Günther Oestmann – författare

This volume examines the specific role of horoscopic astrology in Western culture from antiquity to the nineteenth century. Focusing on the public appearance of astrological rhetoric, the essays break new ground for a better understanding of the function of horoscopes in public discourse. The volume's three parts address the use of imperial horoscopes in late antiquity, the transformation of doctrines and rhetorics in Islamic medieval contexts, and the important status of astrology in early modern Europe. The combination of in-depth historical studies and methodological considerations results in an important contribution to religious and cultural studies.

This volume examines the specific role of horoscopic astrology in Western culture from antiquity to the nineteenth century. Focusing on the public appearance of astrological rhetoric, the essays break new ground for a better understanding of the function of horoscopes in public discourse. The volume's three parts address the use of imperial horoscopes in late antiquity, the transformation of doctrines and rhetorics in Islamic medieval contexts, and the important status of astrology in early modern Europe. The combination of in-depth historical studies and methodological considerations results in an important contribution to religious and cultural studies.

Strasbourg Cathedral’s astronomical clock is one of the most famous monuments to Time in the world. No other clock has been described and appreciated so often and in such a myriad of ways. There were three clocks built consecutively within the cathedral: the earlier fourteenth century clock has left little trace; a second clock was realized in 1570-1574; while the nineteenth century clock began as a proposal for repairs, but was intended by its maker as a replacement clock. This book gives a detailed outline of the artistic and technical components of the second clock, much of which survives, and it describes the astronomical indications and its underlying conceptual framework. The author has discovered a hitherto disregarded contemporary statement that the clock displays four ways of determining the ascendant as described by Ptolemy. He also shows that the Strasbourg clock is the result of a highly original reception of the architectural theory of Vitruvius and other mathematical and mechanical texts of Late Antiquity.Revised and updated translation from the German edition Die Straßburger Münsteruhr: Funktion und Bedeutung eines Kosmos-Modells des 16. Jahrhunderts. Published by GNT-Verlag in 1993.See inside this book.