Journal articles on the topic '(Franciscus Cornelis)'

El pintor José Antolínez se relacionó con personajes influyentes del Madrid diplomático de su tiempo, como queda acreditado al recibir el encargo de retratar al embajador Cornelius Pedersen Lerche con un grupo de amigos y su hija antes de la vuelta definitiva a Dinamarca. El embajador danés en Madrid, Cornelius Pedersen, y su séquito, firmado y fechado en 1662 es único en su tipología en el siglo XVII español. Hemos documentado las primeras pinturas ejecutadas por José Antolínez, a través del primer testamento del que puede considerarse su amigo, colega y mentor, Francisco Bergés en 1652. Agente y mayordomo del embajador de Dinamarca durante dos décadas, fue el muy probable intermediario para el encargo del retrato colectivo del embajador.

This short note is a belated answer to a request from David Rogers and Antony Allison. Some ten years ago they told me that they had discovered two copies of a hitherto-unknown passio of Bishop Conor O’Devany which had been published as a small quarto volume of twelve folios two years after his martyrdom. This is the Martyrium Rmi. D. F. Cornelii Dovenii, Dunensis et Connerensis episcopi, ex Seraphica D. Francisci Reg. Observant. familia assumpti, et R. D. Patritii Luchrani, Presbyteri, Dublinii in Hybernia, sub Arthuro Chichestriensi Prorege Anno M.D.CXII. 1. Februarii Dublinii faeliciter consummatum, Coloniae Agrippinae, excudebat Arnoldus Kempensis, 1614. I examined the copy preserved among the rare books in the British Library in London (shelf number G 5546). In addition to this and the copy in the Bibliothèque Mazarine in Paris, four other copies have been traced by them in recent years.

In 1534, on the occasion of the 50th anniversary of religious life, Jan Donteclocke, a Franciscan tertiary from Bruges, threw a banquet for relatives, friends, and fellow brethren. What we know about it comes from a dinner play performed at the event, the Play of a jubilee, written by the Bruges rhetorician Cornelis Everaert. The play’s characters personify aspects of friendship: Benevolence, Affection, and Friendship itself. They presented the jubilarian with four Latin chronograms (on sheets or scrolls of paper or wooden panels) which contained the dates of Donteclocke’s birth, profession, ordination, and jubilee. Chronograms, because of their playful, riddle-like character, were ideal vehicles of humanist wit and ingenuity. The article discusses these chronograms as expressions of friendship and analyses how they may have sparked conversation among the dinner guests, thus attesting to a culture of spirited conviviality existing beyond the circles of learned humanists or well-to-do bourgeois.

Abstract This paper explores the material and representational politics that are catalyzed by Anti-Mass, an installation made by Cornelia Parker from the remains of a burned Black church located in the deYoung Museum in San Francisco, California. Applying an attention to religious materiality (the interpretive circuit between words, bodies, and things), semiotic ideology (an approach that explores competing and ascendant meanings), and an ethnographic sensibility, I argue that three hermeneutic fields coalesced around Anti-Mass in the museum. The first interpretation is a Killmonger hermeneutic that read Anti-Mass as a profaning of Black sacred matter. The second is an Anti- hermeneutic, which sought to preserve representational openness prized by abstract expressionism. The third is a resurrection hermeneutic, which reflected popular notions of US multicultural transcendence and a more melancholic meditation on anti-Black religious violence expressed by adjacent artwork and embodied by the ethnographer herself via a lump corpothetics.

Faszyzm szczególnie w pierwszej połowie XX w. obecny był w poglądach wielu przedstawicieli totalitaryzmów Europejskich i nie tylko. Miał swoich zwolenników, m.in. w: Hiszpanii za czasów sprawowania władzy przez Francisco Franco , Portugali za rządów António de Oliveira Salazara , rumuńskiej Żelaznej Gwardii Corneliu Zelea Codreanu, Belgii wśród zwolenników faszystowskiego Christus Rex, Polsce , Wielkiej Brytanii , Francji oraz przede wszystkim we Włoszech Benito Mussoliniego. Idea faszyzmu towarzyszyła wielu dyktatorom i przedstawicielom ugrupowań politycznych na świecie, jednak jej fundamenty stworzył Benito Mussolini. Jak trafnie stwierdził Jerzy W. Borejsza Mussolini był pierwszy. Zatem przedmiotem artykułu jest włoski faszystowski ideał wychowania. Są to wstępne refleksje nad obrazem jednostki kreowanym przez włoskich ideologów. Pozwala to prześledzić rozprzestrzenianie się idei faszyzmu do nauk o wychowaniu, a także pokazać różne aspekty tak zdefiniowanej doktryny. W artykule przedstawiono ogólną koncepcję i definicję ideału wychowania, która pozwoli uporządkować zdobytą wiedzę z perspektywy teoretyków włoskiego faszyzmu. Celem jest przedstawienie koncepcji Nowego Człowieka dotyczącej stworzenia, podporządkowania i wychowania idealnej jednostki.

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 60 (2012), issue 4. Although still nature did not enjoy a lot of prestige as a genre of paining in 17th-century Seville, it still accompanied many scenes that had a religious or secular character. With time, it even gained an autonomous status and some popularity, resulting rather from decorative reasons. It was to be ensured by presenting various objects made by man, but also appetizing articles of food and beautiful, colourful flowers. It was in this convention that, among others, works by Francisco de Zurbarán and his son Juan, Francisco Barranco or Pedro de Camprobín y Passano were painted. A feature typical of Seville painting was also the use of the language of symbols in still lifes, especially in a religious context, as Zurbarán’s paintings. Historical circumstances connected with the spreading famine and the plague gave the still life a new function. It was to satisfy the longing for the lost wealth of life, showing tasteful and beautiful still lifes, like those in the works by Pedro de Medina Valbuena, Cornelio Schut and Andrés Peréz. The toll of the Black Death also inspired artists. However, they painted works emphasizing the briefness and futility of human life, didactic and moralizing, which culminated in the paintings by Juan de Valdés Leal and his son Lucas.

AbstractThis paper analyses the combinatorial restrictions that operate in clitic clusters in certain Eastern Iberian varieties (Aragonese, Spanish, and Catalan). In particular, I focus on the combination of third person clitics. As it is well known, in some Romance varieties the combination of a third person accusative clitic and a third person dative clitic is banned (the so-called ∗le lo restriction, Bonet, Eulàlia. 1991. Morphology after syntax: Pronominal clitics in Romance. Cambridge: Massachusetts Institute of Technology Dissertation; Cuervo, María Cristina. 2013. Spanish clitic clusters: Three of a perfect pair. Borealis: An International Journal of Hispanic Linguistics 2. 191–220; Nevins, Andrew. 2007. The representation of third person and its consequences for person-case effects. Natural Language & Linguistic Theory 25(2). 273–313; Ordóñez, Francisco. 2002. Some clitic combinations in the syntax of Romance. Catalan Journal of Linguistics 1. 201–224, Ordóñez, Francisco. 2012. Clitics in Spanish. In José I. Hualde, Antxon Olarrea & Erin O’Rouke (eds.), The handbook of Spanish Linguistics, 423–453. Malden: Wiley-Blackwell; Perlmutter, David. 1971. Deep and surface structure constraints in syntax. New York: Holt, Rinehart & Winston). In order to license this troublesome combination, languages resort to different ‘repair strategies’ modifying the structure of one of the merged clitics. In the literature on clitic combinations, there have been two main proposals of analysis: morphological and syntactical. In this paper, I put forward an analysis based on the Distinctness Condition (Hiraiwa, Ken. 2010. The syntactic OCP. In Yukio Otsu (ed.), The proceedings of the 11th Tokyo Conference on Psycholinguistics, 35–56. Hituzi: Tokyo; Neeleman, Ad & Hans van de Koot. 2005. Syntactic haplology. In Martin Everaert & Henk van Riemsdijk (eds.), The Blackwell companion to syntax, 685–710. Wiley-Blackwell; Perlmutter, David. 1971. Deep and surface structure constraints in syntax. New York: Holt, Rinehart & Winston; Richards, Norvin. 2010. Uttering trees, vol. 56. Cambridge, MA: MIT Press; Van Riemsdijk, Henk. 1998. Categorial feature magnetism: The endocentricity and distribution of projections. The Journal of Comparative Germanic Linguistics 2(1). 1–48; Yip, Moira. 1998. Identity avoxidance in phonology and morphology. In Steven G. Lapointe, Diane K. Brentari & Patrick M. Farell (eds.), Mophology and its relation to phonology and syntax, 216–246. Stanford, CA: CSLI). Specifically, I argue that the restrictions that constraint clitic combinations are due to the impossibility to linearize two identical syntactic objects, such as <XP, XP> (Chomsky, Noam. 2013. Problems of projection. Lingua 130. 33–49; Chomsky, Noam. 2015. Problems of projection. In Elisa Di Domenico, Cornelia Hamann & Simona Matteini (eds.), Structures, strategies and beyond: Studies in honour of Adriana Belletti, 1–16. Amsterdam: John Benjamins; Moro, Andrea. 2000. Dynamic antisymmetry (No. 38). Cambridge, MA: MIT Press; Richards, Norvin. 2010. Uttering trees, vol. 56. Cambridge, MA: MIT Press). From this perspective, cross-linguistic variation is the result of different ‘repair strategies’ languages deploy to make <XP, XP> objects linearizable (Richards, Norvin. 2010. Uttering trees, vol. 56. Cambridge, MA: MIT Press).

Resumo: Farei uma abordagem da educação em Kierkegaard do ponto de vista filosófico sendo, portanto, uma introdução à filosofia de Kierkegaard. Educação é compreendida no sentido da paidéia grega. Assim como a paidéia se inclina para a areté, do mesmo modo a paidéia kierkegaardiana exige a modificação da existência. O método da comunicação indireta é a forma da educação e, assim, o ensinar do autêntico professor decorre de sua “originalidade adquirida” ao reduplicar em sua existência o que ensina apropriando-se, quer dizer, sendo, ele mesmo, aquilo que ensina. Ao contrário, o professor erudito possui apenas uma “originalidade imediata e primeira” e, por isso, apenas transmite e exibe seu vasto saber sem reduplicá-lo. A produção pseudônima e religiosa são os dois olhos de Kierkegaard para ver a mesma questão: o tornar-se si-mesmo e sua imbricação com a realidade efetiva.Palavras-chave: Paidéia kierkegaardiana. Si-mesmo. Areté. Modificação da existência. Originalidade adquirida. Originalidade imediata e primeira. Abstract: I will make an approach of the education in Kierkegaard's philosophical point of view, therefore, an introduction to Kierkegaard's philosophy. Education is understood in the sense of the Greek paidéia. Just as paidéia inclines toward the areté, in the same way Kierkegaardian paideia demands the modification of existence. The method of indirect communication is the form of education, and thus the teaching of the authentic teacher stems from his "acquired originality" by reduplicating into his existence, which teaches appropriating, that is, being himself, what he teaches. On the contrary, the learned teacher has only an "immediate and first originality" and, therefore, only transmits and exhibits his vast knowledge without reduplicating it. The pseudonymous and religious production are the two eyes of Kierkegaard to see the same question: to become self and its imbrication with effective reality.Keywords: Kierkegaardiana Paidéia. Self. Areté. Modification of existence. Originality acquired. Immediate and first originality. REFERÊNCIASAGOSTINHO, Santo. De la doctrina cristiana. In: AGOSTINHO, Santo. Obras de San Agustin. Tomo XV. Edición bilingüe. Madrid: Biblioteca de Autores Cristianos, 1957.FOGEL, Gilvan. Notas a respeito da educação. In: Rev. Filosófica São Boaventura. v. 3, n. 1, p. 37-48, jan/jun, 2010.HEIDEGGER, Martin. Principios metafísicos de la lógica. Traducción de Juan José García Norro. Madrid: Editorial Síntesis, 2007.______ . Ser e Tempo. Tradução revisada de Márcia Sá Cavalcante Schuback. Volume Único. Petrópolis: Vozes, 2006.______ . Fenomenologia da vida religiosa. Tradução de Enio Paulo Giachini, Jairo Ferrandin, e Renato Kirchner. Bragança Paulista: Editora Universitária São Francisco; Petrópolis: Vozes, 2010.JAEGER, Werner. Paidéia: A formação do homem grego. Tradução de Artur M. Parreira. São Paulo: Martins Fontes, 1995.KIERKEGAARD, Søren. Lilien paa Marken og Fuglen under Himlen. 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Nesta edição do número 3 do volume 12 de 2019, trazemos 12 artigos e uma resenha nos eixos temáticos Linguística e Tecnologia, Educação e Tecnologia, Ensino Superior e Tecnologia, Comunicação e Tecnologia, Tradução e tecnologia, Documentação em Software Livre, Análise Semiótica da Comunicação e Resenhas. A diversidade dos eixos se reflete nas abordagens, origens e contextos das produções, que presenteiam o leitor a cada texto com estudos baseados em pesquisas sobre temas da atualidade. Apresentamos a seguir um breve resumo do que pode ser encontrado nos textos deste número da revista Texto Livre.Clebson Luiz de Brito, no artigo “A argumentação contrária aos direitos humanos em comentários em portais de informação: um olhar sobre a questão prisional”, examina a argumentação contrária aos Direitos Humanos em comentários relativos a notícias sobre a questão prisional nos portais de informação G1, UOl e Terra, encontrando ao final da análise procedimentos argumentativos que configuram uma espécie de retórica desumanizante.Antonio-Manuel Rodríguez-García, María Aránzazu Fernández Mora e Antonio José Moreno Guerrero, em “Evolución científica de la enseñanza de lenguas en el contexto universitario (1900-2019)”, analisama literatura científica sobre o ensino de idiomas no âmbito universitário na coleção da Web of Science, utilizando os indicadores produção diacrônica, geográfica, autores e fonte, mostrando um crescimento exponencial no período analisado, de 1900 a 2019.Sergio Candido de Oscar e Celso Augusto dos Santos Gomes, em “O uso de recursos tecnológicos e linguagem musical na aproximação de pais e filhos: uma experiência no 1º ciclo de educação musical”, apresentam uma pesquisa no ambiente virtual de aprendizagem Moodle sobre o desenvolvimento musical de estudantes do 1º ciclo do curso de educação musical, voltado para o atendimento de crianças de 6 a 8 anos, com resultados que mostram o crescimento em indicadores de proficiência musical dos alunos por meio da avaliação de habilidades e competências específicas.Inmaculada Aznar Díaz, María Pilar Cáceres Reche e José María Romero Rodríguez, em “Competencia digital de un tutor e-learning: un modelo emergente de buenas prácticas docentes en TIC”, combinam instrumentos quantitativos: questionário Likert, e qualitativos: entrevista semiestruturada para estudar a representação do conhecimento sobre boas práticas docentes de um tutor e-learning.Terezinha Marcondes Diniz Biazi, em “Comunidades #REA: análise de seus rastros no Twitter”, identifica a dinâmica de interação de comunidades globais de Recursos Educacionais Abertos (REA) na rede social Twitter no período de 2012 a 2017, revelando cinco pontes e sete grandes comunidades que se destacam nas interações dentro da rede.Olena Balalaieva, em “Online resources and software for teaching and learning Latin”, analisa recursos eletrônicos para ensino-aprendizagem deLatim, como bibliotecas digitais e bancos de dados, cursos online, livros eletrônicos e dicionário, investigando seu potencial didático para ajudar os professores clássicos a organizar efetivamente o processo educacional. Ela apresenta, ainda, o momento atual de estudo do Latim na Ucrânia.Edmilson Francisco, Helena Maria Ferreira e Ilsa do Carmo Vieira Goulart, em “Letramento digital: do uso das tecnologias digitais à formação dos professores de língua portuguesa, o que se discute sobre isso?”, abordam algumas proposições a respeito da formação inicial e continuada de professores de língua portuguesa no que tange ao uso das tecnologias digitais de comunicação como estratégia para reelaboração e reconfiguração de suas práticas pedagógicas. Para isso, apresentam uma pesquisa de abordagem qualitativa, a partir de uma reflexão bibliográfica, em obras importantes sobre o tema.Késsia Mileny de Paulo Moura, em “Revisão sistemática sobre letramento digital na formação de professores”, identificou as produções científicas brasileiras (teses e dissertações) a respeito do letramento digital na formação de professores, realizadas entre os anos de 2010 a 2018, apontando para usos das tecnologias digitais que procuram responder às novas dinâmicas sociais.Sara Mandiá-Rubal, Maricela López-Ornelas e José Miguel Túñez-López, em “La implantación de internet en la gestión de perfiles profesionales en investigación científica”, utilizando metodologia quantitativa, verificam hipóteses sobre a comunicação da ciência no contexto espanhol.Janailton Mick Vitor da Silva, em “Construindo corpora de legendas: passo a passo metodológico para pesquisas baseadas em corpus”, se detém nos procedimentos metodológicospara criação de corpora de legendas, retiradas de obras audiovisuais, como filmes e séries de TV, que pode servir a pesquisadores que trabalham no campo da Tradução Audiovisual e dos Estudos da Tradução Baseados em Corpus.Omar Mar Cornelio, Leyanys Acosta Calderón e Karla García Benítez, em “Sistema para análisis de muestra de urocultivo a partir de la curva de crecimiento”, descrevem uma solução para o processamento de mostras de urocultivo a partir da elaboração de um sistema baseado em tecnologias livres que implementa um conjunto de algoritmos computacionais.Natália Silva Giarola de Resende, em “Semiótica, ciberativismo e paixões nos comentários da fanpage do Movimento Brasil Livre (MBL)”, investiga as paixões mobilizadas pelo ciberativismo nos comentários da fanpage do Movimento Brasil Livre (MBL), tendo como base teórica a semiótica discursiva. Renata Alves Pires publica sua resenha da obra “Escrever na Universidade: Fundamentos”, Francisco Eduardo Vieira e Carlos Alberto Faraco, publicada em 2019.Desejamos a todos uma ótima leitura!

-Bridget Brereton, Emilia Viotti Da Costa, Crowns of glory, tears of blood: The Demerara slave rebellion of 1823. New York: Oxford University Press, 1994. xix + 378 pp.-Grant D. Jones, Assad Shoman, 13 Chapters of a history of Belize. Belize city: Angelus, 1994. xviii + 344 pp.-Donald Wood, K.O. Laurence, Tobago in wartime 1793-1815. Kingston: The Press, University of the West Indies, 1995. viii + 280 pp.-Trevor Burnard, Howard A. Fergus, Montserrat: History of a Caribbean colony. London: Macmillan Caribbean, 1994. x + 294 pp.-John L. Offner, Joseph Smith, The Spanish-American War: Conflict in the Caribbean and the Pacific, 1895-1902. London: Longman, 1994. ix + 262 pp.-Louis Allaire, John M. Weeks ,Ancient Caribbean. New York: Garland, 1994. lxxi + 325 pp., Peter J. Ferbel (eds)-Aaron Segal, Hilbourne A. Watson, The Caribbean in the global political economy. Boulder CO: Lynne Rienner, 1994. ix + 261 pp.-Aaron Segal, Anthony P. Maingot, The United States and the Caribbean. London: Macmillan Caribbean, 1994. xi + 260 pp.-Bill Maurer, Helen I. Safa, The myth of the male breadwinner: Women and industrialization in the Caribbean. Boulder CO: Westview, 1995. xvi + 208 pp.-Peter Meel, Edward M. Dew, The trouble in Suriname, 1975-1993. Westport CT: Praeger, 1994. xv + 243 pp.-Henry Wells, Jorge Heine, The last Cacique: Leadership and politics in a Puerto Rican city. Pittsburgh PA: University of Pittsburgh Press, 1993. ix + 310 pp.-Susan Eckstein, Jorge F. Pérez-López, Cuba at a crossroads: Politics and economics after the fourth party congress. Gainesville: University Press of Florida, 1994. xviii + 282 pp.-David A.B. Murray, Marvin Leiner, Sexual politics in Cuba: Machismo, homosexuality, and AIDS. Boulder CO: Westview, 1994. xv + 184 pp.-Kevin A. Yelvington, Selwyn Ryan ,Sharks and sardines: Blacks in business in Trinidad and Tobago. St. Augustine, Trinidad: Institute of social and economic studies, University of the West Indies, 1992. xiv + 217 pp., Lou Anne Barclay (eds)-Catherine Levesque, Allison Blakely, Blacks in the Dutch world: The evolution of racial imagery in a modern society. Bloomington: Indiana University Press, 1993. xix + 327 pp.-Dennis J. Gayle, Frank Fonda Taylor, 'To hell with paradise': A history of the Jamaican tourist industry. Pittsburgh: University of Pittsburgh Press, 1993. ix + 239 pp.-John P. Homiak, Frank Jan van Dijk, Jahmaica: Rastafari and Jamaican society, 1930-1990. Utrecht: ISOR, 1993. 483 pp.-Peter Mason, Arthur MacGregor, Sir Hans Sloane: Collector, scientist, antiquary, founding Father of the British Museum. London: British Museum Press, 1994.-Philip Morgan, James Walvin, The life and times of Henry Clarke of Jamaica, 1828-1907. London: Frank Cass, 1994. xvi + 155 pp.-Werner Zips, E. Kofi Agorsah, Maroon heritage: Archaeological, ethnographic and historical perspectives. Kingston: Canoe Press, 1994. xx + 210 pp.-Michael Hoenisch, Werner Zips, Schwarze Rebellen: Afrikanisch-karibischer Freiheitskampf in Jamaica. Vienna Promedia, 1993. 301 pp.-Elizabeth McAlister, Paul Farmer, The uses of Haiti. Monroe ME: Common Courage Press, 1994. 432 pp.-Robert Lawless, James Ridgeway, The Haiti files: Decoding the crisis. Washington DC: Essential Books, 1994. 243 pp.-Bernadette Cailler, Michael Dash, Edouard Glissant. Cambridge: Cambridge University Press, 1995. xii + 202 pp.-Peter Hulme, Veronica Marie Gregg, Jean Rhys's historical imagination: Reading and writing the Creole. Chapel Hill: University of North Carolina Press, 1995. xi + 228 pp.-Silvia Kouwenberg, Francis Byrne ,Focus and grammatical relations in Creole languages. Amsterdam/Philadelphia: John Benjamins, 1993. xvi + 329 pp., Donald Winford (eds)-John H. McWhorter, Ingo Plag, Sentential complementation in Sranan: On the formation of an English-based Creole language. Tübingen: Max Niemeyer, 1993. ix + 174 pp.-Percy C. Hintzen, Madan M. Gopal, Politics, race, and youth in Guyana. San Francisco: Mellen Research University Press, 1992. xvi + 289 pp.-W.C.J. Koot, Hans van Hulst ,Pan i rèspèt: Criminaliteit van geïmmigreerde Curacaose jongeren. Utrecht: OKU. 1994. 226 pp., Jeanette Bos (eds)-Han Jordaan, Cornelis Ch. Goslinga, Een zweem van weemoed: Verhalen uit de Antilliaanse slaventijd. Curacao: Caribbean Publishing, 1993. 175 pp.-Han Jordaan, Ingvar Kristensen, Plantage Savonet: Verleden en toekomst. Curacao: STINAPA, 1993, 73 pp.-Gerrit Noort, Hesdie Stuart Zamuel, Johannes King: Profeet en apostel in het Surinaamse bosland. Zoetermeer: Boekencentrum, 1994. vi + 241 pp.

AbstractThe Catholic Baron Willem Vincent van Wyttenhorst (I6I3-I674) from Utrecht was an enthusiastic collector of paintings. In his translation of Guarini's Il Pastor Fido, Hendrick Bloemaert even lauded Willem Vincent's 'Lofweerdigh cabinet' (commendable cabinet) of paintings. The inventory Wyttenhorst made of his collection between I65I and I659 affords insight into various aspects of the seventeenth-century art trade. Not only did he record the subject and maker of around I95 paintings, but also the price and often how he had acquired them. Part of the collection - in particular the finely painted works by Cornelis van Poelenburgh and Herman Saftleven - were auctioned in I722. Of Willem Vincent van Wyttenhorst's collection approximately 75 paintings can be traced to Herdringen Castle of the Von Fürstenberg family and several museums, making it possible to establish the relationship between the dimensions and the quality of execution, and the price they commanded in the seventeenth century. Willem Vincent acquired the greatest number of his paintings between I630 and I659, the majority of which were by contemporary masters, some of whom he knew personally. His collection also included several important sixteenth-century pictures by artists such as Cornelis Engebrechtszn, Jan van Scorel and Maerten van Heemskerck, which had come into his possession via his family or via that of his wife Wilhelmina van Bronckhorst. On the one hand, the Wyttenhorst collection is comparable to those of other aristocratic collectors and, on the other hand, to those of well-to-do connoisseurs such as Franciscus de la Boe Sylvius and Hendrick Bugge van Ring of Leiden. Its aristocratic character is evidenced by the prominent place occupied by family portraits: he owned a total of 4I likenesses, 29 of which were made for him and his wife. In I650 Bartholomeus van der Helst needed six weeks to portray Willem Vincent and his wife Wilhelmina van Bronckhorst for the amount of 330 guilders. Wyttenhorst appears to have preferred highly refined small paintings. Not a single genre was overlooked in the collection. Taking pride of place were approximately 90 pastoral scenes and Arcadian landscapes, which added to the collection's aristocratic aura. Furthermore, in keeping with his Catholic background, Willem Vincent had relatively many (25) paintings with religious subjects and devotional works. Striking is also the group of about 20 genre scenes with primarily peasant themes. The II flower and fruit still lifes listed in the inventory were purchased by Wilhelmina van Bronckhorst between I640 and I642 during her first marriage. Regrettably, the inventory only rarely indicates where the pictures hung. On the basis of the scant information, however, it emerges that Wilhelmina van Bronckhorst's cabinet was richly adorned with a variety of paintings. This cabinet also served as the 'Ahnengalerie' (gallery of forefathers) for the I9 family portraits by Cornelis van Poelenburgh. The exceptional status of the Wyttenhorst collection is reflected by the proportionally very modest number of eight anonymous paintings. Moreover, Willem Vincent describes ten copies, most of which he commissioned. The majority of painters mentioned by Wyttenhorst were active in Utrecht, while the overwhelming majority of non-Utrecht masters were active in Haarlem. Wyttenhorst owned about 90 paintings by Utrecht Italianates and related painters such as Poelenburgh, De Heus, Both, Berchem and Saftleven. He maintained intensive contact with Cornelis van Poelenburgh and Herman Saftleven, by whom he owned 57 and I8 paintings respectively. Among the Haarlem artists represented by a few works in his collection were Pieter de Molijn, Adriaen van Ostade and Wouwerman. Interestingly, the vast majority of the painters Wyttenhorst mentioned in his inventory are still known or even famous. The collection also comprised several collaborative efforts, such as Il Contento by Nicolaes Knüpfer, Jan Baptist Weenix and Jan Both. It is notable that Wyttenhorst regularly acquired work by young painters who had just barely begun; a good example is the painting he purchased in I638 from the then at most I8-year-old Nicolaes Berchem. A number of paintings were given to Willem Vincent by relatives and acquaintances. Some works entered his collection through exchange, for example via the Hague collector d'Arminvillers. He also bought the occasional painting from a private individual. In the case of 85 paintings, Wyttenhorst noted that he had bought them directly from a master. He also purchased from art dealers, in particular works by non-Northern Netherlandish painters via Dirck Matham. These were usually small, modestly priced paintings. In a few instances he acquired a painting at an auction, from an estate, at a market, kermis or from a pedlar. Incidentally, he acknowledged that the latter works were not highpoints in his collection. Thus, in amassing his collection, Willem Vincent used all of the channels available around the mid-seventeenth century. The prices of the paintings acquired by Wyttenhorst differed significantly. The cheapest was a panel of Three deer heads by Jacques Savery at 3 guilders, and the most expensive a Peasant kermis by Herman Saftleven at 500 guilders. A large number of works costing more than I00 guilders are explicitly described as history paintings. The finely executed Arcadian landscapes - often on copper - range in price from 30 to I50 guilders. The prices for works by Italianate painters do not differ much and appear to have depended mostly on their dimensions; the larger ones cost exactly twice as much as the smaller ones. The greatest variation in prices is found among the genre scenes. In the case of several paintings, Wyttenhorst noted that their value had exceeded the purchase price. Unfortunately, there is insufficient information to confirm the accuracy of all of his assertions. There are a few indications that the value of the Peasant sheds by the Saftleven brothers did, indeed, rise around the mid-seventeenth century. Willem Vincent's comment that Jacob Matham's flower and fruit still lifes had sharply increased in value between I642 and about I655 is also confirmed by contemporary sources. In addition to the I9 family portraits by Cornelis van Poelenburgh mentioned above, Wyttenhorst owned I7 landscapes by the artist ranging in price between 30 and 90 guilders. For the eight history paintings listed in the inventory, Willem Vincent paid amounts above I00 guilders, the most expensive being a Passion scene for 464 guilders. Alongside these originals, Wyttenhorst also owned several copies after Poelenburgh by Toussaint Gelton and by the master himself. Their prices serve as a good indication of the value attached to the originality of an invention. For these copies after originals - which also were (or had been) in the collection - approximately 1/4 of the price of the original was paid. Wyttenhorst owned several genre scenes and many landscapes by Herman Saftleven. Several of them are described in the inventory as Rhine landscapes. Willem Vincent's Saftlevens included a surprising number of pendants of two (and in one instance a series of four) paintings. On the whole, he appears to have paid more for works by Saftleven than by Poelenburgh. There is insufficient information to allow for a comparison of the prices Wyttenhorst paid for work by Poelenburgh and Saftleven and the value of their work in estate inventories or with the amounts they fetched at auction. However, this is possible with the landscapes by Pieter de Molijn and Dirck Verhaert. In the case of De Molijn, Wyttenhorst paid the master four times more than the price of I0 guilders most frequently given in estate inventories. An explanation for this enormous discrepancy could be that like Herman Saftleven, De Molijn produced work of diverging quality. He crafted both original, finely executed inventions for art collectors such as Willem Vincent van Wyttenhorst as well as small paintings for the open market, which were variations on a basic theme. For a painting by Dirck Verhaert, a Haarlem artist who simply followed popular trends, Wyttenhorst paid the modest amount of 6 guilders, a price that differs very little from the estimated values in estate inventories. On the basis of the above a tentative conclusion can be drawn regarding the services rendered by artists around the mid-seventeenth century who, incidentally, did not depend exclusively on the sale of their own paintings, but also relied on the sale of their pupils' work, the art trade, making assessments, restoration activities and apprenticeship fees. Should a painter like Poelenburgh, Berchem or De Molijn sell a few paintings per month for roughly 40 guilders, their earnings would soon exceed that of the 36 guilders in wages of a trained craftsman. However, this in no way applies to a minor artist such as Dirck Verhaert, who had to settle for 6 guilders per painting. Financial success was thus primarily the reserve of painters with talent and ingenuity. To win the patronage of discerning connoisseurs such as Willem Vincent van Wyttenhorst, an artist had to provide high-quality work and be innovative within a given genre.

El 21 de octubre de 1987, el Rey don Juan Carlos y la Reina doña Sofía de España visitaron la sede del CICR. La pareja real estaba en Ginebra con motivo de la entrega de la medalla Nansen, otorgada al Rey por el Alto Comisionado de las Naciones Unidas para los Refugiados.El Rey y la Reina de España, acompañados por el ministro de Asuntos Exteriores, don Francisco Fernández Ordóñez, y otros representantes del Gobierno español, así como por el presidente de la Cruz Roja Española, don Leocadio Marín, fueron recibidos por el presidente del CICR, señor Cornelio Sommaruga, y por varios miembros del Comité y de la Dirección.En su discurso de bienvenida, el presidente del CICR saludó a sus huéspedes como los más altos representantes de la Cruz Roja Española. Está Sociedad Nacional, que esta efectivamente patrocinada por la familia real, es una de las más antiguas y más activas del Movimiento Internacional de la Cruz Roja y de la Media Luna Roja.

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(Michael Schaich, London) Gottesdienst im Bamberger Dom zwischen Barock und Aufklärung. Die Handschrift des Ordinarius L des Subkustos Johann Graff von 1730 als Edition mit Kommentar, hrsg. v. Franz Kohlschein / Werner Zeißner unter Mitarbeit v. Walter Milutzki (Studien zur Bamberger Bistumsgeschichte, 9), Petersberg 2018, Imhoff, 687 S. / Abb., € 79,00. (Tillmann Lohse, Berlin / Leipzig) Warnke, Marcus, Logistik und friderizianische Kriegsführung. Eine Studie zur Verteilung, Mobilisierung und Wirkungsmächtigkeit militärisch relevanter Ressourcen im Siebenjährigen Krieg am Beispiel des Jahres 1757 (Quellen und Forschungen zur Brandenburgischen und Preußischen Geschichte, 50), Berlin 2018, Duncker &amp; Humblot, 696 S. / Abb., € 139,90. (Tilman Stieve, Aachen) Frey, Linda / Marsha Frey, The Culture of French Revolutionary Diplomacy. In the Face of Europe (Studies in Diplomacy and International Relations), Cham 2018, Palgrave Macmillan, XI u. 300 S., € 149,79. (Christine Vogel, Vechta) Wagner, Johann Conrad, „Meine Erfahrungen in dem gegenwärtigen Kriege“. Tagebuch des Feldzugs mit Herzog Carl August von Weimar, hrsg. v. Edith Zehm (Schriften der Goethe-Gesellschaft, 78), Göttingen 2018, Wallstein, 552 S. / Abb. / Faltkarte, € 59,00. (Michael Kaiser, Köln / Bonn) Zamoyski, Adam, Napoleon. Ein Leben. Aus dem Englischen übers. v. Ruth Keen / Erhard Stölting, München 2018, Beck, 863 S. / Abb., € 29,95. (Hans-Ulrich Thamer, Münster)

Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of the gameplay experience. In doing so I propose that an understanding of aesthetic spatial issues as an element of player interactivity and engagement is important for understanding the cultural practice of adventure gameplay. In approaching these questions, I am focussing on the single-player exploration adventure game in particular Myst and The Crystal Key. In describing these games as adventures I am drawing on Chris Crawford's The Art of Computer Game Design, which although a little dated, focusses on game design as a distinct activity. He brings together a theoretical approach with extensive experience as a game designer himself (Excalibur, Legionnaire, Gossip). Whilst at Atari he also worked with Brenda Laurel, a key theorist in the area of computer design and dramatic structure. Adventure games such as Myst and The Crystal Key might form a sub-genre in Chris Crawford's taxonomy of computer game design. Although they use the main conventions of the adventure game -- essentially a puzzle to be solved with characters within a story context -- the main focus and source of pleasure for the player is exploration, particularly the exploration of worlds or cosmologies. The main gameplay of both games is to travel through worlds solving clues, picking up objects, and interacting with other characters. In Myst the player has to solve the riddle of the world they have entered -- as the CD-ROM insert states "Now you're here, wherever here is, with no option but to explore." The goal, as the player must work out, is to release the father Atrus from prison by bringing magic pages of a book to different locations in the worlds. Hints are offered by broken-up, disrupted video clips shown throughout the game. In The Crystal Key, the player as test pilot has to save a civilisation by finding clues, picking up objects, mending ships and defeating an opponent. The questions foregrounded by a focus on the aesthetics of navigation are: What types of representational context are being set up? What choices have designers made about representational context? How are the players positioned within these spaces? What are the implications for the player's sense of orientation and navigation? Architectural Fabrication For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. The creation of a digital architecture in adventure games mimics the Pompeii wall paintings with their interplay of extruded and painted features. In visualising the space of a cosmology, the environment starts to be coded like the urban or built environment with underlying geometry and textured surface or dressing. In The Making of Myst (packaged with the CD-ROM) Chuck Carter, the artist on Myst, outlines the process of creating Myst Island through painting the terrain in grey scale then extruding the features and adding textural render -- a methodology that lends itself to a hybrid of architectural and painted geometry. Examples of external architecture and of internal room design can be viewed online. In the spatial organisation of the murals of Pompeii and later Rome, orthogonals converged towards several vertical axes showing multiple points of view simultaneously. During the high Renaissance, notions of perspective developed into a more formal system known as the construzione legittima or legitimate construction. This assumed a singular position of the on-looker standing in the same place as that occupied by the artist when the painting was constructed. In Myst there is an exaggeration of the underlying structuring technique of the construzione legittima with its emphasis on geometry and mathematics. The player looks down at a slight angle onto the screen from a fixed vantage point and is signified as being within the cosmological expanse, either in off-screen space or as the cursor. Within the cosmology, the island as built environment appears as though viewed through an enlarging lens, creating the precision and coldness of a Piero della Francesca painting. Myst mixes flat and three-dimensional forms of imagery on the same screen -- the flat, sketchy portrayal of the trees of Myst Island exists side-by-side with the monumental architectural buildings and landscape design structures created in Macromodel. This image shows the flat, almost expressionistic trees of Myst Island juxtaposed with a fountain rendered in high detail. This recalls the work of Giotto in the Arena chapel. In Joachim's Dream, objects and buildings have depth, but trees, plants and sky -- the space in-between objects -- is flat. Myst Island conjures up the realm of a magic, realist space with obsolete artefacts, classic architectural styles (the Albert Hall as the domed launch pad, the British Museum as the library, the vernacular cottage in the wood), mechanical wonders, miniature ships, fountains, wells, macabre torture instruments, ziggurat-like towers, symbols and odd numerological codes. Adam Mates describes it as "that beautiful piece of brain-deadening sticky-sweet eye-candy" but more than mere eye-candy or graphic verisimilitude, it is the mix of cultural ingredients and signs that makes Myst an intriguing place to play. The buildings in The Crystal Key, an exploratory adventure game in a similar genre to Myst, celebrate the machine aesthetic and modernism with Buckminster Fuller style geodesic structures, the bombe shape, exposed ducting, glass and steel, interiors with movable room partitions and abstract expressionist decorations. An image of one of these modernist structures is available online. The Crystal Key uses QuickTime VR panoramas to construct the exterior and interior spaces. Different from the sharp detail of Myst's structures, the focus changes from sharp in wide shot to soft focus in close up, with hot-spot objects rendered in trompe l'oeil detail. The Tactility of Objects "The aim of trompe l'oeil -- using the term in its widest sense and applying it to both painting and objects -- is primarily to puzzle and to mystify" (Battersby 19). In the 15th century, Brunelleschi invented a screen with central apparatus in order to obtain exact perspective -- the monocular vision of the camera obscura. During the 17th century, there was a renewed interest in optics by the Dutch artists of the Rembrandt school (inspired by instruments developed for Dutch seafaring ventures), in particular Vermeer, Hoogstraten, de Hooch and Dou. Gerard Dou's painting of a woman chopping onions shows this. These artists were experimenting with interior perspective and trompe l'oeil in order to depict the minutia of the middle-class, domestic interior. Within these luminous interiors, with their receding tiles and domestic furniture, is an elevation of the significance of rhyparography. In the Girl Chopping Onions of 1646 by Gerard Dou the small things are emphasised -- the group of onions, candlestick holder, dead fowl, metal pitcher, and bird cage. Trompe l'oeil as an illusionist strategy is taken up in the worlds of Myst, The Crystal Key and others in the adventure game genre. Traditionally, the fascination of trompe l'oeil rests upon the tension between the actual painting and the scam; the physical structures and the faux painted structures call for the viewer to step closer to wave at a fly or test if the glass had actually broken in the frame. Mirian Milman describes trompe l'oeil painting in the following manner: "the repertory of trompe-l'oeil painting is made up of obsessive elements, it represents a reality immobilised by nails, held in the grip of death, corroded by time, glimpsed through half-open doors or curtains, containing messages that are sometimes unreadable, allusions that are often misunderstood, and a disorder of seemingly familiar and yet remote objects" (105). Her description could be a scene from Myst with in its suggestion of theatricality, rich texture and illusionistic play of riddle or puzzle. In the trompe l'oeil painterly device known as cartellino, niches and recesses in the wall are represented with projecting elements and mock bas-relief. This architectural trickery is simulated in the digital imaging of extruded and painting elements to give depth to an interior or an object. Other techniques common to trompe l'oeil -- doors, shadowy depths and staircases, half opened cupboard, and paintings often with drapes and curtains to suggest a layering of planes -- are used throughout Myst as transition points. In the trompe l'oeil paintings, these transition points were often framed with curtains or drapes that appeared to be from the spectator space -- creating a painting of a painting effect. Myst is rich in this suggestion of worlds within worlds through the framing gesture afforded by windows, doors, picture frames, bookcases and fireplaces. Views from a window -- a distant landscape or a domestic view, a common device for trompe l'oeil -- are used in Myst to represent passageways and transitions onto different levels. Vertical space is critical for extending navigation beyond the horizontal through the terraced landscape -- the tower, antechamber, dungeon, cellars and lifts of the fictional world. Screen shots show the use of the curve, light diffusion and terracing to invite the player. In The Crystal Key vertical space is limited to the extent of the QTVR tilt making navigation more of a horizontal experience. Out-Stilling the Still Dutch and Flemish miniatures of the 17th century give the impression of being viewed from above and through a focussing lens. As Mastai notes: "trompe l'oeil, therefore is not merely a certain kind of still life painting, it should in fact 'out-still' the stillest of still lifes" (156). The intricate detailing of objects rendered in higher resolution than the background elements creates a type of hyper-reality that is used in Myst to emphasise the physicality and actuality of objects. This ultimately enlarges the sense of space between objects and codes them as elements of significance within the gameplay. The obsessive, almost fetishistic, detailed displays of material artefacts recall the curiosity cabinets of Fabritius and Hoogstraten. The mechanical world of Myst replicates the Dutch 17th century fascination with the optical devices of the telescope, the convex mirror and the prism, by coding them as key signifiers/icons in the frame. In his peepshow of 1660, Hoogstraten plays with an enigma and optical illusion of a Dutch domestic interior seen as though through the wrong end of a telescope. Using the anamorphic effect, the image only makes sense from one vantage point -- an effect which has a contemporary counterpart in the digital morphing widely used in adventure games. The use of crumbled or folded paper standing out from the plane surface of the canvas was a recurring motif of the Vanitas trompe l'oeil paintings. The highly detailed representation and organisation of objects in the Vanitas pictures contained the narrative or symbology of a religious or moral tale. (As in this example by Hoogstraten.) In the cosmology of Myst and The Crystal Key, paper contains the narrative of the back-story lovingly represented in scrolls, books and curled paper messages. The entry into Myst is through the pages of an open book, and throughout the game, books occupy a privileged position as holders of stories and secrets that are used to unlock the puzzles of the game. Myst can be read as a Dantesque, labyrinthine journey with its rich tapestry of images, its multi-level historical associations and battle of good and evil. Indeed the developers, brothers Robyn and Rand Miller, had a fertile background to draw on, from a childhood spent travelling to Bible churches with their nondenominational preacher father. The Diorama as System Event The diorama (story in the round) or mechanical exhibit invented by Daguerre in the 19th century created a mini-cosmology with player anticipation, action and narrative. It functioned as a mini-theatre (with the spectator forming the fourth wall), offering a peek into mini-episodes from foreign worlds of experience. The Musée Mechanique in San Francisco has dioramas of the Chinese opium den, party on the captain's boat, French execution scenes and ghostly graveyard episodes amongst its many offerings, including a still showing an upper class dancing party called A Message from the Sea. These function in tandem with other forbidden pleasures of the late 19th century -- public displays of the dead, waxwork museums and kinetescope flip cards with their voyeuristic "What the Butler Saw", and "What the Maid Did on Her Day Off" tropes. Myst, along with The 7th Guest, Doom and Tomb Raider show a similar taste for verisimilitude and the macabre. However, the pre-rendered scenes of Myst and The Crystal Key allow for more diorama like elaborate and embellished details compared to the emphasis on speed in the real-time-rendered graphics of the shoot-'em-ups. In the gameplay of adventure games, animated moments function as rewards or responsive system events: allowing the player to navigate through the seemingly solid wall; enabling curtains to be swung back, passageways to appear, doors to open, bookcases to disappear. These short sequences resemble the techniques used in mechanical dioramas where a coin placed in the slot enables a curtain or doorway to open revealing a miniature narrative or tableau -- the closure of the narrative resulting in the doorway shutting or the curtain being pulled over again. These repeating cycles of contemplation-action-closure offer the player one of the rewards of the puzzle solution. The sense of verisimilitude and immersion in these scenes is underscored by the addition of sound effects (doors slamming, lifts creaking, room atmosphere) and music. Geographic Locomotion Static imagery is the standard backdrop of the navigable space of the cosmology game landscape. Myst used a virtual camera around a virtual set to create a sequence of still camera shots for each point of view. The use of the still image lends itself to a sense of the tableauesque -- the moment frozen in time. These tableauesque moments tend towards the clean and anaesthetic, lacking any evidence of the player's visceral presence or of other human habitation. The player's navigation from one tableau screen to the next takes the form of a 'cyber-leap' or visual jump cut. These jumps -- forward, backwards, up, down, west, east -- follow on from the geographic orientation of the early text-based adventure games. In their graphic form, they reveal a new framing angle or point of view on the scene whilst ignoring the rules of classical continuity editing. Games such as The Crystal Key show the player's movement through space (from one QTVR node to another) by employing a disorientating fast zoom, as though from the perspective of a supercharged wheelchair. Rather than reconciling the player to the state of movement, this technique tends to draw attention to the technologies of the programming apparatus. The Crystal Key sets up a meticulous screen language similar to filmic dramatic conventions then breaks its own conventions by allowing the player to jump out of the crashed spaceship through the still intact window. The landscape in adventure games is always partial, cropped and fragmented. The player has to try and map the geographical relationship of the environment in order to understand where they are and how to proceed (or go back). Examples include selecting the number of marker switches on the island to receive Atrus's message and the orientation of Myst's tower in the library map to obtain key clues. A screenshot shows the arrival point in Myst from the dock. In comprehending the landscape, which has no centre, the player has to create a mental map of the environment by sorting significant connecting elements into chunks of spatial elements similar to a Guy Debord Situationist map. Playing the Flaneur The player in Myst can afford to saunter through the landscape, meandering at a more leisurely pace that would be possible in a competitive shoot-'em-up, behaving as a type of flaneur. The image of the flaneur as described by Baudelaire motions towards fin de siècle decadence, the image of the socially marginal, the dispossessed aristocrat wandering the urban landscape ready for adventure and unusual exploits. This develops into the idea of the artist as observer meandering through city spaces and using the power of memory in evoking what is observed for translation into paintings, writing or poetry. In Myst, the player as flaneur, rather than creating paintings or writing, is scanning the landscape for clues, witnessing objects, possible hints and pick-ups. The numbers in the keypad in the antechamber, the notes from Atrus, the handles on the island marker, the tower in the forest and the miniature ship in the fountain all form part of a mnemomic trompe l'oeil. A screenshot shows the path to the library with one of the island markers and the note from Atrus. In the world of Myst, the player has no avatar presence and wanders around a seemingly unpeopled landscape -- strolling as a tourist venturing into the unknown -- creating and storing a mental map of objects and places. In places these become items for collection -- cultural icons with an emphasised materiality. In The Crystal Key iconography they appear at the bottom of the screen pulsing with relevance when active. A screenshot shows a view to a distant forest with the "pick-ups" at the bottom of the screen. This process of accumulation and synthesis suggests a Surrealist version of Joseph Cornell's strolls around Manhattan -- collecting, shifting and organising objects into significance. In his 1982 taxonomy of game design, Chris Crawford argues that without competition these worlds are not really games at all. That was before the existence of the Myst adventure sub-genre where the pleasures of the flaneur are a particular aspect of the gameplay pleasures outside of the rules of win/loose, combat and dominance. By turning the landscape itself into a pathway of significance signs and symbols, Myst, The Crystal Key and other games in the sub-genre offer different types of pleasures from combat or sport -- the pleasures of the stroll -- the player as observer and cultural explorer. References Battersby, M. Trompe L'Oeil: The Eye Deceived. New York: St. Martin's, 1974. Crawford, C. The Art of Computer Game Design. Original publication 1982, book out of print. 15 Oct. 2000 <http://members.nbci.com/kalid/art/art.php>. Darley Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Lunenfeld, P. Digital Dialectic: New Essays on New Media. Cambridge, Mass.: MIT P 1999. Mates, A. Effective Illusory Worlds: A Comparative Analysis of Interfaces in Contemporary Interactive Fiction. 1998. 15 Oct. 2000 <http://www.wwa.com/~mathes/stuff/writings>. Mastai, M. L. d'Orange. Illusion in Art, Trompe L'Oeil: A History of Pictorial Illusion. New York: Abaris, 1975. Miller, Robyn and Rand. "The Making of Myst." Myst. Cyan and Broderbund, 1993. Milman, M. Trompe-L'Oeil: The Illusion of Reality. New York: Skira Rizzoli, 1982. Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Simon and Schuster, 1997. Wertheim, M. The Pearly Gates of Cyberspace: A History of Cyberspace from Dante to the Internet. Sydney: Doubleday, 1999. Game References 7th Guest. Trilobyte, Inc., distributed by Virgin Games, 1993. Doom. Id Software, 1992. Excalibur. Chris Crawford, 1982. Myst. Cyan and Broderbund, 1993. Tomb Raider. Core Design and Eidos Interactive, 1996. The Crystal Key. Dreamcatcher Interactive, 1999. Citation reference for this article MLA style: Bernadette Flynn. "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/navigation.php>. Chicago style: Bernadette Flynn, "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]). APA style: Bernadette Flynn. (2000) Towards an aesthetics of navigation -- spatial organisation in the cosmology of the adventure game. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]).