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Between the Linguistic and the Spatial Turns

A Reconsideration of the Concept of Space and Its Role in the Early Modern Period

Yair Mintzker

This exploratory essay seeks to unravel the inherent contradictions between two fundamental trends in contemporary historiography: the “spatial turn” on the one hand, and the “linguistic turn” on the other hand. The “spatial turn,” it argues, turned “space's” status as a category of analysis into an accepted dogma. Under these circumstances, one often overlooks the fact that “space,” like all concepts, can also be problematic and at times even misleading. By looking at several examples from and about the intellectual world of early modern Europe, the article demonstrates how the use of space as a category of analysis encounters two fundamental challenges. First, the problem of the absence of the word “space” itself from important early modern texts (“shrinkage”); and second, the overuse of the term “space” in translations and analysis of early modern intellectual works (“contamination”).

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Benoît Godin

novelty, Bacon argues for a middle ground. As Charles Whitney puts it, Bacon uses traditional language to advance novel ideas. 10 “From the fourteenth through the sixteenth century,” states Erwin Panofsky: and from one end of Europe to the other, the

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Why Draw Flowers?

Botanical Art, Nationalism and Women's Contribution to Israeli Culture

Shahar Marnin-Distelfeld and Edna Gorney

main source of interpretation ( Panofsky 1957 ). While Erwin Panofsky analysed a work of art through its iconography and iconology, he did not look at it for what it was or how it operated socially. In this study, we combine iconography and iconology

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

ontology of the photographic image. Insofar as her objective is to correct certain misconceptions about Cavell's work, which has often been discussed as carrying on the legacy of realist film theorists like Edwin Panofsky, André Bazin and Siegfried Kracauer

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[I] ‘did write this Wyll with my own hand’

Simulation and Dissimulation in Isabella Whitney’s ‘Wyll and Testament’

Vassiliki Markidou

published in 1567. Both collections were published by Richard Jones. For more information on the two editions, see Richard Panofsky, The Floures of Philosophie (1572) by Sir Hugh Plat and A Sweet Nosgay (1573) and The Copy of a Letter (1567) by Isabella

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Interruptions: Challenges and Innovations in Exhibition-Making

The Second World Museologies Workshop, National Museum of Ethnology (MINPAKU), Osaka, December 2019

Laura Osorio Sunnucks, Nicola Levell, Anthony Shelton, Motoi Suzuki, Gwyneira Isaac, and Diana E. Marsh

's paintings, Manet was conscious of the museum/gallery environment in which his works would hang, and so chose to destabilize the critical position of the subject. For example, according to perspectival rendering ( Panofsky 1991 ), the person looking at the

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‘Tu Numeris Elementa Ligas’

The Consolation of Nature’s Numbers in Parlement of Foulys

C.W.R.D. Moseley

poem has critical divisions at the lines whose numbers are divisible by that number. See also E. Panofsky, Gothic Architecture and Scholasticism (New York: Meridian, 1957), esp. 38–39; and W. Ryding, Structure in Mediaeval Narrative (The Hague