Anne Frank’s Diary: The Graphic Novel Adaptation

The human imag­i­na­tion can be an extra­or­di­nary cop­ing device in times of trou­ble, a tiny win­dow pro­vid­ing men­tal escape from what­ev­er cell fate has con­signed us to.

Diarist and aspir­ing pro­fes­sion­al writer Anne Frank, who died in the Bergen-Belsen con­cen­tra­tion camp at the age of 15, chafed at her now-uni­ver­sal­ly-known con­fine­ment in the Secret Annex. She chafed at her mother’s author­i­ty and the seem­ing­ly effort­less saint­li­ness of her old­er sis­ter. Doc­u­ment­ing her dai­ly phys­i­cal and emo­tion­al real­i­ty offered tem­po­rary respite from it.

The lib­er­at­ing pow­er of the cre­ative mind is one of the aspects writer Ari Fol­man and illus­tra­tor David Polon­sky sought to tease out when adapt­ing Anne Frank: The Diary of a Young Girl as a graph­ic nov­el.

The graph­ic nov­el for­mat decreed that entire pas­sages would be cut or con­densed. Polon­sky can use a sin­gle pan­el to show logis­tics it took Anne para­graphs to describe. The inter­per­son­al con­flicts she dwelt on are now con­veyed by facial expres­sions and body lan­guage.

As with Sid Jacob­son and Ernie Colón’s 2010 Anne Frank: The Anne Frank House Autho­rized Graph­ic Biog­ra­phythe diary’s small stage is expand­ed to give read­ers, par­tic­u­lar­ly those unac­quaint­ed with the orig­i­nal text, a his­tor­i­cal con­text for under­stand­ing the wider social impli­ca­tions of Anne’s tragedy.

But this graph­ic retelling is unique in that it traf­fics in mag­ic real­ist visu­als that should play well with 21st-cen­tu­ry youth, who cut their teeth on CGI, fast-paced edits, and stream­ing teen-focused enter­tain­ments where­in char­ac­ters are apt to break the fourth wall or break into song.

These are the read­ers to whom the project is most inten­tion­al­ly pitched. As Fol­man told Teen Vogue’s Emma Sar­ran Web­ster:

I tru­ly believe that in a few years, when the very last sur­vivors will have died, the angle that will be tak­en from the sto­ry will be that with every year, we are 10 years fur­ther away from the orig­i­nal. […] There is a severe threat that the things we have to learn from it will not be taught and learned if we don’t find a new lan­guage for them. So any new lan­guage in my opin­ion is blessed, as long as it stays with­in the frame­work and reach­es young audi­ences by means of their tools, which are now very visu­al.

Ergo, Kit­ty, Anne’s nick­name for her diary, has been per­son­i­fied, emerg­ing from the lit­tle plaid book’s pages like Peter Pan’s shad­ow, ear atten­tive­ly cocked toward the secrets Anne whis­pers into it.

The melo­dra­mat­ic Mrs. van Daan’s prized fur coat has an anthro­po­mor­phized rab­bit head col­lar, capa­ble of join­ing in the dia­logue.

Polon­sky pays homage to artists Edvard Munch, whose “degen­er­a­tive” work Hitler had removed from Ger­man muse­ums, and Gus­tav Klimt, who paint­ed many works that were con­fis­cat­ed from their Jew­ish own­ers by Nazi decree.

Young read­ers’ mod­ern sen­si­bil­i­ties also guid­ed Folman’s approach to the text. The spir­it of the orig­i­nal is pre­served, but cer­tain phras­ings have been giv­en a 21st cen­tu­ry update.

The snarky Secret Annex menus and diet tips he allows his hero­ine harken to the direct address of var­i­ous meta teen come­dies, as well as the blis­ter­ing par­o­dy of the Sara­je­vo Sur­vival Guide, a pur­port­ed trav­el guide writ­ten dur­ing the Siege.

Noble goal of engag­ing the next gen­er­a­tion aside, there are no doubt some purists who will view these inno­va­tions as impo­si­tion. Rest assured that Anne Frank’s Diary: The Graph­ic Adap­ta­tion is sanc­tioned by Anne Frank Fonds, the char­i­ta­ble foun­da­tion estab­lished by Anne’s father, Otto.

Relat­ed Con­tent:

Watch the Only Known Footage of Anne Frank

Read the Poignant Let­ter Sent to Anne Frank by George Whit­man, Own­er of Paris’ Famed Shake­speare & Co Book­shop (1960): “If I Sent This Let­ter to the Post Office It Would No Longer Reach You”

How Art Spiegel­man Designs Com­ic Books: A Break­down of His Mas­ter­piece, Maus

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

An Animated Introduction to Medieval Taverns: Learn the History of These Rough-and-Tumble Ancestors of the Modern Pub

When I think of the medieval tav­ern, I see grim footage from Bergman’s The Sev­enth Seal and grimy drink­ing scenes from Game of Thrones and Lord of the Rings. While only the first of these uses an osten­si­bly his­tor­i­cal set­ting, the imagery of them all is what we think of when we think of tav­erns. Huge casks in the cor­ners, great, inde­struc­tible wood­en tables and wood­en mugs, signs with pic­tures instead of words; drunk­en singing and the occa­sion­al axe fight.

The crude­ly ani­mat­ed Sim­ple His­to­ry video above con­firms these impres­sions, describ­ing the tav­erns, inns, and ale hous­es that were ances­tors of the mod­ern pub as “places of drink­ing, gam­bling, vio­lence, and crim­i­nal activ­i­ty.” Art his­to­ry and schol­ar­ship fur­ther con­firm our impres­sion of tav­erns as rough-hewn, row­dy hous­es where brawls fre­quent­ly broke out and all sorts of shady busi­ness trans­act­ed.

Ale hous­es had an “ale stake or ale pole” that could be raised to show they had a brew ready to serve. Tav­erns had a pole with leaves, called a “bush,” for the same pur­pose. Wine might be pricey, but beer was cheap, as “tax­ing it would not have been well-received.” Bar­maids poured drinks from pitch­ers of leather into mugs of wood. Food was… well, not so good…. Maybe we can visu­al­ize tav­ern life by extrap­o­lat­ing back­wards from our local dive bars.

How­ev­er, we might find it hard to imag­ine liv­ing in a time before beer. Milan Pajic, junior research fel­low at the Uni­ver­si­ty of Cam­bridge, found that beer made a rel­a­tive­ly late entry in the his­to­ry of Eng­lish drink, arriv­ing only in the lat­ter half of the 14th cen­tu­ry when intro­duced by Dutch immi­grants and demand­ed by sol­diers return­ing from the 100 Years War.

Between around 1350 and around 1400, Pajic claims, all of the beer drunk in Eng­lish tav­erns was import­ed from the Nether­lands. “The first evi­dence of some­one brew­ing beer” in Eng­land, Pajic writes in an arti­cle pub­lished in the Jour­nal of Medieval His­to­ry, “comes from 1398–9.” The brew­er, a “Duche­man,” was “fined for buy­ing ‘wheat in the mar­ket in order to pro­duce beer, to the great dam­age of the same mar­ket.”

Such per­se­cu­tion could not last. In a hun­dred year’s time, a few hun­dred brew­ers could be found around the coun­try, most of them immi­grants from the Low Coun­tries. But in part because the Eng­lish dis­trust­ed the Dutch, “it took almost a cen­tu­ry from the moment it was intro­duced as an import­ed com­mod­i­ty and con­sumed large­ly by immi­grants before it came to be pro­duced on Eng­lish soil and accept­ed by the natives.”

Tav­ern, inn, and ale house designs would have con­formed to local join­ery trends, but the medieval Eng­lish tavern’s chief draw—cheap, fresh­ly-brewed beer, and lots of it—was a sus­pi­cious con­ti­nen­tal import before it became a nation­al trea­sure.

Relat­ed Con­tent:

Beer Archae­ol­o­gy: Yes, It’s a Thing

The First Known Pho­to­graph of Peo­ple Shar­ing a Beer (1843)

Dis­cov­er the Old­est Beer Recipe in His­to­ry From Ancient Sume­ria, 1800 B.C.

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

What Guitars Were Like 400 Years Ago: An Introduction to the 9 String Baroque Guitar

Maybe it’s just me, but it some­times feels like gui­tar music is on the wane. Sure, there are plen­ty of gui­tar bands out there, gui­tar sales seem to hold steady, but the syn­the­siz­er, midi con­troller, and dig­i­tal audio work­sta­tion have become the dom­i­nant instru­ments of pop­u­lar music. Then again, it’s short-sight­ed to count the gui­tar out just yet, giv­en the 500-year longevi­ty of its design.

In the 17th cen­tu­ry, the Lute Soci­ety of Dart­mouth notes, the gui­tar was “cul­ti­vat­ed by play­ers and com­posers with­in the courts of princes and kings.” The Baroque gui­tar was very much like the mod­ern six string (or, as often these days, sev­en and eight string) that we know today, “aside from a dif­fer­ence of tun­ing,” writes luthi­er Clive Tit­muss. Where “the mod­ern gui­tar is a baritone/tenor… the baroque is an alto instru­ment, about the size of a vio­la.”

The dif­fer­ences in size and pitch change the sus­tain and artic­u­la­tion. The Baroque gui­tar’s tonal char­ac­ter­is­tics are much more del­i­cate, per­cus­sive, and lute-like. “The great­est music for baroque gui­tar is dif­fi­cult to ren­der ade­quate­ly on the mod­ern gui­tar because the tra­di­tions of the two instru­ments have diverged so wide­ly: They speak basi­cal­ly the same lan­guage, but with a dif­fer­ent vocab­u­lary and accent.” Ear­ly Renais­sance gui­tars had what is called a “four course” string arrange­ment, with eight dou­bled strings. The baroque gui­tar added one more for a “five course” instru­ment with nine strings.

Like its Renais­sance fore­bear, lutes, and mod­ern twelve-string gui­tars today, four of those “cours­es” were dou­bled, with pairs of strings tuned to the same note. This essen­tial­ly made it a five string gui­tar with the ring­ing sonor­i­ty of a man­dolin. In the video at the top, Bran­don Ack­er explains what this means in the­o­ry and prac­tice. The tun­ing was fair­ly close to a mod­ern six-string, but one octave up and miss­ing the low E. The lone high E string was called the chanterelle or “singing string.”

Pop­u­lar main­ly in south­ern Europe, the Baroque gui­tar “may well have been used as it fre­quent­ly is today,” the Lute Soci­ety points out: “to pro­vide a sim­ple strummed accom­pa­ni­ment for a singer or small group.” It was first held in con­tempt by ear­ly Span­ish com­posers who pre­ferred the sim­i­lar vihuela. But the gui­tar would dis­place that instru­ment, as well as the lute, in musi­cal com­po­si­tions across Spain, Italy, France and else­where in Europe.

In the videos above, you can see and hear some fine demon­stra­tions from Ack­er, who plays peri­od pieces like Suite in D Minor by Robert de Visée, court com­pos­er and musi­cian for Louis XIV and Louis XV. Below, see gui­tarist Ste­fano Maio­rana play a gor­geous Span­ish piece.

Giv­en the 400 years that sep­a­rate the mod­ern gui­tar from its Baroque ances­tor, the resem­blances are remark­able, prov­ing that the instrument’s 17th cen­tu­ry refin­ers hit on a design that per­fect­ly com­ple­ments the human voice, sounds great solo and in groups, and can han­dle both rhythm and lead. Even if most gui­tars in the future dou­ble as midi-con­trol­ling synth instru­ments, it’s prob­a­bly safe to say mod­ern music won’t give up this bril­liant, time-test­ed design any time soon.

Relat­ed Con­tent:

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

The His­to­ry of the Gui­tar & Gui­tar Leg­ends: From 1929 to 1979

The Ency­clo­pe­dia Of Alter­nate Gui­tar Tun­ings

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How Monument Valley Became the Most Iconic Landscape of the American West

The Amer­i­can West has nev­er been a place so much as a con­stel­la­tion of events—incursion, set­tle­ment, seizure, war, con­tain­ment, and exter­mi­na­tion in one order or anoth­er. These bloody his­to­ries, san­i­tized and seen through anti-indige­nous ide­ol­o­gy, formed the back­drop for the Amer­i­can Western—a genre that depends for its exis­tence on cre­at­ing a con­vinc­ing sense of place.

But where most West­erns are sup­posed to be set—Colorado, Cal­i­for­nia, Texas, Kansas, or Montana—seems less impor­tant than that their scenery con­form to a stereo­type of what The West should look like. That image has, in film after film, been sup­plied by the tow­er­ing buttes of Mon­u­ment Val­ley. The Vox video above tells the sto­ry of how this par­tic­u­lar place became the sym­bol of the Amer­i­can West, begin­ning with the iron­ic fact that Mon­u­ment Val­ley isn’t actu­al­ly part of the U.S., but a trib­al park on the Nava­jo Nation reser­va­tion, inside the states of Utah and Ari­zona.

“For cen­turies, only Native Amer­i­cans, specif­i­cal­ly the Paiute and Nava­jo, occu­pied this remote land­scape, field­ing con­flicts with the U.S. gov­ern­ment.” That would change when set­tlers and sheep traders Har­ry and Leone “Mike” Gould­ing set up a trad­ing post right out­side Nava­jo ter­ri­to­ry on the Utah side. Gould­ing tried tire­less­ly to attract tourists to Mon­u­ment Val­ley dur­ing the Great Depres­sion but didn’t get any trac­tion until he took pho­tos of the land­scape to Hol­ly­wood.

The movie world imme­di­ate­ly saw poten­tial, and West­ern direct­ing leg­end John Ford chose the stun­ning loca­tion for his 1939 film Stage­coach. It would be the first of scores of films shot in Mon­u­ment Val­ley and the ori­gin of cin­e­mat­ic iconog­ra­phy now insep­a­ra­ble from our idea of the rugged Amer­i­can West. The land­scape, and Ford’s vision, ele­vat­ed the West­ern from low-bud­get pulp to “one of Hollywood’s most pop­u­lar gen­res for the next 20 years.”

Pho­to by Dsdugan, via Wiki­me­dia Com­mons

Stage­coach pro­vid­ed the “break­out role for Amer­i­can icon John Wayne” (who once declared that Native peo­ple “self­ish­ly tried to keep their land” for them­selves and thus deserved to be dis­pos­sessed.) And just as Wayne became the face of the West­ern hero, Mon­u­ment Val­ley became the cen­tral icon of its mythos. Ford used Mon­u­ment Val­ley sev­en more times in his films, most notably in The Searchers, set in Texas, wide­ly praised as one of the best West­erns ever made.

Ford’s final film to fea­ture the land­scape takes place all over the coun­try, appro­pri­ate­ly, giv­en its title, How the West Was Won. Its all-star cast, includ­ing Wayne, sold this major 1962 epic, mar­ket­ed with the tagline “24 great stars in the might­i­est adven­ture ever filmed.” But it wouldn’t have been a true West­ern at that point, or not a true John Ford West­ern, with­out Mon­u­ment Val­ley as one of its many land­scapes. The imagery may have become cliché, but “clichés are use­ful for sto­ry­telling,” sig­nal­ing to audi­ences “what kind of sto­ry this is.”

From Stage­coach to Marl­boro Ads to Thel­ma and Louise to The Lego Movie to the Cohen Broth­ers’ com­ic clas­sic West­ern trib­ute The Bal­lad of Buster Scrug­gs, the image of Mon­u­ment Val­ley has become short­hand for free­dom, adven­ture, and the risks of the fron­tier. But like oth­er icon­ic places in oth­er for­bid­ding land­scapes around the world, the myth of Mon­u­ment Val­ley cov­ers over the his­tor­i­cal and present-day strug­gles of real peo­ple. We get a lit­tle bit of that sto­ry in the Vox explain­er, but most­ly we learn how Mon­u­ment Val­ley became an end­less­ly repeat­ing “back­drop” that “could be any­where in the West.”

Relat­ed Con­tent:

How Ser­gio Leone Made Music an Actor in His Spaghet­ti West­erns, Cre­at­ing a Per­fect Har­mo­ny of Sound & Image

The Great Train Rob­bery: Where West­erns Began

John Wayne: 26 Free West­ern Films Online

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

A 108-Year-Old Woman Recalls What It Was Like to Be a Woman in Victorian England

The per­ils of old age—demen­tiaeco­nom­ic inse­cu­ri­tysocial iso­la­tion—are receiv­ing a lot of atten­tion these days.

How refresh­ing to spend three min­utes in the com­pa­ny of a sharp-wit­ted 108-year-old, who, respond­ing to a ques­tion about what life was like for women in Vic­to­ri­an Eng­land, acts out a cou­ple of social­ly rel­e­vant, peri­od Punch car­toons, delib­er­ate­ly draw­ing atten­tion to her shock­ing­ly well-pre­served ankles in the process.

Flo­rence Pan­nell was born in Lon­don in 1868, 3 years after the US abol­ished slav­ery and eleven before the advent of the elec­tric light­bulb.

Her appear­ance on Thames Television’s Mon­ey-Go-Round pro­gram appears to be her only pub­lic record­ing. The Kens­ing­ton Post cap­tured her leav­ing her polling place, after cast­ing her bal­lot in a 1971 elec­tion at the age of 102.

It’s a pity there’s not more of an online pres­ence, as this cap­ti­vat­ing sto­ry­teller clear­ly rel­ish­es the oppor­tu­ni­ty to revis­it the past.

A pity too, that she was stuck with a dud of an inter­view­er, Joan Shen­ton, who has gone on to find fame as a promi­nent AIDS denial­ist.

The AIDS cri­sis is one event of glob­al his­tor­i­cal impor­tance that Mrs. Pan­nell missed—barely—she died in 1980, a few months shy of her 112th birth­day.

We learn that she found­ed a suc­cess­ful beau­ty care busi­ness that took her to Paris for a time, but oth­er than that, the details of her pri­vate life are left to our spec­u­la­tion. She was mar­ried. Did she have chil­dren, and if so, did she sur­vive them?

Did she ever get the chance to go up in an air­plane? As of 1977, she hadn’t, but was open to the idea, imply­ing that the risk had out­weighed the poten­tial thrill in the ear­ly days of avi­a­tion.

Most strik­ing is her hearty reply con­cern­ing the biggest change she had wit­nessed over the years:

Every­thing! Noth­ing is the same! Everything’s changed!

Some of the mile­stones she was alive for, as not­ed by var­i­ous YouTube and Red­dit com­menters:

The coro­na­tion of the five mon­archs to fol­low Queen Vic­to­ria: Edward VII, George V, Edward VIII, George VI and Eliz­a­beth II (whose 93 years on the plan­et she makes seem mar­gin­al­ly less impres­sive)

Jack the Ripper’s ter­ror­iza­tion of Lon­don

The sink­ing of the Titan­ic

Both World Wars

The Great Depres­sion

The tele­phone

Tele­vi­sion

The hip­pie move­ment

The moon land­ing

Star Wars

Anoth­er com­menter sug­gest­ed that it would have been math­e­mat­i­cal­ly pos­si­ble for Mrs. Pan­nell to have heard sto­ries about Napoleon at her grandpa’s knee.

Read­ers, what are you bog­gled by, with regard to the sig­nif­i­cant events tran­spir­ing with­in this woman’s life­time?

(And for those curi­ous as to her for­mi­da­ble accent, there’s a wealth of lin­guis­tic infor­ma­tion here.)

Relat­ed Con­tent:

Bertrand Russell’s Advice For How (Not) to Grow Old: “Make Your Inter­ests Grad­u­al­ly Wider and More Imper­son­al”

You’re Only As Old As You Feel: Har­vard Psy­chol­o­gist Ellen Langer Shows How Men­tal Atti­tude Can Poten­tial­ly Reverse the Effects of Aging

Meet Vio­la Smith, the World’s Old­est Drum­mer: Her Career Start­ed in the 1930s, and She’s Still Play­ing at 106

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

Discover the Persian 11th Century Canon of Medicine, “The Most Famous Medical Textbook Ever Written”

It may nev­er lend a catchy title to a steamy TV hos­pi­tal dra­ma, but Avicenna’s 11th-cen­tu­ry Canon of Med­i­cine has the dis­tinc­tion of being “the most famous med­ical text­book ever writ­ten.” It has remained, as William Osler wrote in a 1918 Yale lec­ture, “a med­ical bible for a longer time than any oth­er work.” Com­plet­ed in 1025, the com­pendi­um drew Greek, Roman, Ara­bic, Indi­an, and Chi­nese med­ical sci­ence togeth­er in five dense vol­umes of mate­r­i­al informed by the the­o­ries of Galen and struc­tured by the sys­tem­at­ic phi­los­o­phy of Aris­to­tle, whom Avi­cen­na (Abū-ʿAlī al-Ḥusayn ibn-ʿAb­dal­lāh Ibn-Sīnā) called “The First Teacher.”

Trans­lat­ed into Latin in the 12th cen­tu­ry and “often revised,” the Canon, notes the Stan­ford Ency­clo­pe­dia of Phi­los­o­phy, “formed the basis of med­ical instruc­tion in Euro­pean Uni­ver­si­ties until the 17th cen­tu­ry.” A copy of excerpts from the text has even been found trans­lat­ed into 15th-cen­tu­ry Irish, demon­strat­ing a link between medieval Ire­land and the Islam­ic world. Avicenna’s influ­ence gen­er­al­ly on the intel­lec­tu­al cul­ture of medieval and ear­ly mod­ern Europe and the Arab-speak­ing world can hard­ly be over­stat­ed.

Born in 980 A.D., the Per­sian philoso­pher and physi­cian was instru­men­tal in the recov­ery of Hel­lenic thought, first in the Islam­ic world, then lat­er in Europe. He took to the study of med­i­cine very ear­ly in his extra­or­di­nary career. “I became pro­fi­cient in it in the short­est time,” he says, “until the excel­lent schol­ars of med­i­cine began to study under me.” He also became a prac­tic­ing physi­cian, inspired by a desire to put his learn­ing to the test. “Through my expe­ri­ences I acquired an amaz­ing prac­ti­cal knowl­edge and abil­i­ty in meth­ods of treat­ment.”

The prac­ti­cal knowl­edge in The Canon of Med­i­cine was large­ly the basis for its con­tin­ued use for cen­turies. It lays out rules for drug test­ing, which include an insis­tence on human tri­als and the impor­tance of con­duct­ing mul­ti­ple exper­i­ments and show­ing con­sis­tent results across cas­es. Like most clas­si­cal sci­en­tif­ic texts, it weaves empir­i­cal obser­va­tion with meta­physics, the­ol­o­gy, scholas­tic spec­u­la­tion, and cul­tur­al bias­es par­tic­u­lar to its time and place. But the prac­ti­cal out­lines of its med­ical knowl­edge tran­scend its archaisms.

The work presents “an inte­grat­ed view of surgery and med­i­cine,” notes the Jour­nal of the Roy­al Soci­ety of Med­i­cine. In addi­tion to his immi­nent­ly use­ful guide for assess­ing the effects of drugs, Ibn Sina tells his read­ers “how to judge the mar­gin of healthy tis­sue to remove with an ampu­ta­tion,” an inter­ven­tion that has saved count­less num­bers of lives. “The endur­ing respect in the 21st cen­tu­ry for a book writ­ten a mil­len­ni­um ear­li­er is tes­ti­mo­ny to Ibn Sina’s achieve­ment.”

One of the defin­ing fea­tures of the text is its insis­tence on the prac­tice of med­i­cine as a sys­tem­at­ic sci­en­tif­ic pur­suit of equal mer­it to the the­o­riz­ing of it:

Some­one might say to us that med­i­cine is divid­ed into the­o­ret­i­cal and prac­ti­cal parts and that, by call­ing it a sci­ence, we have con­sid­ered it as being all the­o­ret­i­cal. To this we respond by say­ing that some arts and phi­los­o­phy have the­o­ret­i­cal and prac­ti­cal parts, and med­i­cine, too, has its the­o­ret­i­cal and prac­ti­cal parts. The divi­sion into the­o­ret­i­cal and prac­ti­cal parts dif­fers from case to case, but we need not dis­cuss these divi­sions in dis­ci­plines oth­er than med­i­cine. If it is said that some parts of med­i­cine are the­o­ret­i­cal and oth­er parts are prac­ti­cal, this does not mean that one part teach­es med­i­cine and the oth­er puts it into prac­tice – as many researchers in this sub­ject believe. One should be aware that the inten­tion is some­thing else: it is that both parts of med­i­cine are sci­ence, but one part is the sci­ence deal­ing with the prin­ci­ples of med­i­cine, and the oth­er with how to put those prin­ci­ples into prac­tice.

Of course, much of the med­ical the­o­ry in the Canon has been dis­proven, but it remains of keen inter­est to stu­dents of the his­to­ry of med­i­cine and of Euro­pean and Islam­ic intel­lec­tu­al cul­tur­al his­to­ry more gen­er­al­ly. Avi­cen­na tow­ers above his con­tem­po­raries, yet his work also bears wit­ness to the larg­er “intel­lec­tu­al cli­mate of his time,” as the site Med­ical His­to­ry Tour points out. He emerged from a milieu “shaped by cen­turies of trans­la­tion and cross-cul­tur­al schol­ar­ship” of Greek, Roman, Indi­an, Chi­nese, Per­sian, and Ara­bic lit­er­a­ture. “A rich Per­sian med­ical tra­di­tion began 200 years before Avi­cen­na.”

Nonethe­less, “how­ev­er the world came by the genius of Avi­cen­na, his influ­ence was last­ing,” with The Canon of Med­i­cine remain­ing a defin­i­tive “best prac­tices” guide to med­i­cine for cen­turies after its com­po­si­tion. See full scans of sev­er­al Ara­bic copies of the text at the Library of Congress’s World Dig­i­tal Library and read a full Eng­lish trans­la­tion of the mas­sive 5‑volume work, with its exten­sive chap­ters on def­i­n­i­tions, anato­my, eti­ol­o­gy, and treat­ments, at the Inter­net Archive.

Relat­ed Con­tent:

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

700 Years of Per­sian Man­u­scripts Now Dig­i­tized and Avail­able Online

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Provocative Art of Modern Sketch, the Magazine That Captured the Cultural Explosion of 1930s Shanghai


“With its news­pa­pers in every lan­guage and scores of radio sta­tions, Shang­hai was a media city before its time, cel­e­brat­ed as the Paris of the Ori­ent and ‘the wickedest city in the world.’ ” So British writer J.G. Bal­lard remem­bers the Chi­nese metrop­o­lis in which he grew up in his auto­bi­og­ra­phy Mir­a­cles of Life. “Shang­hai struck me as a mag­i­cal place, a self-gen­er­at­ing fan­ta­sy that left my own lit­tle mind far behind.” Born in 1930, Bal­lard caught Shang­hai at a par­tic­u­lar­ly stim­u­lat­ing time: “Devel­oped on the basis of ‘unequal treaties’ suc­ces­sive­ly insti­tut­ed after the First Opi­um War in 1842,” writes MIT’s John A. Crespi, Chi­nese port cities like Shang­hai “expe­ri­enced a wel­ter of tech­no­log­i­cal and demo­graph­ic changes,” includ­ing auto­mo­biles, sky­scrap­ers, rolled cig­a­rettes, movie the­aters cof­fee­hous­es, and much else besides.

Such heady days also gave rise to media that reflect­ed and cri­tiqued them, and 1930s Shang­hai pro­duced no more com­pelling an exam­ple of such a pub­li­ca­tion than Mod­ern Sketch (时代漫画, Shídài Màn­huà).

Among its points of inter­est, writes Crespi, “one can point to Mod­ern Sketch’s longevi­ty, the qual­i­ty of its print­ing, the remark­able eclec­ti­cism of its con­tent, and its inclu­sion of work by young artists who went on to become lead­ers in China’s 20th-cen­tu­ry cul­tur­al estab­lish­ment. But from today’s per­spec­tive, most intrigu­ing is the sheer imag­is­tic force with which this mag­a­zine cap­tures the crises and con­tra­dic­tions that have defined China’s 20th cen­tu­ry as a quin­tes­sen­tial­ly mod­ern era.”

Pub­lished month­ly from Jan­u­ary 1934 through June 1937, the mag­a­zine first appeared on news­stands just over two decades after the col­lapse of China’s dynas­tic sys­tem.  The mod­ern­iza­tion-mind­ed May Fourth Move­ment, nation­al­ist North­ern Expe­di­tion, and purge of com­mu­nists by “Gen­er­alis­si­mo” Chi­ang Kai-shek were even more recent mem­o­ries.

But the rel­a­tive sta­bil­i­ty of the “Nan­jing Decade” had begun in 1927, and its zeit­geist turned out to be rich soil for a wild cul­tur­al flow­er­ing in Chi­na’s coastal cities, none wilder than in Shang­hai. To the read­ing pub­lic of this time Mod­ern Sketch offered treat­ments of mate­r­i­al like “eroti­cized women, for­eign aggres­sion — par­tic­u­lar­ly the rise of fas­cism in Europe and mil­i­ta­rized Japan — domes­tic pol­i­tics and exploita­tion, and moder­ni­ty-at-large,” writes Crespi.

The mag­a­zine’s atti­tude “could be inci­sive, bit­ter, shock­ing, and cyn­i­cal. At the very same time it could be ele­gant, sala­cious, and pre­pos­ter­ous. Its mes­sages might be as sim­ple as child’s play, or cryp­ti­cal­ly encod­ed for cul­tur­al sophis­ti­cates.”

Some­times it did­n’t encode its mes­sages cryp­ti­cal­ly enough: as a result of one unflat­ter­ing depic­tion of Xu Shiy­ing, Chi­na’s ambas­sador to Japan, the author­i­ties sus­pend­ed pub­li­ca­tion and detained edi­tor Lu Shaofei. Not that Lu did­n’t know what he was get­ting into with Mod­ern Sketch: “On all sides a tense era sur­rounds us,” he wrote in the mag­a­zine’s inau­gur­al issue. “As it is for the indi­vid­ual, so it is for our coun­try and the world.”

As for an answer to the ques­tion of whether the strange and tense but enor­mous­ly fruit­ful cul­tur­al and polit­i­cal moment in which Lu and his col­lab­o­ra­tors found them­selves wold last, “the more one fails to find it, the more that desire grows. Our stance, our sin­gle respon­si­bil­i­ty, then, is to strive!”

You can read more about what project entailed, and see in greater detail its tex­tu­al and visu­al results, in Crespi’s his­to­ry of this mag­a­zine that strove to cap­ture the every­day real­i­ty of life on dis­play in 1930s Shang­hai — “though I some­times won­der,” Bal­lard writes, “if every­day real­i­ty was the one ele­ment miss­ing from the city.”

via 50 Watts

Relat­ed con­tent:

China’s New Lumi­nous White Library: A Strik­ing Visu­al Intro­duc­tion

Vin­tage 1930s Japan­ese Posters Artis­ti­cal­ly Mar­ket the Won­ders of Trav­el

A Curat­ed Col­lec­tion of Vin­tage Japan­ese Mag­a­zine Cov­ers (1913–46)

Exten­sive Archive of Avant-Garde & Mod­ernist Mag­a­zines (1890–1939) Now Avail­able Online

Free Chi­nese Lessons

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The First Faked Photograph (1840)

The pho­to­graph was invent­ed in the ear­ly 19th cen­tu­ry, but who invent­ed it? His­to­ries of pho­tog­ra­phy point to sev­er­al dif­fer­ent inde­pen­dent inven­tors, most of them French: Nicéphore Niépce, for exam­ple, who in 1826 made the first work rec­og­niz­able as a pho­to­graph, or more famous­ly Louis Daguerre, hon­ored for his inven­tion of the daguerreo­type pho­to­graph­ic process by the French Acad­e­my of Sci­ences and the Académie des Beaux Arts in 1839. But what about Daguer­re’s con­tem­po­rary Hip­poly­te Bayard, who had also been devel­op­ing and refin­ing his own form of pho­tog­ra­phy? After going unac­knowl­edged by the Acad­e­my, he had only one option left: sui­cide.

The Vox Dark­room video above tells the sto­ry of Bayard’s 1840 Self Por­trait as a Drowned Man, which depicts exact­ly what its title sug­gests: Bayard’s corpse, retrieved from the water and propped up unclaimed at the morgue. “The Gov­ern­ment which has been only too gen­er­ous to Mon­sieur Daguerre, has said it can do noth­ing for Mon­sieur Bayard, and the poor wretch has drowned him­self,” reads the note on the back of the pho­to­graph. “Oh the vagaries of human life.…!”

A sor­ry tale, to be sure, and of a kind not unknown in the his­to­ry of inven­tion. But wait: how could a dead man shoot a “self-por­trait”? And if indeed “no-one has rec­og­nized or claimed him,” as the note adds, who would have both­ered to write the note itself?

Bayard, still very much alive, made Self Por­trait as a Drowned Man as a kind of artis­tic stunt, the lat­est in a series of self-por­traits test­ing his pho­to­graph­ic process. The “morgue” shot con­tains some of the arti­facts in its pre­de­ces­sors, includ­ing a gar­den stat­ue, a flo­ral vase, and Bayard’s sig­na­ture broad straw hat. (Even the expres­sion of death was of a piece with his pre­vi­ous self-por­traits: the long expo­sure time meant he’d had to hold absolute­ly still with his eyes closed in all of them as well.) Until his death in 1887 — long after Daguerre had passed — Bayard con­tin­ued exper­i­ment­ing with pho­tog­ra­phy, cre­at­ing real­i­ty-depart­ing images includ­ing “dou­ble self por­traits.” If he could­n’t go down as the inven­tor of the pho­to­graph, at least he could go down as the inven­tor of the fake pho­to­graph — a still-rel­e­vant inven­tion, to say the least, giv­en our increas­ing­ly com­pli­cat­ed rela­tion­ship with the truth in the 21st cen­tu­ry.

Relat­ed Con­tent:

The First Pho­to­graph Ever Tak­en (1826)

See the First Pho­to­graph of a Human Being: A Pho­to Tak­en by Louis Daguerre (1838)

See The First “Self­ie” In His­to­ry Tak­en by Robert Cor­nelius, a Philadel­phia Chemist, in 1839

Arti­fi­cial Intel­li­gence Cre­ates Real­is­tic Pho­tos of Peo­ple, None of Whom Actu­al­ly Exist

Long Before Pho­to­shop, the Sovi­ets Mas­tered the Art of Eras­ing Peo­ple from Pho­tographs — and His­to­ry Too

The His­to­ry of Pho­tog­ra­phy in Five Ani­mat­ed Min­utes: From Cam­era Obscu­ra to Cam­era Phone

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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