Writing art history, like most academic writing I would imagine, entails keeping a bunch of plates spinning - much like those circus performers (one could go too far with the simile, so I'll be brief) who set plates spinning on tall sticks, you get an idea going, then another, and another, and another, and by the time you have five or six plates going, you have an act - you have something worth talking about. It takes a long time, much effort, and several false starts to get those plates up and going, and what I struggled with today was trying to get them all going again all at once. Guess what? It didn't work, and the two additional percent written on my Leeds paper was really just some rewriting. But I did what I had to do: I reread the paper and remembered where I was going with it; and I looked at the images afresh and tried to decide on some key points. I have about 1000 words left and way too much material left. That's going to be a bit of a problem, too. I need to finish this paper very quickly and go back to expanding it into a book chapter. The May school calendar is creating additional pressures as well: no school next Thursday and Friday because of Ascension (aaaah! (angelic voices)); and no school Monday the 24th because of Pentecost (aaaah! again). So - Leeds paper done by Tuesday afternoon, and chapter writing (slower, more difficult, but I finally get to say everything I want to say) starts the week after. Mac and I have also decided that we need to start working mornings, too - so I'll get the 7:30 - 9 a.m. time slot and he'll get the 9:30-11 a.m. time slot. Just to keep the thoughts going, the plates spinning so that we don't have to repeat today too many times.So up there you see François promising to rid his Empire of Tyranny, i.e. the Ottoman Turks. I'm really glad that I read the novel, The Historian - it dealt a great deal with Ottoman Turks in Hungary, and this is what I'm reading about these days. I know that the big switch from supporting Pope Leo X's call to Crusade in 1517 to the 1525 and on alliance with Soliman the Magnificent was politically and militarily motivated by François's endless war with the Holy Roman Emperor Charles V, but I want to trace the images and work with the ambiguities of Orientalism - it's astounding how long Western culture has simultaneously constructed, been repulsed by, and been fascinated by characteristics of the Middle Eastern/Muslim Other such as violence, cruelty and tyranny. In some ways, they get it all from the Greeks (who had many similar things to say about the Persians), but in other ways, it's all very immediate and real. The "tyranny" associations is really interesting - and still very much in use in American politics about the Middle East. So, hopefully Monday you'll get something more focused from me - once I start writing about the images things fall into better place.
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