By K. Reilly
The automaton, recognized this day because the robotic, might be noticeable as a metaphor for the old interval during which it's explored. Chapters comprise examinations of Iconoclasm's worry that paintings may well surpass nature, the Cartesian mind/body divide, automata as items of courtly wish, the uncanny Olympia, and the innovative Robots in post-WWI drama.
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Extra info for Automata and Mimesis on the Stage of Theatre History
Perdita explains her distaste for cultivated winter flowers, which she feels are unnatural. When Pollixenes questions Perdita’s position on grafting and horticulture, a debate about the difference between art and nature ensues: Perdita: For I have heard it said There is an art which in their piedness shares With great creating nature Pollixenes: Say there be; Yet nature is made better by no mean But nature makes that mean. So, over that art Which you say adds to nature, is an art That nature makes.
However, English audiences read them in the discourse most familiar to them, that discourse was Iconoclasm. Another example of a moving statue that caused wonder and delight in France was Benvenuto Cellini’s Jupiter. In 1544 Cellini was commissioned to create a series of silver statues for François I, King of France. Of the numerous promised sculptures in the required series, only a single sculpture of Jupiter had actually been completed. 51 Cellini tells the story in his autobiography: When the King appeared, I made my prentice Ascanio push the Jupiter towards his Majesty.
According to the stage directions, the infuriated Sejanus ‘sweeps the altar clean’. Just as in Eamon Duffy’s famous account, The Stripping of the Altars, the empty altar becomes a mere table. Sejanus gets rid of the accoutrements of ritual, but this removal does not lead him to the truth. ’ But Sejanus’s fall from a great height is inevitable. Iconoclasm and Automata 43 Jonson was called before the Privy Council in 1603 and questioned for his Sejanus. He was accused of both popery and treason by Councillor Henry Howard, Earl of Northampton.
Automata and Mimesis on the Stage of Theatre History by K. Reilly