Suono e Spettacolo. Athanasius Kircher, un percorso nelle Immagini sonore.

The Society of Jesus made great propaganda efforts throughout the seventeenth century and chose the images and the play as a privileged means to communicate and persuade. Athanasius Kircher, a key figure of the seventeenth century, he decided to dominate the wild nature of sound through Phonurgia Nova, which includes a gallery of powerful symbolic images for Baroque aesthetics. The essay, through the grant of the images from the Library of the Department of Mathematics "Guido Castelnuovo" Sapienza University of Rome, aims to understand, through the pictures offered by Kircher, the sound phenomenon and the spectacle that this produces. In Phonurgia Nova a process of dramatization sound effects takes place, often through machines and "visions" applied to the theatrical reality, as experimental and astonishing environment beloved in baroque. Kircher illustrates the sound through explanatory figures, so to dominate the sound through the eyes. Sound is seen, admired and represented: its spectacle not only takes place through the implementation of sound machines or the "wonders" applied to the theater, but even through images, creating create a sense of wonder in in the erudite person of the seventeenth century

Developments in Structuring of Reformed Theology:The Synopsis Purioris Theologiae (1625) as Example

The Synopsis Purioris Theologiae (1625), an influential handbook of Reformeddogmatics, began as a cycle of disputations. A comparison of it with the cyclesthat were held previously in Leiden reveals some shifts in the structure of Reformeddogmatics. After introducing the Synopsis, this paper highlights thefunction of prolegomena, the place of predestination, and the relationship betweenthe magistrate and eschatology. It concludes that the choices made in theSynopsis illustrate tensions in Reformed theology. After the conflict with theRemonstrants it became urgent to carefully define the character of theology inthe prolegomena, to relate predestination to the person and work of Christ, andto connect the task of the magistrate to the doctrine of the church

Engaging audiences with difficult pasts: the Voices of ’68 Project at the Ulster Museum, Belfast

Can history museums influence the relationship between divided communities? This paper explores why an initially modest collaboration between the authors and the Ulster Museum on the non‐violent Northern Ireland Civil Rights Movement of 1968/69, eventually had substantial impact beyond the museum’s walls. Having placed the Northern Ireland Civil Rights Movement within the context of both the international protests of 1968 and the specific environment of Northern Ireland, particularly the virtual civil war known as the Troubles, the paper turns to the role of museums in responding to the legacy of this past, and the evolving practice of the Ulster Museum, as background to the project. The latter began as a limited intervention within an existing display, based on oral histories and underpinned by the theory of ‘agonism’, proposing that divided communities must learn to live with difference. It eventually included exhibitions, workshops, school study days, curricular materials and online provision. It has directly influenced the Northern Ireland GCSE History Curriculum and been held up as an example of good practice within the province’s peace process. The paper discusses why the project succeeded – location within a national museum; credibility with protagonists, academics, communities and audiences; starting small; a willingness to take risks and share control; multiple perspectives; and an acceptance that not everyone will be satisfied. With a version of the Voices of 68 exhibition now installed in the Museum’s permanent gallery, the next challenges are longitudinal studies on its impact and assessing the approach’s relevance to other museums working in post‐conflict societies