Element contents
Early Modern Media Ecology
Published online by Cambridge University Press: 23 January 2024
Summary
The early modern world was as enigmatic as it was dynamic. New epistemologies and technologies, open controversies about the world and afterworld, encounters with various cultures, and numerous forms of entertainment wetted the appetite for ever-new sensational experiences, an emerging visual language, and different social constellations. Thaumaturgy, the art of making wonder, was the historical term under which many of these forms were subsumed: encompassing everything from magic lanterns to puppets to fireworks, and deliberately mingling the spheres of commercial entertainment, art, and religion. But thaumaturgy was not just an idle pastime but a vital field of cultural and intercultural negotiation. This Element introduces this field and suggests a new form of historiography-media ecology-which focuses on connections, formations, and transformations and takes a global perspective.
- Type
- Element
- Information
- Online ISBN: 9781009298148Publisher: Cambridge University PressPrint publication: 15 February 2024
Bibliography
Primary Sources
Agrippa von Nettesheim, H. C. (1564). Henrici Cornelii Agrippae Ab Nettesheym, De Incertitvdine Et vanitate scientiarum declamatio inuectiua. Lvgdvni.Google Scholar
Agrippa von Nettesheim, H. C. & French, J. (1651). Three Books of Occult. Philosophy De Occulta Philosophia, ed. R. W. for Moule, Gregory. London: Gregory Moule.Google Scholar
[Al-Masudi, ], Maçoudi. (1865). Les Praries D’or: Texte Et Traduction Par C. Barbier De Meynard. Tome Quatrième. Paris: L’Imprimerie Impériale.Google Scholar
Arber, E., ed. (1868). Edward Webb, Chief Master Gunner, His Traualies. 1590. London: Alex. Murray & Son.Google Scholar
Bernini, G. L. (1985). The Impresario. [Untitled]. Translated, with an Introduction and Notes, by Donald Beecher and Massimo Ciavolella. Carleton Renaissance Plays in Translation. Ottawa: Dovehouse Editions CanadaGoogle Scholar
Bochius, J. (1595). Descriptio publicae gratulationis, spectaculorum et ludorum, in adventu sereniss. principis Ernesti archiducis Austriae …: an. M.D.XCIIII. XVIII. Kal. Iulias, aliisque diebus Antverpiae editorum; cui est praefixa, de Belgii principatu a Romano in ea provincia imperio ad nostra usque tempora brevis narratio. Antwerp: Plantin.Google Scholar
Day, J., Rowley, W. & Wilkins, G. (1995). The Travels of the Three English Brothers. In Parr, A., ed., Three English Travel Plays. Manchester: Manchester University Press, pp. 55–134.Google Scholar
Doppelmayr, J. G. (1730). Historische Nachricht von den Nürnbergischen Mathematicis und Künstlern. Nuremberg: Peter Conrad Monath.Google Scholar
Du Halde, J. B. (1739). The General History of China, Containing a Geographical, Historical, Chronological, Political and Physical Description of the Empire of China, Chinese-Tartary, Corea and Thibet. Vol. III. London: John Watt.Google Scholar
Ernst, J. D. (1697). Auserlesene Gemüths-Ergetzligkeiten/Das ist: Funffzig sonderbare Lust- und Lehr-Gespräche: in welchen Von viel- und mancherley Historischen/ … Sachen … fürgestellet wird. Mit sonderbarem Fleiß also eingerichtet/ daß sie … nach Gelegenheiten nützlich zugebrauchen. Benebenst einen dreyfachen Register. Magdeburg: Zeidlerische Schrifften.Google Scholar
Efendi, Evliya [i.e. Çelebi] (1846). Narrative Travels in Europe, Asia, and Africa in the Seventeenth Century. Vol. I, Part II. London: The Oriental Translation Fund.Google Scholar
Fontana, J. (2014). Liber Instrumentorum Iconographicus: Ein Illustriertes Maschinenbuch: Herausgegeben, übersetzt und eingeleitet von Horst Kranz. Vol. LXVI of Boethius: Texte und Abhandlungen zur Geschichte der Mathematik und Naturwissenschaften. Stuttgart: Franz Steiner.Google Scholar
Gotter, F. W. (1797a). Die Geisterinsel: Ein Singspiel in drei Akten. (Teil 1). Die Horen 11(8), 1–26.Google Scholar
Gotter, F. W. (1797b). Die Geisterinsel: Ein Singspiel in drei Akten. (Teil 2). Die Horen 11(9), 1–78.Google Scholar
Griendel, J. F. (c. 1685). Specificatio, Was Johann Frantz Griendl Von Ach Auf Wanckhausen/ Matthematicus Und Opticus in Nürnberg/ Von Optischen Raritäten Pfleget Zu Machen. Nuremberg.Google Scholar
Hoogstraeten, S.v. (1678). Inleyding tot de Hooge Schoole der Schilderkonst: Anders de Zichtbaere Werelt. Rotterdam: Fransois van Hoogstraeten.Google Scholar
Jonson, B. (1904). Bartholomew Fair. Edited with Introduction, Notes and Glossary by Carroll Storrs Alden. New York: Henry Holt & Co.Google Scholar
Kircher, A. (1667). Athanasii Kircheri E Soc. Jesu China Monumentis Qva Sacris quà Profanis, Nec non variis Naturæ & Artis Spectaculis, Aliarumque rerum memorabilium Argumentis Illustrata. Amsterdam: Joannes Janssonius à Waesberge & Elizeus Weyerstraet.Google Scholar
Kircher, A. (2011). Selbstbiographie: Aus dem Lateinischen übersetzt von Dr. Nikolaus Seng. Petersberg: Michael Imhof Verlag.Google Scholar
Leibniz, G. W. (2006). Der Briefwechsel mit den Jesuiten in China (1689–1714): Herausgegeben Von Rita Widmaier. Hamburg: Felix Meiner.Google Scholar
of Cremona, Liudprand & Becker, J. (1915). Die Werke Liudprands Von Cremona. Scriptores Rerum Germanicarum in Usum Scholarum Ex Monumentis Germaniae Historicis Separatim Editi Scriptores Rerum Germanicarum in Usum Scholarum Ex Monumentis Germaniae Historicis Recusi. Hannover: Hahn.Google Scholar
Nashe, T. (1594). The Terrors of the Night: Or, the Discourse of Apparitions. London: William Jones.Google Scholar
Patin, C. (1696). Travels Thro Germany, Swisserland, Bohemia, Holland, and Other Parts of Europe. London: A. Swall & T. Child.Google Scholar
Prynne, W. (1633). Histrio-Mastix: The Players Scourge, or, Actors Tragaedie. London: Michael Sparke.Google Scholar
Schott, C. (1677). Magica Optica: Das ist Geheime doch Natur-mäßige Gesicht und Augenlehr. Frankfurt/Main: Johan Martin Schönwetter.Google Scholar
Sepibus, G. d. (1678). Romani Collegii Societatis Jesu Musaeum Celeberrimum: Cujus magnum Antiquariae rei, statuarum, imaginum, picturarumque partem Ex Legato Alphonsi Donini, … A Secretis, munificâ Liberalitate relictum; P. Athanasius Kircherus … novis & raris inventis locupletatum, compluriumque Principum curiosis donariis magno rerum apparatu instruxit. Amsterdam: Jansson-Waesbergen.Google Scholar
Shakespeare, W. (1790). The Tempest: Or, The Enchanted Island. Written by Shakespeare with additions from Dryden: as Compiled by J. P. Kemble. And First Acted at the Theatre-Royal Drury-Lane. Dublin: George Perrin.Google Scholar
Shakespeare, W. (2011). The Arden Shakespeare Complete Works, rev. ed. Kastan, D.S., Proudfoot, G. R. & Thompson, A. London: Bloomsbury Methuen Drama.Google Scholar
Stieler, K. v. (1691). Der teutschen Sprache Stammbaum und Fortwachs oder teutscher Sprachschatz …. Nuremberg: Hofmann.Google Scholar
Secondary Sources
Aebischer, P. (2020). Shakespeare, Spectatorship and the Technologies of Performance. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Ágoston, G. (2005). Guns for the Sultan: Military Power and the Weapons Industry in the Ottoman Empire, Cambridge Studies in Islamic Civilization. New York: Cambridge University Press.Google Scholar
And, M. (1963). A History of Theatre and Popular Entertainment in Turkey. Ankara: FORUM Yaınları.Google Scholar
Andrews, R. (2014). Resources in Common: Shakespeare and Flaminio Scala. In Henke, R. & Nicholson, E., eds., Transnational Mobilities in Early Modern Theater. Farnham: Ashgate, pp. 37–52.Google Scholar
Augel, J. (1971). Italienische Einwanderung und Wirtschaftstätigkeit in rheinischen Städten des 17. und 18. Jahrhunderts, Vol. 78 of Rheinisches Archiv. Bonn: Ludwig Rührscheid Verlag.Google Scholar
Baldini, U. (2010). Engineering the Mission and Missions as Engineering: Claudio Filippo Grimaldi and his Return to Beijing (1694). In L.F. Barreto, ed., Tomás Pereira, S.J. (1646–1708): Life, Work and World. Lisbon: Centro Científico e Cultural de Macau: Fundação para a Ciência e a Tecnologia, pp. 75–184.Google Scholar
Balme, C. B. (2019). The Globalization of Theatre 1870–1930: The Theatrical Networks of Maurice E. Bandmann, Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Baumgarten, A. G. (2018 [1750]). Ästhetik. Zwei Bände. Band 1: §§ 1–613 / Band 2: §§ 614–904, Einführung, Glossar. Vol. 572a/B of Philosophische Bibliothek. Hamburg: Felix Meiner Verlag.Google Scholar
Beneke, O. (1863). Von unehrlichen Leuten: Cultur-historische Studien und Geschichten. Hamburg: Perthes, Besser & Mauke.Google Scholar
Berensmeyer, I. (2016). From Media Anthropology to Media Ecology. In Neumann, B. and Nünning, A., eds., Travelling Concepts for the Study of Culture. Berlin: De Gruyter, pp. 321–35.Google Scholar
Bischoff, Erich (1903). Die Kabbalah: Einführung in die jüdische Mystik und Geheimwissenschaft. Leipzig: Th. Grieben.Google Scholar
Bloch, M. (1924). Les rois thaumaturges; étude sur le caractère surnaturel attribué à la puissance royale, particulièrement en France et en Angleterre […]. Strasbourg: Librairie ISTRA.Google Scholar
Bloom, G. (2018). Gaming the Stage: Playable Media and the Rise of English Commercial Theater. Ann Arbor: University of Michigan Press.Google Scholar
Bolter, J. D. & Grusin, R. (1999). Remediation: Understanding New Media. Cambridge, MA: MIT Press.Google Scholar
Bredekamp, H. (2004). Die Fenster der Monade: Gottfried Wilhelm Leibniz’ Theater der Natur und Kunst. Vol. XVII of Acta Humaniora: Schriften zur Kunstwissenschaft und Philosophie. Berlin: Akademie Verlag.Google Scholar
Brockett, O. G. & Hildy, F. J. (2003). History of the Theatre. 9th ed. Boston: Allyn and Bacon.Google Scholar
Brusati, C., ed. (2021). Samuel van Hoogstraten’s Introduction to the Academy of the Painting; or, The Visible World. Translated by Jaap Jacobs. Los Angeles: Getty Research Centre.Google Scholar
Buccheri, A. (2014). The Spectacle of Clouds, 1439–1650: Italian Art and Theatre, Visual Culture in Early Modernity. Burlington, VT: Ashgate.Google Scholar
Burke, P. (2020). The Polymath: A Cultural History from Leonardo Da Vinci to Susan Sontag. New Haven, CT: Yale University Press.Google Scholar
Bussels, S. (2012). Spectacle, Rhetoric and Power: The Triumphal Entry of Prince Philip of Spain Into Antwerp. Vol. XI of Ludus – Medieval and Early Renaissance Theatre and Drama. Amsterdam: Brill | Rodopi. Book.CrossRefGoogle Scholar
Butler, A. J. (1909). Calendar of State Papers Foreign: Elizabeth. Vol. 16, May–December 1582. London: His Majesty’s Stationery Office. British History Online. https://www.british-history.ac.uk/cal-state-papers/foreign/vol16/.Google Scholar
Butterworth, P. (2005). Magic on the Early English Stage. Cambridge: Cambridge University Press.Google Scholar
Butterworth, P. & Normington, K. (2017). Medieval Theatre Performance: Actors, Dancers, Automata and their Audiences. Cambridge: D. S. Brewer.CrossRefGoogle Scholar
Cabranes-Grant, L. (2016). From Scenarios to Networks: Performing the Intercultural in Colonial Mexico. Vol. II of Performance Works. Evanston, IL: Northwestern University Press.CrossRefGoogle Scholar
Caton, K. E. (2013). The Puppet in Ben Jonson’s “Bartholomew Fair”. Early Theatre 16(1), 51–73.CrossRefGoogle Scholar
Chambers, E. K. (2009). The Elizabethan Stage. 4 vols. (orig.: 1923). Oxford: Clarendon Press.Google Scholar
Clubb, L. G. (1989). Italian Drama in Shakespeare’s Time. New Haven, CT: Yale University Press.Google Scholar
Conquergood, D. (2002). Performance Studies: Interventions and Radical Research. TDR/The Drama Review 46(2), 145–56.CrossRefGoogle Scholar
Crary, J. (1992). Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (October Books). Cambridge, MA: MIT Press.Google Scholar
Das, N., João, Melo, Smith, V., H.Z. & Working, L. (2021). Vagrant/Vagabond. In Das, N., João, Melo, Smith, V., H.Z. & Working, L., eds., Keywords of Identity, Race, and Human Mobility in Early Modern England. Amsterdam: Amsterdam University Press, pp. 284–90.Google Scholar
Daston, L. & Park, K. (2012). Wonders and the Order of Nature, 1150–1750. New York: Zone Books.Google Scholar
Davies, C. (2023). What is a Playhouse? England at Play, 1520–1620. London: Routledge.Google Scholar
Davis, T. C. & Marx, P. W. (2021). On Critical Media History. In Davis, T.C. & Marx, P. W., eds., The Routledge Companion to Theatre and Performance Historiography. London: Routledge, pp. 1–39.Google Scholar
Dee, J. (1570). The Mathematicall Praeface to the Elements of Geometrie of Euclid of Megara. In Elements of Geometrie of Euclid of Megara., n.P. London: John Daye.Google Scholar
Dee, J. (2013). The Compendious Rehearsal, etc. In Crossley, J. [et al.] John Dee’s Diary, Catalogue of Manuscripts and Selected Letters. Cambridge: Cambridge University Press. Original edition, 1842, pp. 111–14.CrossRefGoogle Scholar
Del Rio, M. (2000). Investigations into Magic. Edited and translated by P. G. Maxwell-Stuart. Manchester: Manchester University Press.Google Scholar
Dessen, A. C. (2009). Stage Directions and the Theater Historian. In Dutton, R., ed., The Oxford Handbook of Early Modern Theatre. Oxford: Oxford University Press, pp. 513–27.Google Scholar
Dewitz, B. v. & Nekes, W., eds. (2002). Ich sehe was, was Du nicht siehst! Sehmaschinen und Bilderwelten: Die Sammlung Werner Nekes. Göttingen: Steidl.Google Scholar
Eck, C. v. & Bussels, S. (2010). The Visual Arts and the Theatre in Early Modern Europe. Art History 33(2): 208–23.Google Scholar
Egan, G. (2016). Playhouses. In Smith, B. R., ed., Shakespeare’s World, 1500–1660. Vol. I of The Cambridge Guide to the Worlds of Shakespeare. Cambridge: Cambridge University Press, pp. 89–95.Google Scholar
Elmentaler, M. & Voeste, A. (2019). Areale Variation im Deutschen historisch: Mittelalter und Frühe Neuzeit. In Herrgen, J. & Schmidt, J. E., eds., Volume 4: Deutsch. Vol. IV of Sprache und Raum: Ein internationales Handbuch der Sprachvariation. Berlin: De Gruyter Mouton, pp. 61–100.CrossRefGoogle Scholar
Endean, P. (2017). The Spiritual Exercises. In Worcester, SJ, T., ed., The Cambridge Encyclopedia of the Jesuits. Cambridge: Cambridge University Press, pp. 52–67.Google Scholar
Eversberg, G. (1988). Der Mechanikus Georg Geißelbrecht: Zur Geschichte eines wandernden Marionettentheaters um 1800. In Rudin, B. & Sprengel, P., eds., Wanderbühne: Theaterkunst als fahrendes Gewerbe. Berlin: Gesellschaft für Theatergeschichte, pp. 105–28.Google Scholar
Flatt, E. J. (2019). The Courts of the Deccan Sultanates: Living Well in the Persian Cosmopolis. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Fleming, A. C. (2017). Letters, Annual. In Worcester, SJ, T., ed., The Cambridge Encyclopedia of the Jesuits. Cambridge: Cambridge University Press, p. 461 f.Google Scholar
Flores, J. (2007). Distant Wonders: The Strange and the Marvelous between Mughal India and Habsburg Iberia in the Early Seventeenth Century. Comparative Studies in Society and History 49(3), 553–81.CrossRefGoogle Scholar
Freebury-Jones, D. (2022). Reading Robert Greene: Recovering Shakespeare’s Rival. New York: Routledge.CrossRefGoogle Scholar
Füsslin, G. et al., eds. (1995). Der Guckkasten: Einblick – Durchblick – Ausblick. Stuttgart: Füsslin Verlag.Google Scholar
Gitelman, L. (2006). Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press.CrossRefGoogle Scholar
Godwin, J. (2009). Athanasius Kircher’s Theatre of the World: The Life and Works of the Last Man to Search for Universal Knowledge. Rochester, VT: Inner Traditions.Google Scholar
Golvers, N. (2010). Verbiest, F., Magalhães, G., Pereyra, T. and the others. The Jesuit Xitang College in Peking (1670–1688) as an extra-ordinary professional milieu. In Barreto, L.F., ed., Tomás Pereira, S.J. (1646–1708): Life, Work and World. Lisbon: Centro Científico e Cultural de Macau: Fundação para a Ciência e a Tecnologia, pp. 277–98.Google Scholar
Graves, R. B. 2009. Lighting. In Dutton, R., ed. The Oxford Handbook of Early Modern Theatre. Oxford: Oxford University Press, pp. 528–42.Google Scholar
Greenblatt, S. (2017). Marvelous Possessions: The Wonder of the New World. With a New Preface (orig.: 1991). Chicago: University of Chicago Press.CrossRefGoogle Scholar
Guignollet, & Séraphin, D. F. (1871). Le théatre des ombres chinoises nouveau Séraphin des enfants, recueil de jolies pièces amusantes et faciles à monter. Paris: Le Bailly.Google Scholar
Gunning, T. (1990). The Cinema of Attractions. Early Film, Its Spectator, and the Avant-Garde. In Elsaesser, T. & Barker, A., eds., Early Cinema: Space, Frame, Narrative. London: BFI, pp. 56–62.CrossRefGoogle Scholar
Guo, L. (2012). The Performing Arts in Medieval Islam: Shadow Play and Popular Poetry in Ibn Dāniyāl’s Mamluk Cairo. Vol. XCIII of Islamic History and Civilization: Studies and Texts. Leiden: Brill.Google Scholar
Hanser, E.-M. (2020). Comœdianten und Ordnungsmächte: Frühes deutschsprachiges Berufstheater (1650–1730) im Kontext von Kirche, Staat und Stadt. Göttingen: Vandenhoeck & Ruprecht.CrossRefGoogle Scholar
Hefter, R. (1936). Die moralische Beurteilung des deutschen Berufsschauspielers. Emsdetten: Heinr. & J. Lechte.Google Scholar
Heine, C. (1887). Johannes Velten: Ein Beitrag zur Geschichte des deutschen Theaters im XVII. Jahrhundert. Halle: E. Karras.Google Scholar
Heise, U. K. (2002). Unnatural Ecologies: The Metaphor of the Environment in Media Theory. Configurations 10(1), 149–68.CrossRefGoogle Scholar
Henke, R. (2014). The Taming of the Shrew, Italian Intertexts, and Cultural Mobility. In Nicholson, E. & Henke, R., eds., Transnational Mobilities in Early Modern Theater. Farnham: Ashgate, pp. 23–36.Google Scholar
Jacob, G. (1925). Geschichte des Schattentheaters im Morgen- und Abendland, 2nd rev. ed. Hannover: Orient-Buchhandlung Heinz Lasaire.Google Scholar
Jacob, M. (1938). Kölner Theater im XVIII. Jahrhundert bis zum Ende der Reichsstädtischen Zeit (1700–1794). Emsdetten: Heinr. & J. Lechte.Google Scholar
Jami, C. (2012). The Emperor’s New Mathematics: Western Learning and Imperial Authority During the Kangxi Reign (1662–1722). Oxford: Oxford University Press.Google Scholar
Jones, G. (2016). Shakespeare’s Storms. Manchester: Manchester University Press.CrossRefGoogle Scholar
Kaplin, S. (1999). A Puppet Tree: A Model for the Field of Puppet Theatre. TDR/The Drama Review 43(3), 28–35.CrossRefGoogle Scholar
Katritzky, M. A. (2005). Reading the Actress in Commedia Imagery. In Brown, P. A. & Parolin, P., ed., Women Players in England, 1500–1660: Beyond the All-Male Stage. Aldershot: Ashgate, pp. 109–43.Google Scholar
Katritzky, M. A. (2008). English Troupes in Early Modern Germany: The Women. In Henke, R. & Nicholson, E., eds., Transnational Exchange in Early Modern Theater, Vol. II of Studies in Performance and Early Modern Drama. Aldershot: Ashgate, pp. 35–46.Google Scholar
Katritzky, M. A. & Drábek, P., eds. (2020). Transnational Connections in Early Modern Theatre. Manchester: Manchester University Press.Google Scholar
Keating, J. (2018). Animating Empire: Automata, the Holy Empire, and the Early Modern World. University Park: Pennsylvania State University Press.Google Scholar
Khan, I. A. (1996). Coming of Gunpowder to the Islamic World and North India: Spotlight on the Role of the Mongols. Journal of Asian History 30(1), 27–45.Google Scholar
Kleutghen, K. (2015a). Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces. Seattle: University of Washington Press.Google Scholar
Kleutghen, K. (2015b). Peepboxes, Society, and Visuality in Early Modern China. Art History 38(38), 762–77.CrossRefGoogle Scholar
Kodera, S. (2012). Giambattista della Porta’s Histrionic Science. California Italian Studies 3(1), 1–27.CrossRefGoogle Scholar
Korda, N. (2011). Labors Lost: Women’s Work and the Early Modern English Stage. Philadelphia: University of Pennsylvania Press.CrossRefGoogle Scholar
Korda, N. (2021). Gyno Ludens: A Doll House Redux. In Davis, T.C. & Marx, P. W., eds., The Routledge Companion to Theatre and Performance Historiography. London: Routledge, pp. 65–85.Google Scholar
Koslofsky, C. (2011). Evening’s Empire: A History of the Night in Early Modern Europe, New Studies in European History. Cambridge: Cambridge University Press.Google Scholar
Lavin, I. (1964). Review: Fontana di Trevi, Commedia inedita by Gian Lorenzo Bernini and Cesare d’Onofrio. The Art Bulletin 46(4), 568–72.CrossRefGoogle Scholar
Lavin, I. (2007). Visible Spirit: The Art of Gianlorenzo Bernini. Vol. 1. London: Pindar Press.Google Scholar
Lazardzig, J. & Rößler, H. (2016). Technologies of Theatre: Joseph Furttenbach and the Transfer of Mechanical Knowledge in Early Modern Theatre Cultures. Zeitsprünge, Forschungen zur Frühen Neuzeit 20(3–4), 271–309.Google Scholar
Lehner, U. L. (2016). The Catholic Enlightenment: The Forgotten History of a Global Movement. Oxford: Oxford University Press.CrossRefGoogle Scholar
Lezra, J. (2014). Trade in Exile. In Nicholson, E. & Henke, R., eds., Transnational Mobilities in Early Modern Theater. Farnham: Ashgate, pp. 199–216.Google Scholar
Lipton, L. (2021). The Cinema in Flux: The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era. New York: Springer Nature.CrossRefGoogle Scholar
Malayail, A. (2016). Veṭikkampavishi: A Malayam Text on Pyrotechny. Indian Journal of History of Science 51(4), 613–29.Google Scholar
Mannoni, L. (2000). The Great Art of Light and Shadow: Archaeology of the Cinem. Exeter: University of Exeter Press.Google Scholar
Mannoni, L., Nekes, W. & Warner, M., eds. (2004). Eyes, Lies and Illusions: Drawn from the Nekes Collection. London: Hayward Gallery.Google Scholar
Marx, P. W. (2019). Between Metaphor and Cultural Practices: Theatrum And Scena in the German-Speaking Sphere before 1648. In Penskaya, E. & Küpper, J., ed., Theater as Metaphor. Berlin: De Gruyter, pp. 11–29.CrossRefGoogle Scholar
Marx, P. W. (2021a). On Circulation and Recycling. In Davis, T.C. & Marx, P. W., eds., The Routledge Companion to Theatre and Performance Historiography. London: Routledge, pp. 327–47.Google Scholar
Marx, P. W. (2021b). “Turtles all the way down.” Zu methodischen Fragen der Theaterhistoriographie. Forum Modernes Theater 32(2), 5–22.CrossRefGoogle Scholar
Mayer-Deutsch, A. (2014). The Ideal Musaeum Kircherianum and the Ignatian Exercitia spiritualia. In Lazardzig, J., Schramm, H. & Schwarte, L., eds., Theatrum Scientiarum – English Edition. Instruments in Art and Science; On the Architectonics of Cultural Boundaries in the 17th Century. Berlin: De Gruyter, pp. 235–56.Google Scholar
McEvoy, S. (2008). Ben Jonson, Renaissance Dramatist. Edinburgh: Edinburgh University Press.CrossRefGoogle Scholar
Milano, A. (2016). Martin Engelbrecht: Perspektivtheater – Dioramen. Stuttgart: Füsslin.Google Scholar
Minissale, G. (2007). A Short History of Anti-Illusionism. In Minissale, G. & Jeffery, C., ed., Global and Local Art Histories. Newcastle: Cambridge Scholars, pp. 117–44.Google Scholar
Moreh, S. (1992). Live Theatre and Dramatic Literature in the Medieval Arab World. Edinburgh: Edinburgh University Press.Google Scholar
Mottahedeh, R. P. (1997). Ajā’ib in the Thousand and One Nights. In Hovannisian, R.G. & Sabagh, G., eds., The Thousand and One Nights in Arabic Literature and Society. Cambridge: Cambridge University Press.Google Scholar
Needham, J. (1962). Physics and Physical Technology. Vol. IV of Science and Civilisation in China. Cambridge: Cambridge University Press.Google Scholar
Needham, J. (1985). Gunpowder as the Fourth Power, East and West: First East Asian History of Science Foundation Lecture, Presented at the University of Hong Kong, 20 October 1983. Hong Kong: Hong Kong University Press.Google Scholar
Nekes, W. & Kienninger, E., eds. (2015). Kinomagie: Was geschah zwischen den Bildern. Die Sammlung Werner Nekes. Vienna: verlag filmarchiv austria.Google Scholar
Niessen, C. (1919). Studien zur Geschichte des Jesuiten-Dramas in Köln. Cologne: Universitäre Habilitationsschrift.Google Scholar
Niessen, C. (1940). Frau Magister Velten verteidigt die Schaubühne: [Schriften aus der Kampfzeit des deutschen Nationaltheaters]; Erneuert zum 50. Geburtstage des Präsidenten der Reichstheaterkammer Ludwig Körner. Cologne.Google Scholar
Orgel, S. (2002). The Authentic Shakespeare and Other Problems of the Early Modern Stage. London: Routledge.Google Scholar
Osterhammel, J. (2018). Unfabling the East: The Enlightenment’s Encounter with Asia. Princeton, NJ: Princeton University Press.Google Scholar
Paul, M. (2011). Reichsstadt und Schauspiel: Theatrale Kunst im Nürnberg des 17. Jahrhunderts. Tübingen: Max Niemeyer. https://doi.org/10.1515/9783110935271.Google Scholar
Pies, E. (1970). Carl Andreas Paulsen und die ersten deutschen Berufsschauspieler: Zur Genealogie der Wandertruppen in Deutschland. In Pies, E., ed., Otto, C. A. Zur Nedden. Festgabe zum 68. Geburtstag. Bensberg-Frankenforst: [private], pp. 59–65.Google Scholar
Pratt, M. L. (1992). Imperial Eyes: Travel Writing and Transculturation. London: Routledge.CrossRefGoogle Scholar
Proschan, F. (1983). The Semiotic Study of Puppets, Masks, and Performing Objects… Semiotica 47(1/4), 3–44.Google Scholar
Purschke, H. R. (1979). Die Anfänge der Puppenspielformen und ihre vermutlichen Ursprünge. Bochum: Deutsches Institut für Puppenspiel.Google Scholar
Purschke, H. R. (1980). Puppenspiel und verwandte Künste in der Freien Reichs-Stadt Frankfurt am Main. Frankfurt/Main: Puppenspielzentrum Frankfurt am Main.Google Scholar
Purschke, H. R. (1981). Puppenspiel und verwandte Künste in der Reichsstadt Nürnberg. Mitteilungen des Vereins für Geschichte der Stadt Nürnberg 68(68), 221–59.Google Scholar
Reilly, K. (2011). Automata and Mimesis on the Stage of Theatre History. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
Roach, J. (1996). Cities of the Dead: Circum-Atlantic Performance, The Social Foundations of Aesthetic Forms. New York: Columbia University Press.Google Scholar
Roller, H.U. (1965). Der Nürnberger Schembartlauf. Vol. XI of Studien zum Fest- und Maskenwesen des späten Mittelalters, Volksleben. Tübingen: Tübinger Vereinigung für Volkskunde.Google Scholar
Rotger, N., Roig-Sanz, D. & Puxan-Oliva, M. (2019). Introduction: Towards a Cross-Disciplinary History of the Global in the Humanities and the Social Sciences. Journal of Global History 14(3):325–34.CrossRefGoogle Scholar
Rudin, B. (2004). Lebenselixier: Theater, Budenzauber, Freilichtspektakel im Alten Reich. Reichenbach im Vogtland: Neuberin-Museum.Google Scholar
Sager, J. (2013). The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema: Robert Greene’s Theatre of Attraction. Houndmills: Palgrave Macmillan.CrossRefGoogle Scholar
Santos, B. d. S. (2007). Beyond Abyssal Thinking: From Global Lines to Ecologies of Knowledges. Review (Fernand Braudel Center) 30(1), 45–89.Google Scholar
Santos, B. d. S. (2018). The End of the Cognitive Empire: The Coming of Age of Epistemologies of the South. Durham, NC: Duke University Press.CrossRefGoogle Scholar
Savarese, N. (2010). Eurasian Theatre: Drama and Performance Between East and West from Classical Antiquity to the Present. Holstebro: Icarus.Google Scholar
Scheitler, I. (2017). Die Verthönung: Illustration auf dem Theater. In Robert, J., ed., Intermedialität in der Frühen Neuzeit: Formen, Funktionen, Konzepte. Berlin: De Gruyter, pp. 21–38.CrossRefGoogle Scholar
Schneider, R. (2011). Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.CrossRefGoogle Scholar
Shea, SJ H. (2017). Indifference. In Worcester, SJ, T., ed., The Cambridge Encyclopedia of the Jesuits. Cambridge: Cambridge University Press, p. 392 f.Google Scholar
Singh, Kavita. (2017). Real Birds in Imagined Gardens: Mughal Painting between Persia and Europe, Getty Research Institute Council Lecture. Los Angeles: Getty Publication.Google Scholar
Sittig, Claudius. (2012). Kulturelle Zentren der Frühen Neuzeit. Perspektiven der Interdisziplinären Forschung. In Adam, W. & Westphal, S., eds., Handbuch Kultureller Zentren der Frühen Neuzeit: Städte und Residenzen im alten deutschen Sprachraum. Berlin: De Gruyter, pp. XXXI–LV.CrossRefGoogle Scholar
Sluhovsky, M. (2017). Becoming a New Self: Practices of Belief in Early Modern Catholicism. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Standaert SJ, N. (2017a). China. In Worcester SJ, T., ed., The Cambridge Encyclopedia of the Jesuits. Cambridge: Cambridge University Press, pp. 160–5.Google Scholar
Standaert, SJ N. (2017b). Chinese Rites Controversy. In Worcester SJ, T., ed., The Cambridge Encyclopedia of the Jesuits. Cambridge: Cambridge University Press, p. 165 f.Google Scholar
Stern, T. (2013). “If I could see the Puppets Dallying”: Der Bestrafte Brudermord and Hamlet’s Encounter with the Puppets. Shakespeare Bulletin 31(3), 337–52.CrossRefGoogle Scholar
Subrahmanyam, S. (1997). Connected Histories: Notes Towards a Reconfiguration of Early Modern Eurasia. Modern Asian Studies 31(3), 735–62.CrossRefGoogle Scholar
Subrahmanyam, S. (2012). Courtly Encounters: Translating Courtliness and Violence in Early Modern Eurasia. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Subrahmanyam, S. (2019). Empires between Islam & Christianity, 1500–1800. Albany: State University of New York.Google Scholar
Tardel, H. (1926). Zur Bremischen Theatergeschichte (1563–1763). Bremisches Jahrbuch 30(30), 263–310.Google Scholar
Taubert, T. S. (2018). Die Szene des Wunderbaren: Die Shakespeare-Elfen im Wechselspiel von Musik und Maschine. Vol. II of Szene & Horizont: Theaterwissenschaftliche Studien. Stuttgart: J. B. Metzler.CrossRefGoogle Scholar
Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar
Tebra, W. (1982). The Magic Lantern of Giovanni Da Fontana. New Magic Lantern Journal 2(2), 10–11.Google Scholar
Terzioğlu, D. (1995). The Imperial Circumcision Festival of 1582: An Interpretation. Muqarnas 12(12), 84–100.CrossRefGoogle Scholar
Tkaczyk, V. (2011). Himmels-Falten: Zur Theatralität des Fliegens in der Frühen Neuzeit. München: Fink.CrossRefGoogle Scholar
Tripps, J. (2000). Das handelnde Bildwerk in der Gotik. Forschungen zu den Bedeutungsschichten und der Funktion des Kirchengebäudes und seiner Ausstattung in der Hoch- und Spätgotik, 2nd ed. Berlin: Gebr. Mann.Google Scholar
Truitt, E. R. (2015). Medieval Robots: Mechanism, Magic, Nature, and Art. Philadelphia: University of Pennsylvania Press.CrossRefGoogle Scholar
Vanhaelen, A. (2022). The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths. University Park: Pennsylvania State University Press.Google Scholar
Vaughan, V. M. & Vaughan, A. T. (1999). Introduction. In Vaughan, V. M. & Vaughan, A. T., eds., William Shakespeare: The Tempest. The Arden Shakespeare. London: Bloomsbury.Google Scholar
Wagenaar, W. A., Wagenaar-Fischer, M. & Duller, A. (2014). Dutch Lantern Workshops. In Wagenaar, W. A., Wagenaar-Fischer, M. & Duller, A., eds., Dutch Perspectives: 350 Years of Visual Entertainment Based on the Research of Willem Albert Wagenaar and Annet Duller. London: Magic Lantern Society, pp. 27–53.Google Scholar
Warburg, A. (2010). Heidnisch-antike Weissagung in Wort und Bild zu Luthers Zeiten. In Treml, M. & Weigel, S., eds., Werke in einem Band. Berlin: Suhrkamp, pp. 424–91.Google Scholar
Warde, P. (2006). Ecology, Economy and State Formation in Early Modern Germany. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Warner, M. (2004). Camera Lucida. In Mannoni, L., Nekes, W. & Warner, M., eds., Eyes, Lies and Illusions: Drawn from the Nekes Collection. London: Hayward Gallery, pp. 13–23.Google Scholar
Warner, M. (2006). Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-First Century. Oxford: Oxford University Press.Google Scholar
Warner, M. (2011). Stranger Magic: Charmed States and the Arabian Nights. Cambridge, MA: Harvard University Press.Google Scholar
Weimann, R. (1978). Shakespeare and the Popular Tradition in the Theater: Studies in the Social Function of Dramatic Form and Function. Baltimore: Johns Hopkins University Press.CrossRefGoogle Scholar
Weimann, R. & Bruster, D. (2008). Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Werret, S. (2010). Fireworks: Pyrotechnic Arts and Sciences in European History. Chicago: University of Chicago Press.Google Scholar
West, W. N. (2013). Chapter 8: Intertheatricality. In Turner, H.S., ed., Early Modern Theatricality. Oxford: Oxford University Press, pp. 151–72.Google Scholar
West, W. N. (2021). Common Understandings, Poetic Confusion: Playhouses and Playgoers in Elizabethan England. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Wiener, P. P. (1940). Leibniz’s Project of a Public Exhibition of Scientific Inventions. Journal of the History of Ideas 1(2), 232–40.CrossRefGoogle Scholar
Wishnitzer, A. (2021). As Night Falls: Eighteenth-Century Ottoman Cities after Dark. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Worthen, W. B. (2003). Shakespeare and the Force of Modern Performance. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Worthen, W. B. (2010). Drama: Between Poetry and Performance. Chichester, UK: Wiley-Blackwell.Google Scholar
Worthen, W. B. (2014). Shakespeare Performance Studies. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Wynants, N. (2019). Media-Archaeological Approaches to Theatre and Performance: An Introduction. In Wynants, N., ed., Media Archaeology and Intermedial Performance. Deep Time of the Theatre. Cham: Palgrave Macmillan, pp. 1–19.CrossRefGoogle Scholar
Zadeh, T. (2023). Wonders and Rarities: The Marvelous Book that Traveled the World and Mapped the Cosmos. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Zambelli, P. (2007). White Magic, Black Magic in the European Renaissance: From Ficino, Pico, della Porta to Trithemius, Agrippa, Bruno. Leiden: Brill.CrossRefGoogle Scholar
Zielinski, S. (2008). Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. Cambridge, MA: MIT Press.Google Scholar
- 5
- Cited by