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Contra Instrumentalism questions the long-accepted notion that translation reproduces or transfers an invariant contained in or caused by the source text. This "instrumental" model of translation has dominated translation theory and commentary for more than two millennia, and its influence can be seen today in elite and popular cultures, in academic institutions and in publishing, in scholarly monographs and in literary journalism, in the most rarefied theoretical discourses and in the most commonly used clichés. Contra Instrumentalism aims to end the dominance of instrumentalism by showing how it grossly oversimplifies translation practice and fosters an illusion of immediate access to source texts. Lawrence Venuti asserts that all translation is an interpretive act that necessarily entails ethical responsibilities and political commitments. Venuti argues that a hermeneutic model offers a more comprehensive and incisive understanding of translation that enables an appreciation of not only the creative and scholarly aspects of what a translator does but also the crucial role translation plays in the cultural and social institutions that shape human life.
Focusing on representations of beards in English Renaissance culture, this study elucidates how fetish objects validate ideological systems of power by materializing complex value in multiple registers. Providing detailed discussions of not only bearded men but also beardless boys, bearded women, and half-bearded hermaphrodites, author Mark Albert Johnston argues that attending closely to early modern English culture's treatment of the beard as a fetish object ultimately exposes the contingency of categories like sex, gender, age, race, and sexuality. Johnston mines a diverse cross-section of contemporary discourses -- adult and children’s drama, narrative verse and prose, popular ballads, epigrams and proverbs, historical accounts, pamphlet literature, diaries, letters, wills, court records and legal documents, medical and surgical manuals, lectures, sermons, almanacs, and calendars -- in order to provide proof for his cultural claims. Johnston’s evidence invokes some of the period’s most famous voices -- William Shakespeare, Ben Jonson, John Lyly, Phillip Stubbes, John Marston, George Chapman, Thomas Dekker, Thomas Middleton, and Samuel Pepys, for example -- but Johnston also introduces us to an array of lesser-known Renaissance authors and playwrights whose works support the notion that the beard was a palimpsestic site of contested meaning at which complex and contradictory values clash and converge. Johnston’s reading of Marxist, Freudian, and anthropological theories of the fetish phenomenon acknowledges their divergent emphases -- erotic, economic, racial and religious -- while suggesting that the imbrication of diverse registers that fetish accomplishes facilitates its cultural and psychic naturalizing function.
This study explores how Eastern European spaces and meanings are constituted in specific cultural contexts in early modern English drama. Focusing on the ways in which these texts integrate the articulation of Eastern European space and geography into a variety of interpretative conventions, the book develops ways of thinking critically and reflexively about the production of knowledge and identity in Shakespeare and his contemporaries through representations of space in drama.
Juan Huarte de San Juan (1529-1588) was a Spanish physician and natural philosopher who strove to answer why men possess specific natural abilities that prepare them to excel only in particular fields of knowledge. With his treatise Examen de ingenios para las ciencias (Baeza, 1575), dedicated to King Philip II, Huarte hoped to form a body of naturally accomplished professionals by providing readers with clues to identify their leading wit and the career path associated with it. The book experienced such overwhelming success in the sixteenth and seventeenth centuries—it underwent fifty-five editions in six different languages—that it is now considered one of the most influential Spanish scientific books of the early modern period. The present edition modernizes the text of Richard Carew’s The Examination of Men’s Wits (London, 1594), the first rendering into English of Huarte’s work—via a previous Italian translation. In addition, the Introduction contextualizes both the Spanish and the English texts and their authors, discusses the censorship imposed by the Inquisition, the (often deliberate) textual divergences of the English translation, the multiple translations and editions the book underwent in early modern Europe, and its domestic and European reception, with a focus on the English scientific, educational and literary arenas. William Camden, John Marston, Ben Jonson and Sir Francis Bacon are some of the household names acquainted with Huarte’s theories, thanks to Richard Carew’s widely read English version.
In this striking social history, Barbara M. Benedict draws on the texts of the early modern period to discover the era's attitudes toward curiosity, a trait we learn was often depicted as an unsavory form of transgression or cultural ambition.