By K. Reilly
The automaton, recognized at the present time because the robotic, may be obvious as a metaphor for the historic interval within which it truly is explored. Chapters comprise examinations of Iconoclasm's worry that artwork may well surpass nature, the Cartesian mind/body divide, automata as gadgets of courtly hope, the uncanny Olympia, and the progressive Robots in post-WWI drama.
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Additional resources for Automata and Mimesis on the Stage of Theatre History
64 The interior of this enormous dolphin contained a hidden six-person orchestra which accompanied Arion as he sang a song glorifying the Queen. The dolphin was probably a hydraulic automaton. 65 The intricate dramaturgy of technological spectacle glorified Queen Elizabeth, as garden spectacles had been designed to do for centuries. 32 Automata and Mimesis Sixteenth-century European gardens were often connected to a Kunstkammer, literally translated as an art cabinet (sometimes called Wunderkammer, or wonder cabinet).
While Nature and Art battled for supremacy, the word came to dominate over the image. But the perception of Nature as alive and creative would radically shift into a perception of nature as a machine in the mechanical philosophy, particularly in the writings of René Descartes, the subject of the next chapter. 2 Descartes’s Mimetic Faculty Today, René Descartes (1596–1650) is perhaps best known as the father of modern philosophy and for his starring role as the doubting metaphysician, leading to his claim: cogito ergo sum or I think, therefore I am.
Iii. 83 Among its many referents, this faith refers to the once close relationship between belief and images that was banned because of Iconoclasm. Within the romance logic of the world of The Winter’s Tale, Hermione transformed into a statue 16 years ago, and it is only through the old Catholic faith in the power of images that art’s cold, stone statue of her can be transformed into the warm life-blood of nature once more. Michael O’Connell has astutely written about the importance of Iconoclasm to the closing moment of the play, suggesting that the scene realizes ‘the worst fears of the anti-theatrical writers’: it presses the audience into idolatry, at least for the moment we assent with Leontes to whatever reality the statue may mysteriously Iconoclasm and Automata 39 possess.