument. Having just completed our garden in June, and put the final finishing touches to what we hoped would be a glorious display of fruit, vegetable and flowers, a tornado arrived without warning and decimated all our hard work. Despite the devastation, many of our plants grew back – and we have grown to respect the power of nature in all its aspects.

 

David became a member of the Museum of Contemporary Art in Denver, and thus committed to actually creating something worthy of hanging in the coming year. In December he completed a self-initiated two year ‘degree’ program (over 200 weeks in total) on an ‘MOOC’ track that enabled him to study with some of the world’s best professors and universities such as Harvard, Princeton and Notre Dame. He also continued doing volunteer work for Morrison Nature Center in Aurora

 

At the top of our list of restaurants for 2015 we included ‘Bistro Barbes’ (5021 E. 28th Ave, Denver), ‘To The Wind’ (3333 E. Colfax Ave. Denver), ‘Beast & Bottle’ (719 E 17th Ave, Denver), and ‘Sherpa House’ – an Indian/Nepalese restaurant (1518 Washington Ave, Golden, CO 80401). We were also illuminated to the fact that Aurora hosts a very fine selection of Korean restaurants and were able to sample some of their fine delights.

 

We wish you all a Happy Holiday, and Peace, Prosperity and Good Health in the New Year…

 

David, and Kim, Bea, Bella and Hannah

 

All Rights Reserved & Copyright 2015 David John Drew, Versificator Regis

Photography: A Victorian Sensation

University of Edinburgh 'Photography: a Victorian Sensation'

Essay: Choose one piece of work by a photographer or partnership of photographers featured in this course. Describe, discuss and evaluate this piece of work (500 words) to demonstrate why you think this photograph is important - for example, you may choose to focus on the significance of the photographer, of the photographic process or of the subject of the photograph. Remember that, in the Victorian period, very few people would have seen the images that we are showing in this course. Please make clear in your opening statement why you have chosen the image you are discussing.

 

1. In the submission, does the writer describe what the photograph depicts?

2. Does the writer identify the photographic process and explain how the image was produced?

3. Consider these questions:

·      Is the work part of a series?

·      Can it be related to other works by the photographer?

·      How does the photograph relate to images by other practitioners?

4. Overall, do you think the writer has given a clear and convincing account of why they think that the photograph they have chosen is important?

 

 

Early Daguerrian Photography and the Arts

 

The image that I have chosen for this short essay is ‘Portrait of an Artist’ by Louis Daguerre of 1843. Pierre Harmant, former archivist at the French Society of Photography believed the subject to be the painter and engraver Francois Jules Collignon. In combination with Daguerre’s earliest dated composition ‘still life in studio’ of 1837 (Société française de photographie) we can comfortably come to the apprehension that Daguerre conceived of his invention as one that stood alongside the already established ‘fine arts’ and a distinct form of artistic expression. This view becomes even more apparent considering how readily Daguerre’s contemporaries adopted this revolutionary technique as a means of self-expression. In the same year that the image of Collignon was taken, Camille Dolard created a self-portrait that emphasized the importance of the daguerreotype in the arts. Whilst in Paris, Dolard took the opportunity to photograph the acclaimed classical artist Ingres (1856/58) – which survives as a collodian glass negative at the Musee d’Orsay. 

 

The process of creating a photographic image using the daguerreotype method is a complex one. The ‘Portrait of an Artist’ was no exception, and would have been created from a highly polished silver plated copper sheet, coated with iodide, then placed in a simple box camera and exposed. The exposure time was far greater than for modern cameras, and could be 30 minutes or more. After removing the plate it was exposed to fumes arising from a dish of heated mercury, then washed in a salt solution and dried. The final image is essentially a fragile layer of ‘dust’ on a plate, and therefore had to immediately encased behind glass.

 

Whilst many artists such as Edgar Degas and Thomas Eakins adopted photography in addition to their more traditional creative output, others commented on the clear distinctions between the two, and article published in the ‘Corsair’ - “The Pencil of Nature—A New Discovery,” of the 13th April 1839, stated:

 

‘Here, in truth, is a discovery launched upon the world, that must make a revolution in art… in what way, in what degree, will art be affected by it? Art is of two kinds, or more properly speaking, it has two walks, the imaginative and the imitative… It must be evident that the higher, the imaginative, cannot immediately be affected by the new discovery—it is not tangible to its power—the poetry of the mind cannot be submitted to this material process…’

 

The imaginative and poetic nature of the painter is clearly contrasted with the analytical objectivity of the camera at this early stage, and could still be said to be true today. It is interesting to observe that as photography continued to develop, practitioners of the fine arts, particularly painting developed methods and techniques that emphasized a greater contrast to the photographic image. Impressionism emerged at this crucial time in the history of art, from the 1860’s painters such a Claude Monet strove for a more realistic depiction of nature in art with the use of light and color. Their first exhibition was held in April, 1874, paradoxically in the studio of the photographer Nadar (Gaspard-Félix Tournachon).

 

 

Image details:

 

1. Daguerre, Louis Jacques Mande.’Portrait of an Artist.’ c. 1843. Daguerreotype. 15.6 x 13.0 cm., ¼ plate. 76:0168:0151. George Eastman Museum, Rochester, New York. USA.

 

2. Dollard, Camille. ‘Self Portrait in Painting Studio.’ c. 1843. Daguerreotype (full plate. 20.5 x 15.0 cm. 1997.56. Cleveland Museum of Art. Cleveland, Ohio. USA.

All Rights Reserved & Copyright 2015 David John Drew, 'Lord Carville'

Humanity and Nature in Chinese Thought

University of Hong Kong - 'Humanity and Nature in Chinese Thought'

Please write a concise argument (more than 300 words and less than 500 words) for or against one of the following proposition:

'Chinese 天 tian (nature:sky) is the same as the “God” of the Middle East and Europe.'

“To man belongs a moral nature, conferred on him by Heaven or God, by which he is constituted a law unto himself. But as he is prone to deviate from the path in which, according to his nature… sages have appeared, to explain and regulate this, helping all by their instruction to walk in it.” – James Legge, Zhongyong, 1861.

 

‘Tian’ is not an equivalent term for the Judeo-Christian, theologically saturated concept of God. The Western notion of divine authority, of an omnipresent, omniscient and omnipotent (personal) being who created humankind, directs and hands down laws as moral codes, pursues and maintains a direct relationship with His creatures is altogether alien to the Chinese philosophical, natural tradition.

 

“Tian’ is not a God, but a force of nature. In terms of the use of metaphors in Chinese language the term ‘tian’ can be effectively translated as meaning ‘heaven’ or ‘sky.’ Perhaps the first conception, and articulation of this came from Duke Zhou as ‘Tian Ming’ (Mandate of Heaven) as a philosophical doctrine of political theory. The ‘Tian Ming’ concept was an important weapon used to discredit the reigning Shang dynasty, remove their authority and replace it with a natural order, in essence a rival theory to oppose the standard appeal to human authority as a source of legitimacy.

 

The foundation of Duke Zhou’s doctrine of ‘tian’ rests upon its power of guidance with reference to normativity. ‘Tian’ is not conceived of as a personal being (like God) but natural form of guidance. Duke Zhou further develops this as ‘tian-xia’ (Everything under Heaven), meaning that ‘tian’ (Heaven) and its influence permeates all aspects of existence, all living things. No human being can escape its influence. In contrast to a set of ideals handed down from an official self-appointed hierarchy that relies on bonds of respect and fidelity, Duke Zhou is pointing toward a ‘dao’ metaphor – paths as patterns within and under Heaven which can be learned. In essence, Duke Zhou has established a system of natural laws, intricately expressed by a universal force.

 

Confucius adopted the concept of ‘tian-ming’, - taking it from Duke Zhou however, as a humanist and self-professed agnostic he conceives of it as part of his social theory. Under the philosophy of Confucius, the Mandate of Heaven is merely the backdrop behind which human normativity occurs. For the most part, Confucius never discussed ‘tian’ in any substantial detail, much to the annoyance of his disciples. We can certainly conclude that Confucius certainly never regarded ‘tian’ as being equivalent to a divinity, it is reported that he said ‘Tian does not speak - it simply reveals through deeds and affairs.’

 

Mozi regarded ‘tian’ as an all-encompassing beneficial natural power, his discussion and depiction of ‘tian’ almost categorizes it as a personal divine power, however we may be mistaken for assuming that Mozi intended to portray a God. Mozi is more concerned with the total social human benefits in the form of utilitarianism that, in his theory, result from ‘tian’ than on meditating on the possibility of it as part of a heavenly hierarchy. ‘Tian Ming’ surfaces in the thought of Yang Zhu – but his system of ethical egoism places the power of the natural mandate’ firmly within the life of individual. In Yang Zhu’s philosophy human life, constitution and effort comes directly from ‘tian’ as ‘sheng-ming’ or vitality. Mencius ascribes ‘tian’ as the ultimate source of natural morality and guidance, but emphasizes that this morality is specifically channeled through the ‘heart-mind’ of humans, evolving from seeds within.

 

I conclude with the firm resolution that ‘tian,’ according to evidence in the early traditions of Chinese philosophy is contrary to the concept of God.

All Rights Reserved & Copyright David John Drew 'Lord Carville' 2015

Please write a concise argument (more than 300 words and less than 500 words) for or against one of the following proposition. 

 

'Shen Dao shows that commitment to natural dào entails lacking any 是非 shi-fei (this-not that) commitments.'

In opposition to Mencius who maintained a distinction between human beings and other things, stressing the importance of ‘this not that’ qualifications, Shen Dao’s ‘Great Dao Monism’ rejected such distinctions and concentrated on the notion of universal unification of all natural things. To establish this doctrine Shen Dao disposes of knowledge, language and ‘shi and fei.’ The complete focus of his idea is that the ‘Great Dao’ embraces all things irrespective of distinctions. In embracing the ‘Great Dao’ one need not worry about the self or possessing a name – these qualifications only present complex problems of identity. Thus, if one discards knowledge and follows the ‘Great Dao’ then whatever one knows or performs in action in accordance with the dao cannot be wrong. In this context, according to Shen Dao, nothing that one does can be wrong. 

 

In making this claim for the ‘Great Dao Monism’ Shen Dao creates a fatal paradox with regard to guidance. In making the pronouncement “Know not to know” as an example of guidance he does not actually offer any meaningful advice with regard to practical decision-making. The paradox however, is that in taking his advice to abandon knowledge we are actually taking his advice – his knowledge and acting upon it. To take Shen Dao at his word would be to completely ignore him, and thus his observations are completely meaningless. In addition, this attitude forms a deterministic fatalism in the sense that no matter what we intend or perform in terms of our actions everything appears to be pre-ordained with regard to the concept of a universal existence. In simple terms we lack choice, freedom or the capacity to differentiate or make distinctions – all of these conditions have been decided for us.

 

Lao Zi adopts the concept of abandoning knowledge but suggests that knowledge itself is a form of social conditioning, or cultural domination. He therefore discards the sense of fatalism and determinism that plagues Shen Dao’s ‘Great Dao Monism’ of rejecting knowledge and the paradox it contains. Lao Zi suggests that we should abandon that knowledge by which our character has been formed in terms of social conventions, and not being controlled or following the ‘rules’ of society – rather aiming to be guided on a natural dao. 

 

In conclusion, Shen Dao’s advice with regard to abandoning knowledge requires us to completely surrender our free will. His theory will not permit us to make distinctions or identify alternate positions that exist simultaneously. In order for us to be truly whole we must possess the capacity to make the basic distinction between knowledge and ignorance. We are thus immediately in a position were we can consult opposites and their respective values. Only then can we come to a reasoned decision and be confident that we are on the correct path – not merely on a ‘path’ and possibly making errors that could in themselves be considered (by Shen Dao) acceptable.

All Rights Reserved & Copyright David John Drew 'Lord Carville' 2015

How revolutionary was the French revolution?

How revolutionary was the French revolution?

Did the Revolution simply replace the old ruling élite with a new, bourgeois one? What were the major effects on different groups of people, including nobles, priests, peasants, urban workers, slaves and women?

 

France: State of the Nation 1789 - 1799.

 

In analyzing the French Revolution, we must ask three basic question; Why was there a revolution in the first place? What enabled the revolution to continue after 1789? And, What if anything was its significance? The French Revolution was a unique episode in history, one with deep social concerns that sought a new political order, distinct from that of the absolute monarchy of the time. The study of the Revolution, its origins, processes and events is complicated by the complexity of France as a nation in itself, certainly also its role in imperial global affairs, and internally the hopes and desires of the leaders of the Revolution to create a new order. 

 

France in 1789 was the largest geographical territory in Western Europe, with vastly differing topography, languages, customs and cultural identities. 85% of the population existed in a rural, agricultural setting. Much of the land was dominated by a feudal system under the control of wealthy nobility, or owned by the Catholic Church.  Disparate differences in wealth were indicative of the Kingdom as a whole. An important factor to be considered in the origin of the Revolution was the tax system in vogue, under which the nobility and ruling elect of the Church were exempt. Taxes were mostly collected from the lower, common classes.

 

The expenses created through Frances involvement in defending her North American colonial territories in the Seven Years War (1756- 1763), and the decision to involve herself in the American War of Independence (1776-1783) against Great Britain, created enormous debts ultimately to be revealed as a financial crisis. The struggle to recover the debt through taxation proved a turning point toward revolution.

The General Estates

 

French society was composed of three social orders: the church, nobility and commons. Diversity and inequality existed not only between the highest, most privileged members and the poorest in the Kingdom, but also within these social classes. Combined with vastly differing income was the disparities based on location, the capacity to improve or advance one’s position in terms of work, and privileged exemptions from taxation defined these roles. An early slogan of the Revolution, coined by Robespierre in December 1790, based upon the wording of the ‘Declaration of the Rights of Man and of the Citizen’ (August, 1789) was ‘Liberty, Equality and Fraternity’ – exemplifying the desire to create a nation unified by equal rights.

 

The Church and the Clerical Order.

 

Roman Catholicism was the dominant religion in France at this time, 98% adherence, with the country divided into 40,000 Parishes. The clergy that administered these numerous Parishes were commoners – sharply contrasted with higher clergy of canons, abbots and bishops who claimed noble status. Overall the First Estate, as a self-governing corporation claimed exemption from taxes and royal laws. Whilst the lower clergy, at the village level may have been nominally acceptable in the earliest phase of the Revolution the Church hierarchy and structure was, for at least a decade earlier the subject of licentious, vulgar criticism and satire in the form of illegal literature. Certainly there was an ‘anti-authoritarian religion’ vehemence in the writings of the ‘Philosophes’ of the Enlightenment. The turning point for the Church came in late 1789 with the abolition of tithes, and church property nationalized (and converted in ‘assignats’ or paper bonds). Then in July, 1790 with the ‘Civil Constitution of the Clergy’ – a law that confiscated all Church land, and subordinated the Church to the French Government. Thereafter, all clergy were required to pledge allegiance to the State in January, 1791 – many refused and ultimately, collectively these actions destroyed whatever power the Church had previously held in France. As the Revolution progressed the role of religion assumed a Deistic form in the ‘Cult of the Supreme Being’ inaugurated on 8^th June 1794.

 

Nobility.

 

The nobility represented the powerful elite in 18^th century France, forming the political administration and ministry of King Louis XVI, as well as most of the military officer corps, the judiciary and the higher church elect. The nobility possessed about 30% of the land and resources in France, seigneural rights, privileged to levies of produce and monopolies on community productions. They were also exempt from paying direct taxes. Yet again, there were also divisions in the nobility itself, principally between the hereditary and elected nobles, between the grand and the ‘lower’ landed aristocracy. The major turning point in their protected status came in February 1787 when the Finance minister, in order to recover war debts suggested a universal land tax. This was met with stiff resistance from the nobility in general, although the tension between them and the ‘God-given rights’ of the King were brought into stark focus, with the aristocracy seemingly attempting to influence and manipulate governmental affairs in their own favor, and preserve their fiscal privileges. In an attempt to curtail this, the King convened a meeting of the Estates General in May 1789 – with the intention of coercing the nobility into relinquishing their rights with the aid of the Third Estate. The ‘Declaration of the Rights of Man; in August, 1789 placed the sovereignty of the nation not in the King, nor a nobility but with its common citizens. Thereafter, the August Decrees of 1789 abolished the practice of feudalism, together with many aristocratic rights. The complete abolition of hereditary nobility titles was complete on 19^th June 1790. Consequently, many members of the nobility left France as ‘emigres’ (some to organize a military invasion) whilst others supported the changes. As the National Assembly working toward a draft of a new constitution in June 1791, in which King Louis XVI would lose his absolute power – and thereafter remain only insofar as a honorific state. On June 20th-22^nd the king and his family attempted to escape, was arrested at Varennes but lost all credibility. It may be said that the execution of the King in January 1793 was the absolute end of the nobility as it was defined by the Ancien Regime. 

 

Commoners.

 

The Third Estate of France was composed of common people, some 99% of the population, from the agricultural peasants to the urban middle class or ‘bourgeois’ represented by lawyers, civil servants and officials. The largest group within the Third Estate were the ‘menu peuple’ – laborers, tradespeople, and shopkeepers, with a minority of destitute such as prostitutes and beggars. Collectively, these provided France with most of the revenue from taxes yet also lived in a state of abject poverty. With the financial crises apparent in 1789, and the necessity of a reform through a convocation of the Estates-General planned in May of that year, the King petitioned the subjects of the realm to submit their grievances (cahiers de doléances) which subsequently emboldened their voice and desire for radical change. The subsequent meeting of the Estates-General quickly disintegrated and polarized into two camps; that of the nobility and the Commoners. The latter were forced by exclusion to continue their debate separately from May 28^th. The first revolutionary statement and action of the Third Estate was the claim of the title ‘National Assembly’ which was issued on June 13^th. The second major action involving the common ‘menu peuple’ of Paris involved the storming of the Bastille prison on the 14^th of July, an event which historically marks the commencement of the Revolution itself. In August of 1789, the National Assembly drafted and instituted the ‘Declaration of the Rights of Man and of the Citizen’ which made an earnest statement of equality for all citizens, together with the Decrees that abolished feudalism sovereignty was awarded to all. It becomes clear that that much of the administrative and political change within the Revolution was through the direct involvement of the ‘bourgeois’ class of the Third Estate, these professional urban workers fueled by Enlightenment ideas, and inspired by the ideals of the American Revolution sought to initiate and create administrative, social and political reform.  

 

The Colonies and Slavery

 

After the loss of its North American territories in the Seven Years War (1756-1763) the remaining colonies were concentrated in the Carribbean islands of Guadeloupe, St. Domingue and Martinique. All had extensive plantations which produced sugar and coffee through the combined effort of 27,500 freed slaves and 465,000 African slaves. Despite the claim in Article I of the 1789 Declaration of Rights, freedom was only granted to the children of freed slaves. Most of the French white planters circumscribed this, with the result that a slave rebellion erupted in St. Domingue in August 1791. Led by Toussaint Louveture, a freed slave they managed to burn valuable crops, wreck machinery and mount a guerilla warfare campaign against colonial troops, resulting, by October in the death of over 10,000 slaves and 2000 white colonists. However, true to its ideals the Revolutionary Convention did in fact abolish slavery just prior to Robespierre’s great speech on 4^th February 1794. 

 

Women.

 

For the most part, prior to and up to the Revolution most women played a secondary role in social life, and were completely absent from governmental or political roles. There are some examples of women becoming involved in business affairs. Amongst the Third Estate women worked alongside and with their male counterparts in agriculture, raised children, and tended to domestic housekeeping duties. Amongst the statements of grievances (cahiers de doléances) collected in 1789 are complaints from women willing to challenge the system which made of them domestic slaves, that they could or should play a fruitful role in governance, and the hope is expressed that at some point an ‘equality of the sexes’ might be reached in the future reorganization of the state. In 1789, when Louis refused to recognize the August Decrees and the Declaration, 7000 Parisian women led by Stanislas Maillard and Anne-Josephe Terwagne marched on Versailles on the 5^th October and invaded the Assembly in protest. Their brave action forced Louis into recognizing the Decrees, and per their request returned to Paris the next day. On the 20^th September 1792 the Legislative Assembly created a divorce law aimed specifically for women in unhappy marriages, many working class women took advantage of this almost immediately. Unsurprisingly women did not fare well in the Revolution, however their pleas for equality were embraced by individual activists such as Olympe de Gouges who drafted a social contract  for marriage and a Declaration of the Rights of Women. The expectation was that women would get the vote, although this was not fully realized until 1944. 

 

Napoleon, the Eclipse of the Revolution and the Future

 

To all intents and purposed the Revolution came to an end when Napoleon Bonaparte declared himself Emperor on the 9^thNovember 1799. The radical changes that had taken place over the previous decade had been traumatic for many, some believed the Revolution had been a failure, and for others, like Bonaparte and many of the bourgeoisie an opportunity for personal exploitation and gain. However, the movement away from an absolute monarchy toward a republic and a democratic constitution, although not achieved immediately were the fruits of the Revolution. 

All Rights Reserved / Copyright - David John Drew 2015

Magic in the Middle Ages

 

 

Coursework: University of Barcelona - 'Magic in the Middle Ages'

1. If you think that the image of the Middle Ages in films leads us to have misconceptions about medieval society. How would you value the magical thought today in comparison to magic in the Middle Ages? Do you think we have prejudices regarding this period? Are we still under the legacy of the Renaissance artists, who introduced themselves as the ‘light’ after some ‘Dark Ages’ for ‘marketing purposes’?

 

Those that came after the medieval age - not only in the Reformation, the Renaissance but also the Enlightenment, together with the development of modern scientific worldviews came to see the period between the collapse of the Roman Empire and then it's enthusiastic revival by Italian scholars and artists in the 16th century as a degenerate time. This so called 'dark-age' has been much maligned and deserves to be reappraised in the light of its magnificent achievements in art and architecture, philosophy, music, literature and much more. We have certainly inherited a lot of prejudices regarding the middle ages. Progress does not necessarily equate with illumination or higher intellect.

 

2. Watch the movie The Name of the Rose, based on Umberto Eco’s book and directed by Jean-Jacques Annaud. How is the inquisitor Bernard Gui characterized? Does it match the image of the medieval inquisitors as we have studied them in this unit?

 

In 'The Name of the Rose' (movie) Bernard Gui is portrayed as almost evil himself - a dark foreboding character who extracts confessions by force and manipulation. In the book, Umberto Eco describes his character as detail-orientated, extremely intelligent and persistent - penetrating in his interrogative pursuit of evil, although he himself is imagined as a sort of 'curse.' The following link to a paper that discusses the historical and fictional character of Bernard Gui...

 

http://www.austlii.edu.au/au/journals/AdelLawRw/1991/12.pdf

 

3. Watch this documentary about the most famous witchcraft trials of the history of the USA, dated from 1692. Which relations can you establish between the facts of Salem and the persecution of witchcraft that we have studied in this module?

 

I see characteristics of persecution that cross cultural, religious and social boundaries. 

 

In reply to Robert L. Robinson - the fear of and prosecution of witches and witchcraft is not confined to monotheistic (Abrahamic) religious traditions. If by aboriginal cultures we include the many native American tribes, then there is amongst them many traditions and beliefs in witches which are entirely unconnected with European tradition. To quote one such tradition, the Navajo belief in 'skin walkers' and their 'Witch Purge of 1878.'

 

4. In this link you will find a passage on magic from the Muqaddima (the Introduction) by the famous historian Ibn Khaldūn (732-784/1332-1382). This passage is available in a great variety of translations. For English, we recommend Rosenthal’s translation. The passage is part of chapter 6.27. Ibn Khaldūn, The Muqaddimah. An Introduction to History, trans. by F. Rosenthal, Princeton University Press, 1967 (1st ed. 1958), vol. 3, p. 156 and sqq.

 

Read the following passages:

 

paragraphs 1-2

 

paragraph 5-13, from 'Let us present' to 'All this comes from (sorcerers and sorcery).

 

Read the selected passage and answer the question:

 

What is the difference between prophets and sorcerers in this particular field? And what is the difference between their practices?

 

A sorcerer has the capacity to exercise an influence in the elemental world, on created beings, through either a psychic (or Satanic source) regardless of divine power or aid. The sorcerer’s power rises through exercise from potentiality to actuality. The magical exercises performed by the sorcerer are directed toward cosmic, universal and stellar realms, and he/she is described as worshipping devils. Any worship directed at any being other than God (Allah) is considered a form of ‘bida’ (a heretical innovation) or ‘shirk’ (idolatry or polytheism) and therefore, in the opinion of the judges they should be executed. 

 

A prophet has access to divine knowledge, ordained and helped by God – and capable of influencing created beings. In Islam there is a distinction between a prophet (nabi) and a messenger (rasul) – the former (prophet) is commissioned by God (Allah) to deliver a particular message to a particular people regarding their conduct. A messenger brings a complete divine narrative to the world, in the case of Muhammad – the Qur’an. 

 

So, perhaps the biggest difference between a sorcerer and a prophet is that the former is acting upon their own initiative, pursuing a role as a medium between divine powers and the terrestrial world, humans and creatures, exploiting available cosmic powers for certain benefits. Traditionally the prophet is merely communicating the divine, even when performing magic in the form of miracles their purpose is directed at expressing the ‘thoughts’ of God.

 

Reflect about the following aspects of The Knight of the Cart by Chrétien de Troyes and write a short essay about it (about 200 words).

 

This romance is about an adulterous relationship between Lancelot and the queen. As we have mentioned in this week’s videos, there are two knights who depart from Arthur’s court in order to rescue Guinevere. They represent different ways of undertaking the adventure. While Lancelot follows Love, Gauvain is associated with Reason. This is why they take different paths to save the queen, although just one of them will be successful. Write an essay about Lancelot’s conception of love in this book: a) Does Lancelot behave according to social conventions? b) Write at least one example justifying your answer. You might want to reflect about the implications of a love un/limited by social rules in your conclusion.

 

After the abduction of Queen Guinevere, a party sets out, including Lord Gawain to rescue her. Speeding ahead he meets an unknown knight (Lancelot). The story then proceeds to portray the two very different ways in which the knights attempt their rescue of Guinevere. In this respect the tale is an acute examination of moral and ethical behavior with regard to courtly love, and the standards expected of the knightly class. In contrast to a rational, reasonable and methodical search for the Queen (as portrayed by Gawain) – the author depicts Lancelot essentially as the ‘outsider’ who hijacks the quest, claims the prize and emerges as a questionable hero.

 

 As the central character in ‘The Knight of the Cart,’ Lancelot is subjected to several ‘trials’ to test his strength and moral fortitude. Apart from the narrative which deals with the question of what constitutes chivalrous behavior, the major theme which runs through the tale are the contrasts between ardent desire, temptation and love. Emotion arising as sexual urge, or a passionate longing are reflected in several episodes. The most famous of these occurs in the beginning where Lancelot is prepared to accept humiliation (riding in a cart intended for the transportation of criminals, driven by a dwarf) to prove his love for Guinevere. 

 

In conclusion, ‘The Knight of the Cart’ explores conditions of love and sexuality in feudal society. Clearly, Lancelot's conception of love is one of unbridled passion and devotion - an almost religious form of attraction more usually observed in the cult of the Virgin Mary. Ultimately Lancelot may have been received in the courtly circle of the period as a foolish hero, but one deserving admiration as the perfect example of a romantic knight.

 

Themes: chivalry, feudalism, temptation, male/female desire, devotion, chastity, romance, adultery, humiliation

 

6. The description of “sumptuary arts” is quite contemporary. Throughout the History of Art, those artistic expressions have been considered a minor category, compared to Architecture, Sculpture and Painting. They have even received a pejorative name: “Minor Arts”. Currently, to employ a more suitable word according to the value deserved for those pieces is under discussion. For Hanns Swarzenski, of “Monuments of Romanesque Art” The Art of Church Treasures in North Western Europe, Londres, 1967, pp. 14: “The better denomination for this kind of art would be the Art of Church Treasuries.” Other researchers like Concepción Fernández Villami, from Las Artes Aplicadas, Madrid, 1975, for instance, considers that it would be better to use “applied arts” because this definition includes the determinants of utility and beauty, two of the distinctive features of these kinds of artistic expressions. 

 

Which definition suits better with your opinion and why? Answer the question in around 100 words showing your understanding of the importance of those artistic manifestations.

 

The use of the term ‘sumptuary’ or sumptuous art clearly denotes work that is created to excess. Perhaps words that come to mind when discussing such artifacts are lavish, opulent, or luxurious. I would consider the term ‘baroque’ to be a cognate usage. They most certainly could not have been created without massive investment, and therefore represent a portion of society – of individuals whose wealth far exceeded the means of the greater populace, a rich stratum of society that possessed the financial power to create such objects worthy of adoration. Whilst the term ‘sumptuary arts’ may adequately suffice in describing such objects, it also points towards a real, contemporary social dilemma; that of the discord of means that existed in medieval society, that of society divided between wealth and poverty. This is illuminated by the contrasting arguments for and against the investment in any ‘objet d’art’ (although we recognize the fact that such objects possessed a functionality in medieval society – as manifestations of spiritual power; they were not merely ‘aesthetic’ decorations), the debates conducted, for example by Saint Bernard who advocated a puritanical sober streak and suggested the abolition of gold from religious sanctuaries, compared to Abbot Suger of Saint Denis who defended wealth and an exuberant infestation of precious metals in church, funded by the highest echelons of society.

 

This dialog of course, infects our modern minds. We are still very much aware of the distinctions in society between the wealthy and the poor. Even if we are all capable of appreciating the work of a great artist, such as Vincent van Gogh – very few of us could possibly envisage actually buying one of his paintings. However, art is further subdivided and categorized into the plainly beautiful and purely utilitarian, hence ‘fine art’ and ‘applied art.’ Personally I do not perceive such distinctions, all art is subject to the necessary dynamics of economic forces. In retrospect we are wont to view the Middle Ages as rather poor with regard to creative expression, when in fact the evidence proves contrary – very much of it was decadent in nature and therefore sumptuous. This term masters the matter very adequately.

All Rights Reserved & Copyright David John Drew 2015 'Lord Carville'

The Carta Marina – A Complex System of Media

 

Module 5 of ‘Sagas and Space’ (Sagas & Space - Thinking Space in Viking and Medieval Scandinavia, University of Zurich) asks an extremely important question; “How did people in the Middle Ages and the Early Modern Period conceive the North as a system of space and how did they represent this spatial system in texts, images, signs?”  

 

In the middle ages the map was not merely conceived of as representing geographical space, but were also cosmological in the sense that they provided explanations of the structure of the universe, including the earth.  In the middle ages there were three main types of map: the T/O map illustrating a tertiary division of the world into Asia, Africa and Europe, the ‘zone’ map dividing the world into five climatic sections (hot, cold and temperate), and a third type of climatic map which represented seven zones. Perhaps the most significant creations in medieval cartography are the so called ‘mappae mundi’ or world maps. The most famous world map is of course the ‘Hereford Mappa Mundi’ dated to c. 1290. Following a traditional T/O geographical pattern this map also incorporates cosmological, religious, mythical and legendary themes – space is virtually envisaged not merely as a territorial concern but also one that expresses the imagination. Thus, on the Hereford Map we may find Jerusalem at the center of the world, contrasted with other parts occupied by unicorns, and the depiction of Greek myths such at the labyrinth of King Minos. A parallel map of Norse origin, MS GkS (Gamle kongelige Samling) 1812, 4to – also incorporated geography with cosmography with over 110 legends. 

 

Perhaps one of the greatest manifestations of the cartographical tradition as it developed from the middle ages into the Renaissance was Olaus Magnus’ (1490 – 1557) Carta Marina, printed in Venice in 1539. The rarity of the map is confirmed by the fact that there are only two extant copies in existence; at Munich, and the other at Uppsala University Library in Sweden. The Carta Marina is composed of nine woodblock prints, which altogether make an image measuring approximately 125 by 170 centimeters. Whilst the iconography and symbolism contained within the map is a continuation of the medieval heritage, the orientation deviates in a modern and innovative manner in line with the Renaissance, that is, that north appears at the top – as distinct from the medieval map which portrayed east in the upper portions. Whilst Magnus attempted and certainly succeeded in inscribing an accurate geographical portrayal of Scandinavian northern Europe, his intent was also to emphasis the political and religious. For example, the map is littered with strange, mythical sea creatures, one of which is a ‘sea-pig’ near the island Tile (Thule). In his Historia de gentibus septentrionalibus (History of the Northern Peoples, 1555), Magnus is keen to point out that the ‘Sea-Pig’ was first spotted off the coast of Germany around the same time as the Protestant monk Martin Luther began his meteoric rise to fame. This latter volume is often quoted by scholars as a commentary on the Carta Marina – describing in detail the often complex symbolic imagery contained within the map.

 

In summary, we can say that Olaus Magnus’ map, being a continuation in part of the medieval heritage of cartography, representing both geographical and cosmological elements is also innovative. Apart from it’s accuracy with regard to orientation, Magnus has created a chronological order of space. In addition, the various legends and symbols produce a complex narrative on the swiftly changing political and religious period of time in which he lived. This is confirmed by his later ‘History’ published in 1555. 

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Tarot Reading

After many years I decided to do a Tarot reading, using the three card method representing past, present and future. It was surprisingly insightful. I drew the Hermit IX, Five of Coins and the Empress (reversed).

 

Past: The Hermit is symbolic of the quest for knowledge and wisdom, gained through solitude and introspection. He represents a period of contemplation, meditation and self-examination. This is very significant for me, I have spent my past in just such a fashion - seeking answers to the more meaningful questions in life - deeper truths rather than surface or exterior values.

 

Present: The suite of Coins represents the element of earth - directed toward everyday preoccupations including work, home and business. The Five of Coins represents a period of financial troubles, adversity and isolation. Alongside the Hermit, the present time is a direct result of the past: in searching for what might be called the 'esoteric' or obscure aspects of existence I have neglected the importance of more mundane but equally important practical matters. Instead of investing some part of my energy into developing my prosperity I have squandered time, and the result is that I am lacking a healthy income.

 

Future: The Empress represents a full and fertile creative power; she commands by persuasion with love and grace. However, the Empress reversed does not bode well: this indicates a loss of personal power, the flow of artistic energy has either dried up or being misdirected. Another aspect of this card sees an imbalance in terms of relationships. It may be that I am using far too much of my energy for others when I should be nurturing myself. Ultimately the Empress is a warning that I should restore the balance of harmony in my life. Alongside the Coins, there is a sense of bankruptcy or debt - either financial or spiritual. The motivating power has dried up and needs to be replenished.

 

Conclusion: I have the inner power and discipline required to achieve not only academic or educational merit but also abundant financial prosperity. The only way that this is possible is through harmonious change - seeking to balance and positively direct my efforts and energy, and personal relationships. Up until now I have neglected two most important aspects of life to my detriment: finance and friends. The advice is to stop working incessantly in isolation and enhance my quality of life by extending outward rather than inward. Nobody is too old to start changes in their life towards ultimate fulfillment in all its aspects.

All Rights Reserved & Copyright David John Drew 2015