List of Illustrations List of Contributors Acknowledgements Introduction, Renee van de Vall 1. Leonardo and female interiority, Robert Zwijnenberg 2. Animals inside: anatomy, interiority and virtue in the early modern Dutch Republic, Rina Knoeff 3. Depicting skin: microscopy and the visual articulation of skin interior 1820-1850, Mieneke te Hennepe 4. The mind at work: the visual representation of cerebral processes, Michael Hagner 5. A penny for your thoughts: brain-scans and the mediation of subjective embodiment, Renee van de Vall 6. Transparent bodies: revealing the myth of interiority, Jenny Slatman 7. Looking for a sponge: how a body learns to be affected by ultrasound, Maud Radstake 8. Imagin(in)g pregnancy in Northwest Tanzania: networks, experiences, and translations, Babette Muller-Rockstroh 9. Mediated memories as amalgamations of mind, matter, and culture, Jose van Dijck 10. Intertwined identities, Gail Weiss 11. Framing interiority: portraits in the age of genomics, Miriam van Rijsingen Bibliography Index
That a national play, explicitly or implicitly, can be critical of both national thought and identity too is illustrated Herman Heijermans’s The Good Hope (1900). The Good Hope displays the poor living conditions of and the dependency of the common people in a pittoresque fishing village. The play focuses on the people and folk culture and has an extensive performance history which is meticulously analysed. It becomes clear that against the background of all the recent discussion about Dutch identity the play is inextricably bound up with the history of Dutch culture, and with the history of Dutch painting and the Dutch landscape as well.
In this contribution four periods are distuinguished. 1. Nature monuments and natural beaty (1900-1940), 2. Nature and landscape planned (1940-1970); 3. On the wings of the environmental movement (1970-1990); 4. New natures, new alliances (1990-present)
Christian responses to historic and contemporary earthquakes and volcanic eruptions. Environmental Hazards, 8, 304–332. Kogen, M., 1987. Karman. In Eliade, M. (ed.), The Encyclopedia of Religion. New York: Macmillan, Vol. 8, pp. 261–268. Sigurdsson, H., 1999. Melting the Earth: The History of Ideas on Volcanic Eruptions. Oxford: Oxford University Press. Vitaliano, D. B., 2007. Geomythology: Geological origins of myths and legends. In Piccardi, L., and Masse, W. B. (eds.), Myth and Geology. Geological Society Special Publication, 273, pp 1–7. London
Ceramics are the most abundant surviving material on many archaeological sites. Once discarded, they offer the archaeologist the possibility to reconstruct the shape of vessels and to identify their origin. Typo‐chronologies of ceramic vessels are studied on virtually every excavation worldwide as the prime stratigraphic dating tool. Ceramics function as a proxy to study craft organization and trade patterns, social stratigraphy, subsistence strategies and the standard of living. The identification of imported vessels in a mass of locally produced wares is perhaps the most frequently asked question in the study of ceramics. For all of this research, the scientific analysis of ceramics has great utility.
Moliere’s seventeenth-century play Tartuffe, the oldest play in this volume, did not originate in an age of popular political nationalism, nor does it mainly address topics concerning the presumed characteristics of a French nation. However, the focus of the play, that proved to be very controversial from the start, is a political and religious question—the hold of religion and the church over other spheres of society—that would take centre stage during the following centuries in the conflict and debates on the French ‘nation’. Engelberts’ quantitative analysis shows, moreover, that Tartuffe can also be called the national play of France since it is by far the most performed play in the national theatre La Comedie-Francaise.