Major Treatises Research Articles

Politics, religion and the British revolutions: the mind of Samuel Rutherford

This is the first modern intellectual biography of the Scottish Covenanters' great theorist Samuel Rutherford (c. 1600–61). The central focus is on Rutherford's political thought and his major treatise, Lex, Rex, written in 1644 as a justification of the Covenanters' resistance to King Charles I. The book demonstrates that while Lex, Rex provided a careful synthesis of natural-law theory and biblical politics, Rutherford's Old Testament vision of a purged and covenanted nation ultimately subverted his commitment to the politics of natural reason. The book also discusses a wide range of other topics, including scholasticism and humanism, Calvinist theology, Presbyterian ecclesiology, Rutherford's close relationships with women and his fervent spirituality. It will therefore be of considerable interest to a range of scholars and students working on Scottish and English history, Calvinism and Puritanism, and early modern political thought.

Our ames is true: How an old concept still hits the mark: or, risk group assignment points the arrow to rational therapy selection in differentiated thyroid cancer

Our ames is true: How an old concept still hits the mark: or, risk group assignment points the arrow to rational therapy selection in differentiated thyroid cancer

:Raphael and France: The Artist as Paradigm and Symbol

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism exists. This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, Raphael and France is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry.

Spain, 1550-1830

Performers of early music are usually confronted with two types of musical editions: those in which the music has been edited using modern (and often anachronistic) standards, and urtext editions, which present the music as found in its original source, without any editorial additions. We salute with enthusiasm the appearance of a third type of edition, of which the volume under review is an exemplary sample. Spain, 1550-1830 is the first number in a new series, Historical Organ Techniques and Repertoire, combining a historically informed reading of the music with a thorough and scholarly account of performance practice from the period and location in which the music was composed. Background historical studies of such quality are rare in performance editions with a pedagogical orientation such as this one, and the author, Calvert Johnson, and publisher, Wayne Leupold, of this work must be congratulated for their achievement. The volume is divided into two parts: the first offers an extended summary of organ performance practices in Spain from the sixteenth through the eighteenth centuries, based on some of the major theoretical treatises and keyboard tutors of the period, by such authors as Juan Bermudo (1555), Tomas de Santa Maria (1565), Hernando de Cabezon (1578), Francisco Correa de Arauxo (1626), and Pablo Nassarre (1723-24); the second is an anthology of Spanish organ music from the same time span, including a total of thirty-one pieces organized by degree of difficulty. The first part begins with an assortment of background information about uses of the organ in Spain, the church modes, Spanish keyboard tablature, types of composition in the Spanish organ literature, and so forth. A detailed account of the evolution of Spanish organs follows, including specifications, stoplists, and registrations for some of the major historical instruments of the period. After discussing hand position, johnson devotes sixteen pages to the study of fingering. Many possibilities are offered, some of which may be more useful than others to the modern keyboard student. Fingers 2, 3, and 4 (rather than all five fingers) often do most of the work in executing scale passages and ornaments. A typical fingering for a right-hand scale, for instance, would be 12343434 ascending and 43232323 descending. The practical advantages of using such paired fingering patterns may seem dubious to the average modern student. The resulting lateral hand shifts, however, undoubtedly contributed to the detached touch that seems to have been the preferred norm of articulation in the period. After dealing briefly with pedaling and articulation and providing an exhaustive study of ornamentation, Johnson finishes his discussion of performance practice with sections on time signatures, tempo, and rhythmic alteration. The textual portion of the volume closes with bibliographies on pertinent historical treatises, modern editions of major individual composers, and principal modern anthologies of Spanish keyboard music of the period. The bibliography of secondary sources on performance practice and on Spanish organs is useful, although more schematic. Some major works on Spanish organs (such as Rudolf Reuter's Orgeln in Spanien [Kassel: Barenreiter, 1986] or several articles by Louis Jambou) have unfortunately been omitted, as have the classic studies on Spanish keyboard performance practice by Eta Harich-Schneider. The pedagogical value of this first part of the book is enhanced by the clear and well-organized presentation of the material and by the frequent exercises that allow the student to practice the techniques under discussion on actual passages of music from the period. The publication, cataloguing, and critical study of Spanish seventeenth- and eighteenth-century music constitute a glaring musicological lacuna. Because the publication of an anthology of organ music from this period thus entails the responsibility of making available to the American public music from a country and a period that is mostly unfamiliar, the choice of composers and pieces becomes a crucial matter. …

Reasoning with the Senses: The Humanist Imagination

The Renaissance fortunes of major treatise, De anima, have never received definitive study, no doubt principally because this task would be so dauntingly complex. Harvey, and more recently Park and Kessler, have done valuable work in surveying the range of Renaissance writing about psychology, while Cranz has dealt more specifically with the reception of De anima.1 Within De anima, short chapter on the (11.3; 427a17-430a25)2 is, one might suppose, the briefest of interludes, almost an aside, amid larger and thornier questions. Yet short as it is, this chapter does represent most sustained investigation into the nature and operations of the which has crucial role to play in relaying sense data to the mind. Moreover, the Rezeptionsgeschichte of this chapter in the Renaissance shows that among the problems of perception and its relationship to mind, certain issues are articulated which open up different connections between sense perception and guiding rationality which seeks to control the senses, especially through discourse which naturalizes the processes of body and mind. How and why reasonable account of particular psychological phenomenon, the comes to fail is the subject of this study. It will be as well to attempt to establish, first of all, what view Aristotle holds about the imagination. This is no easy task, since the very coherence of his arguments in De anima 111.3 has been matter of fierce debate. Hamlyn, for instance, thought that the chapter has a disjointed look, its principle of unity being loose one, while elsewhere he is even more severe (there is little consistency here).3 Schofield had more positive view of the chapter, but nevertheless contended that Aristotle's phantasia is loose-knit, family concept,' which, with great panache, he defended as virtue of the philosopher's analysis. More recent interpreters such as Modrak, Watson, and Wedin have argued for greater coherence both in general view of phantasia and in his definition of it in De anima.5 Frede rightly locates the principal source of unease in the term phantasia itself, which, she recalls, covers wider spectrum than the English word imagination, in that phantasia designates the capacity, the activity or process, and the product or result.6 All these aspects occur in Deanima 111.3. definition of phantasia seems innocuous enough: imagination

Acquisition and use: British architectural books before 1800

Architectural books in use in England – and specifically in the Royal Academy Library – in the second half of the 18th century included translations of the major Italian treatises; Sir William Chambers’ Treatise on civil architecture (the first work of its kind by an English author); volumes recording actual buildings by English architects; archaeological works documenting the remains of ancient buildings; and works by Fréart and Perrault on the classical orders. The latter were complemented by Henry Emlyn’s eccentric Proposition for a new order of architecture published in 1781. The contents of Sir John Soane’s private library included a number of works not available at the Royal Academy, which he criticised for providing only a “very limited collection of Works on Architecture”. Soane’s library can be seen to have anticipated the professional architectural library, including more practical books (intended in many cases for the use of builders and carpenters), which was founded at the Royal Institute of British Architects in 1834 — today’s British Architectural Library.

Reform and the languages of renaissance theoretical medicine: Harvey versus Fernel.

Near the end of his last major treatise, De generatione animalium (1651), William Harvey confronts for one final time the vexing philosophical difficulties attending the physiological activity and generation of living organisms.' Harvey's analysis results in an overt, if somewhat speculative and incomplete, theory of living matter that complements his noted insistence on the primacy and inherent vitality of the blood.2 This theory of matter more precisely, some extraordinarily suggestive musings about living matter is framed by Harvey's rejection of alternative explanations of vital activity. With force and telling specificity, he informs us that

The Vegetation of North America‐A Major Treatise

The Vegetation of North America‐A Major Treatise

"The Dangerous Goddess": Masculinity, Prestige, and the Aesthetic in Early Eighteenth-Century Britain

riticism of the visual arts in early eighteenth-century Britain was largely framed in the terms of the republican discourse we have come to describe as civic humanism.2 Its founding texts are a pair of essays written around 1710 by Shaftesbury: an account of his design for the painting of The Choice of Hercules by Paolo de Matthaeis and a brief letter on the function of the fine arts. In addition to these, he wrote an extensive draft of a major treatise on painting which he did not

Pulmonary Diseases and Disorders.

The major treatise of lung medicine is revised throughout for diagnosis and management of all pulmonary and related care disorders encountered in the critical care setting.

Marine Mineral Exploration

This book is the forty‐first in the Elsevier Oceanography Series, and with it the series has come full circle. Its first title, published in 1964, was John Mero's landmark study The Mineral Resources of the Sea [Mero, 1964]. Looking back at that first major treatise and comparing it with this and other recent books on the topic [e.g., Teleki et al., 1987] one cannot help but be impressed with how well Mero used the sparse data and studies that had been put together by his time. Twenty‐two years and many millions of dollars later a substantial mining‐oriented base of knowledge has been built — we know much more about the economics and the engineering — yet the basic premises and conclusions that Mero assembled are still intact, and answers to the fundamental questions (e.g., formation processes for manganese nodules) are not in much better condition than they were then.

A Study of the Literary Position of the Three Major Treatises of the T'ien t'ai School

A Study of the Literary Position of the Three Major Treatises of the T'ien t'ai School

Pedro Nuñez and the first printed treatise on twilight observation

Pedro Nuñez (the name is also written variously as Nunes, Nonius, Nonnius, and Nunnius) was born at Alcacer do Sol, Portugal, in 1502, and died in 1578. In that period and in that country, it was inevitable that his interests were in cosmography and navigation. His principal claim to fame is as author of the major treatise De Arte Atque Ratione Navigandi, which was published in 1546.

On the Art of the No Drama: The Major Treatises of Zeami

On the Art of the No Drama: The Major Treatises of Zeami

On the Art of the Nō Drama: The Major Treatises of Zeami

On the Art of the Nō Drama: The Major Treatises of Zeami

Zeami's Treatises and the State of Our ResearchOn the Art of Nō Drama: The Major Treatises of Zeami. J. Thomas Rimer , Yamazaki Masakazu

Previous articleNext article No AccessBook ReviewsZeami's Treatises and the State of Our Research On the Art of Nō Drama: The Major Treatises of Zeami . J. Thomas Rimer , Yamazaki Masakazu William R. LaFleurWilliam R. LaFleur Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by History of Religions Volume 25, Number 1Aug., 1985 Article DOIhttps://doi.org/10.1086/463023 Views: 2Total views on this site Copyright 1985 The University of ChicagoPDF download Crossref reports no articles citing this article.

On the Art of the Nō Drama: The Major Treatises of Zeami

On the Art of the Nō Drama: The Major Treatises of Zeami

On The Art Of Nō Drama: The Major Treatises Of Zeami. Translated by J. Thomas Rimer and Yamazaki Masakazu. Princeton, N.J.: Princeton University Press, 1984. xlx, 298 pp. Illustrations, Glossaries, Selected Bibliography in Western Languages, Index. $35 (cloth); $15 (paper).

This annotated translation is the first systematic rendering into any Western language of the nine major treatises on the art of the Japanese No theater by Zeami Motokivo (1363-1443). Zeami, who transformed the No from a country entertainment into a vehicle for profound theatrical and philosophical experience, was a brilliant actor himself, and his treatises touch on every aspect of the theater of his time. His theories, mixing philosophical and practical insights, often seem strikingly contemporary. Since their discovery early in this century. these secret treatises have been considered among the most valuable and representative documents in the history of Japanese aesthetics. They discuss subjects from the art of the playwright to the reciprocal nature of the relationship between performer and audience.

Liability in Damages for Strikes: A French Counter-Revolution

A principal function of law is to ensure that one who is injured by the actions of another receives compensation. The law, however, does not provide for compensation against each and every form of injury, and its coverage of some kinds of injuries is only partial. As a general principle, the intentional infliction of purely economic or financial loss on others is prima facie wrongful. If this principle were to become an iron rule, industrial strikes might become unlawful. One issue that every advanced social system must face is when it is and when it is not permissible deliberately to damage others economically,' in particular, by striking. In Britain the courts considered this matter around the turn of the century in the leading cases of Allen v. Food,2 Quinn v. Leatham,3 and Taff Vale Railway;4 it was more recently addressed in Rookes v. Barnard.5 However, the outcomes of Quinn v. Leatham and Taff Vale Railway proved unacceptable to government at the time, leading to the enactment of the Trade Disputes Act, 1906,6 which now, however, is in the process of being dismantled.7 France never had a law comparable to the British 1906 Act. Since the turn of the century strikers and even at times trade unions could be held liable for losses arising from strikes.8 Nevertheless, damages suits against strikers, their chosen representatives, and their unions, were rarely instituted. The question of civil liability arising from strikes was of so little practical importance that it was barely mentioned in the major treatises on the law of strikes. Presi-

Architecture and the Crisis of Modern Science

This important book, which won the 1984 Alice Davis Hitchcock Award, traces the process by which the mystical and numerological grounds for the use of number and geometry in building gave way to the more functional and technical ones that prevail in architectural theory and practice today. Between the late Renaissance and the early nineteenth century, the ancient arts of architecture were being profoundly transformed by the scientific revolution. This important book, which won the 1984 Alice Davis Hitchcock Award, traces the process by which the mystical and numerological grounds for the use of number and geometry in building gave way to the more functional and technical ones that prevail in architectural theory and practice today. Throughout, it relates the major architectural treatises of successive generations to the larger culture and the writings of philosophers, mathematicians, scientists, and engineers. The book leads the reader through the controversy that was generated by Claude Perrault in the seventeenth century. His writings began to cast doubt on the absolute aesthetic value of the classical orders and the "perfect" proportions that were architecture's legacy from Pythagorean times. Thus the once immutable "invisible" system lost its special status forever. The book focuses in particular on eighteenth-century developments in the science of mechanics and emerging techniques in structural analysis which slowly entered the architectural treatises and found their way into practice, often by way of civil and military engineers. And by the nineteenth century, the book notes, even architectural rendering and drawing were radically changed through the introduction of new descriptive and projective geometries. Tracing these fundamental changes in architectural intentions, Perez-Gomez challenges many popular misconceptions about the theory and history of modern architecture. At the same time, he suggests an intangible loss, that of a culture's power to express through a building its total mathematical, mystical, and magical world-view.