Illustration week 2
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School
University of Central Florida *
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Course
346
Subject
Medicine
Date
Feb 20, 2024
Type
Pages
8
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1. Prior to the adoption of the printing press in the fifteenth century, the lowers social classes of
Europe could access visual imagery:
a. in illustrated manuscripts
b. all of these
c. in portrait galleries of the wealthy
d. in churches and cathedrals
2. What is a frontispiece?
a. the illustrated title page of a book
b. a still used to make medicine from plants native to the Americas
c. a weapon used by indigenous Americans
d. a protective piece of armor
3. What indicates that the image below is a xylograph?
a. intricate detail and subtle shading
b. the inclusion of banderoles
c. bold line quality
d. all of these
4. The image below is an example of a devotional image, the function of which was:
anonymous, Christ as Man of Sorrows, ca. 15th century, woodcut
a. to aid in the private devotional practice of a single worshipper
b. to advocate for the virtues of the Protestant Reformation
c. to illustrate the priests' sermon in a church
d. to communicate the power of the monarch
5. The image below depicts:
a. all of these
b. the specialization of labor characteristic of early modern book and print
workshops
c. a World Upside Down scene
d. a monarch presiding over the production of his portrait
6. A banderole is a precursor to what convention in contemporary visual culture?
a. collage
b. emojis
the depiction of exotic otherness
d. the speech bubble used in comics and cartoons
7. An incunabula is an early type of:
a. illustration
b. narrative
c. book
d. portrait
8. While the moveable type was used in a limited capacity in China, why did become more
widely used in Europe following Gutenberg's introduction of the letterpress in the fifteenth
century?
a. There was no tradition of bookmaking in China
b. Gutenberg's method suited the small number of characters in the Roman
alphabet
c. Gutenberg's method did not allow for the inclusion of images along with text
d. literacy rates were higher among the lower social classes in Europe
9. Still used to this day, the terms "________" and "_________" stem from the storing trays used
to organize the cast letters in the print workshops.
a. legend/matrix
b. patron/saint
c. form/function
d. upper case/lower case
10. In what ways did printed books transform the reading habits of early modern Europeans?
a. all of these
b. they disseminated new knowledge and information on a range of topics to a
wide public
c. they were often printed in vernacular languages spoken by the lower classes
d. they aided literacy by combining images with written text
11. What early modern best-seller included biblical and worldly genealogies, maps, natural and
supernatural phenomena, and biographies?
a. The Nuremberg Chronicle
b. The Diamond Sutra
c. The Holy Bible
d. The Art of Dying
12. The German peintre-graveur (painter-engraver), _____________, became enormously
successful due to his virtuosic skill, innovative compositions, and self-branding.
a. Marcantonio Raimondo
b. Israhel van Meckenem
c. Hand Beham
d. Albrecht Dürer
13. The image below is an example of humor in popular visual culture, illustrating:
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a. a respected man humiliated by a young woman
b. a dog beating his owner
c. a witch taking revenge on her enemies
d. a garden of earthly pleasures
14. The __________ image below instructs the viewer about the Protestant view of death and
salvation.
image-d002546a-8fce-4ee8-b654-574dba11733a.jpeg
a. World Upside Down
b. didactic
c. Intaglio
d. Romantic
15. What differentiates intaglio from woodcut printmaking?
a. woodcut prints were often engraved with a burin
b. woodcut prints produce finer lines and more subtle tonal qualities
c. woodcut prints are a relief method and intaglio images are recessed into a
metal plate
d. woodcut prints use an acid bath to create recessions in a metal plate
16. What new profession emerged to control the supply of different kinds of prints and finance
the printing of editions?
a. the print patron
b. the engraver
c. the print publisher
d. the print master
17. Already from the late fifteenth century, the inherently reproducible nature of prints required
what kind of legal protection for artists and publishers?
a. slander
b. tax evasion
c. copyright
d. freedom of speech
18. Cartography means:
a. the writing of images
b. the writing of prints
c. the writing od space
d. the writing of culture
19. Similar to maps, ethnographic representations reflect their subjects objectively.
True
False
20. What facilitated European colonization of the Americas?
a. navigation technologies
b. print technologies
c. weaponry
d. all of these
21. Which ancient cartographer, re-discovered in the 14th century, invented the conventions of
longitude and latitude lines?
a. Francis Bacon
b. Johannes Guternberg
c. Frans Post
d. Claudius Ptolemy
22. Early Modern ethnographic imagery was produced in order to:
a. produce systematic documentation of colonial lands and peoples
b. all of these
c. document newly discovered peoples and cultures
d. supply visible evidence for travel reports and memoirs
23. What alleged practice of indigenous Americans horrified and fascinated Europeans?
a. cannibalism
b. hunting
c. slavery
d. the use of hammocks
24. Whose influential writings served as the basis for widely-reproduced illustrations of Spanish
cruelty towards indigenous Americans?
a. Hans Staden
b. Theodore de Bry
c. Bartolome de las Casas
d. Jean de Lery
25. In social theories of Otherness, it is argued that a dominant cultural group defines itself in
opposition to that which it is not through a series of _______ .
a. hugs and high-fives
b. inclusions
c. ethnographic prints
d. binary categories
26. Exoticism stems from:
a. processes of othering and over-investment in real or imagined differences
b. social equality
c. tropical climates
d. an essential character trait of an exotic person
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27-32 – Short Essay: This week's module has focused on the emergence of print technologies in
Early Modern Europe and the ways in which illustrations mediated the European encounter with
the New World. Based on your readings, please select one example of an ethnographic
illustration discussed in either the module or in the "Cannibalizing America" chapter and write a
short essay (between 300-500 words) that addresses the following question: How does the
illustrator communicate the Otherness of the image's subject? In analyzing your chosen image,
please use at least 3 direct references to the reading assignments (use in-text MLA citations in
your essay; use my last name for any Webcourses module content you cite; and no need to
include a works cited page for this assignment) and do not forget to cite specific visual details
from your example.
Quotes:
"The marking of Otherness is the result of a discursive process by which a dominant in-group
('Us') constructs one or many dominated out-groups ('Them') by stigmatizing a difference -- real
or imagined -- presented as a negation of humanity and thus as a justification for potential
discrimination." (Geppert)
"Otherness and identity are two inseparable sides of the same coin. The Other only exists relative
to the Self (i.e. the one who created the Other in the first place), and vice versa." (Geppert)
"Exoticism is characterized by the asymmetry of its power relationships: it is Westerners who,
during the phases of exploration and colonization, defined and delimited the exotic. This history
has a legacy that continues to the present day." (Geppert)
The image from Hartmann Schedel's Nuremberg Chronicle, 1493, portrays monstrous
races with exaggerated features, emphasizing their perceived Otherness. The figures are depicted
with grotesque traits, including abnormal limbs and facial features, which contributes
significantly to their dehumanization. The visual representation highlights a deliberate effort to
frame them as different, reinforcing western historical discourse that perpetuates the
marginalization of diverse cultures and people as the 'Other.'
The depiction of monstrous races serves as a visual testament to the complex relationship
between identity, Otherness, and exoticism in the context of the historical Western gaze.
Hartmann Schedel communicates the Otherness of the figures in the image in a way that makes a
confronting and shocking spectacle out of this ‘Other’ race of people.
As noted in “Theories of Visual Culture: The Spectacle of Otherness,” “The marking of
‘Otherness’ is the result of a discursive process by which a dominant in-group ('Us') constructs
one or many dominated out-groups ('Them') by stigmatizing a difference -- real or imagined --
presented as a negation of humanity and thus as a justification for potential discrimination.”
(Geppert) This process is vividly reflected in the visual representation, where the monstrous
races are portrayed with ‘real or imagined” exaggerated physical features and cultural attributes,
reinforcing a discourse that justifies potential discrimination based on the perceived negation of
their humanity.
The inseparable connection between ‘Otherness’ and identity are also highlighted.
“Otherness and identity are two inseparable sides of the same coin. The Other only exists relative
to the Self (i.e. the one who created the Other in the first place), and vice versa”(Geppert). The
monstrous races exist relative to the Self—the one who created them in the first place. Simply
just portraying these races as ‘ Other’ exemplifies the illustrator’s perceived superiority of ‘Us.’
The very act of visual representation becomes a tool for constructing and perpetuating identity
through the delineation of the Other.
The concept of exoticism is intricately woven into the depiction. “Theories of Visual
Culture: The Spectacle of Otherness,” states that "Exoticism is characterized by the asymmetry
of its power relationships: it is Westerners who, during the phases of exploration and
colonization, defined and delimited the exotic” is showcased in the illustration. The monstrous
races, exoticized by the Western gaze, have this disproportionate power dynamic placed upon
them where the Westerners not only define but also marginalize the ‘exotic Other’. This
historical legacy extends to the present day, emphasizing the enduring impact of these power
dynamics.