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Anne Tyng’s pioneering work in morphology is a stark counterpoint to the dominant paradigms of architectural design during the twentieth century. She saw in academic research a primary driver of advanced design practice and education, becoming one of the earliest interdisciplinary educators to rigorously bring a research-based ethos into the discipline. She produced knowledge not merely to indulge her personal curiosity or as fodder for peer consumption, but also as pedagogical fuel. Though there has recently been increasing interest in this mathematician-architect’s thought and work, little has been said about her oeuvre’s relationship to her pedagogy. Deploying a recondite intellectual interest as an epistemology undergirding both design and scholarship, Tyng conceptualised and taught architecture as a process of induction that takes up the natural world as its field of investigation. Pedagogy was her means of effecting a disciplinary turn to architecture as a process of Truth seeking. Her academic activity sustained her intellectual infidelity to the prevailing ethos. Such principled perfidy, however, has not been a guarantee of widespread recognition.
Most scholars who comment on Catherine of Aragon's speech and movements at the annulment trial on 21 June 1529 have overlooked significant discrepancies between the five eyewitness accounts of this day—by an English gentleman, the English king, and the French, Venetian, and Vatican envoys. This essay, in contrast, gives particular focus to discrepancies in these accounts. These contradictions speak to a rhetorical war over Catherine's reputation, one that reflects tensions across Europe that were exacerbated by the trial. Catherine herself may be termed an agent in this rhetorical war, given that her own voice makes itself heard within each account.
This article addresses the explicit utilization of Christian discourse about hell and purgatory within the writings of sixteenth-century Italian Jewry. The vast majority of Jewish texts about hell (gehinnom) from the period ignore Christian discourse on the topic or only allude to it obliquely. Three unpublished Hebrew sources, two of them drawn from informal marginalia, demonstrate a more open approach, in which the infernal cosmography and terminology of Christianity are consciously and explicitly appropriated. These sources not only serve as important case studies for Jewish understandings of hell during the period but also can shed broader light on the types of cultural maneuvering that characterized Jewish cultural life in the Christian milieu of Cinquecento Italy.