Anatomies of Re-printing: The Case of Rembrandt’s Dr Tulp

19 February 2020, 14:30 - 16:30

Seminar Room SG2, Alison Richard Building, 7 West Road, Cambridge, CB3 9DT

Does the Re-Production of Canonical Paintings Create Shared Practices and Intermedial Networks Across History and Geography?

In conversation,
Dániel Margócsy  (Department of the History of Philosophy and Science, University of Cambridge)

Annja Neumann (Cambridge Digital Humanities/CRASSH, University of Cambridge)

Andrew J. Webber (Modern and Medieval Languages and Linguistics, University of Cambridge)
 


Bios

Dániel Margócsy (HPS, University of Cambridge)

Reader in the history of science, technology and medicine at the University of Cambridge. His current interests focus on the relationship between travel, transportation technologies and the circulation of natural knowledge in the early modern period. He has published Commercial Visions: Science, Trade and Visual Culture in the Dutch Golden Age (University of Chicago Press, 2014) and, with Mark Somos and Stephen N. Joffe, The Fabrica of Andreas Vesalius: A Worldwide Descriptive Census, Ownership and Annotations of the 1543 and 1555 Editions (Brill, 2018). He will explore the medical and iconographic traditions inscribed in Rembrandt’s painting The Anatomy of Dr Nicolaes Tulp (1632), from Andreas Vesalius’ monumental De humani corporis fabrica to the genre of civic group portraits. His current work includes a special issue titled From Hansa to Lufthansa: Transportation Technologies and the Mobility of Knowledge (co-edited with Mary Brazelton for History of Science); a project on horses, stables and cabinets of curiosity in early modern German courts; and a planned monograph on the practices of ship repair at Dutch and English colonial ports in the early modern period. He is fascinated by worms.

 

Annja Neumann (MML and Linguistics, Affiliated Lecturer in German, University of Cambridge)

Specializes in interdisciplinary and practice-based research at the intersection of Medical Humanities, Digital Humanities and Modern German Culture, with a thematic focus on embodiment, digital knowledge design, digital edition and place and space. She has published on post-1945 German poetry and poetics, Viennese Modernism, European theatre around 1900, comparative culture and digital humanities. Her publications include Durchkreuzte Zeit: Zur ästhetischen Temporalität der späten Gedichte von Nelly Sachs und Paul Celan (2013) and a digital scholarly edition of Arthur Schnitzler’s puppet cycle Marionettes (2018-19). She also published on ‘Schnitzler’s Anatomy Lesson: Medical Topographies in Professor Bernhardi’ in Literature and Medicine (2016). Simultaneously, she produced and co-directed a site-specific performance of Schnitzler’s medical drama Professor Bernhardi in the Anatomy Lecture Theatre in Downing Site in Cambridge. Her current work includes a book project on the theatricality of medical knowledge-making practices and the afterlife of Rembrandts painting The Anatomy. She will speak about the curious re-appearances of Dr Tulp by tracking the conceptual and medial re-configurations of the Rembrandt-Tulp theatre in literature and the arts from the late 19th to the 21st century.

 

Andrew J. Webber FBA (Faculty of Modern and Medieval Languages and Linguistics, German and Comparative Culture, Cambridge)

Professor of Modern German and Comparative Culture at Cambridge. He has published widely on German and comparative textual, visual and cinematic culture, with a historical focus ranging from 1800 to the present day. He has active interests in urban studies, digital humanities, and cultural theory (including psychoanalysis, gender and sexuality, place and space). His books include The European Avant-garde, 1900-1940 (2004) and Berlin in the Twentieth Century: A Cultural Topography (2011). From 2014-19 he was Principal Investigator for an AHRC-funded project to produce a digital critical edition of works by Arthur Schnitzler, and he is currently working on a co-authored book on leading German filmmaker, Christian Petzold. He is particularly interested in the intermedial dynamics of the re-production of Rembrandt’s painting in text and film.

 

 

Open to all. No registration required.
An event organised by 'Re-' Interdisciplinary Network
Administrative assistance: networks@crassh.cam.ac.uk

 

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