Over the last thirty years, more and more critics and scholars have come to recognize the significant influence of science on literature. This collection of essays focuses specifically on what poets i
W. B. Yeats, T. S. Eliot, Ezra Pound, H. D., and David Jones, major poets of the early twentieth century, were fully involved in the historic conflict between religion and science. Jacob Korg's study
This anthology is the companion volume to The Appreciation of Modern French Poetry, the aim of which was to give detailed preliminary help with the problems of poetic appreciation. The fourteen poets represented here provide a varied and exciting introduction to what is probably the richest century of French poetry, from 1850 to 1950. Hugo, the colossus of the nineteenth century, whose work gives new resonance and vitality to imaginative vision, opens the anthology, and Michaux, the most individual and 'modern' of twentieth-century poets in that he bridges the gap between poetry and contemporary science, closes it. Almost all the major poets of the period are included: Nerval, Baudelaire, Mallarmé, Verlaine, Rimbaud and Laforgue from the second half of the nineteenth century; Valéry, Apollinaire, Supervielle and Eluard in the twentieth. The lesser known Cros and Desnos, fresh and spontaneous poets with an immediate appeal, invite a new look at the lyric traditions of french verse and o
Science, Reading, and Renaissance Literature brings together key works in early modern science and imaginative literature (from the anatomy of William Harvey and the experimentalism of William Gilbert to the fictions of Philip Sidney, Edmund Spenser and Margaret Cavendish). The book documents how what have become our two cultures of belief define themselves through a shared aesthetics that understands knowledge as an act of making. Within this framework, literary texts gain substance and intelligibility by being considered as instances of early modern knowledge production. At the same time, early modern science maintains strong affiliations with poetry because it understands art as a basis for producing knowledge. In identifying these interconnections between literature and science, this book contributes to scholarship in literary history, history of reading and the book, science studies and the history of academic disciplines.
To the readers who ask themselves: 'What is science?', this volume provides an answer from an early modern perspective, whereby science included such various intellectual pursuits as history, poetry,
To the readers who ask themselves: 'What is science?', this volume provides an answer from an early modern perspective, whereby science included such various intellectual pursuits as history, poetry,
In 1959, C. P. Snow lamented the presence of what he called the 'two cultures': the apparently unbridgeable chasm of understanding and knowledge between modern literature and modern science. In recent decades, scholars have worked diligently and often with great ingenuity to interrogate claims like Snow's that represent twentieth- and twenty-first-century literature and science as radically alienated from each other. The Cambridge Companion to Literature and Science offers a roadmap to developments that have contributed to the demonstration and emergence of reciprocal connections between the two domains of inquiry. Weaving together theory and empiricism, individual chapters explore major figures - Shakespeare, Bacon, Emerson, Darwin, Henry James, William James, Whitehead, Einstein, Empson, and McClintock; major genres and modes of writing - fiction, science fiction, non-fiction prose, poetry, and dramatic works; and major theories and movements - pragmatism, critical theory, science st
In 1959, C. P. Snow lamented the presence of what he called the 'two cultures': the apparently unbridgeable chasm of understanding and knowledge between modern literature and modern science. In recent decades, scholars have worked diligently and often with great ingenuity to interrogate claims like Snow's that represent twentieth- and twenty-first-century literature and science as radically alienated from each other. The Cambridge Companion to Literature and Science offers a roadmap to developments that have contributed to the demonstration and emergence of reciprocal connections between the two domains of inquiry. Weaving together theory and empiricism, individual chapters explore major figures - Shakespeare, Bacon, Emerson, Darwin, Henry James, William James, Whitehead, Einstein, Empson, and McClintock; major genres and modes of writing - fiction, science fiction, non-fiction prose, poetry, and dramatic works; and major theories and movements - pragmatism, critical theory, science st
Science, Reading, and Renaissance Literature brings together key works in early modern science and imaginative literature (from the anatomy of William Harvey and the experimentalism of William Gilbert to the fictions of Philip Sidney, Edmund Spenser and Margaret Cavendish). The book documents how what have become our two cultures of belief define themselves through a shared aesthetics that understands knowledge as an act of making. Within this framework, literary texts gain substance and intelligibility by being considered as instances of early modern knowledge production. At the same time, early modern science maintains strong affiliations with poetry because it understands art as a basis for producing knowledge. In identifying these interconnections between literature and science, this book contributes to scholarship in literary history, history of reading and the book, science studies and the history of academic disciplines.
Surrealist Art and Thought in the 1930s examines the intersection of Hegelian aesthetics, experimental art and poetry, Marxism and psychoanalysis in the theory and practice of the Surrealist movement. Locating Surrealist art and thought between modernist art and revolutionary politics, Steven Harris investigates the consequences of the Surrealists' efforts to synthesize these diverse concerns, through the invention, in 1931, of the object and in the recasting of their activities as a mode of revolutionary science. Providing a context for the cultural and political debates in France and the Soviet Union during the 1930s, he also analyzes the debate on proletarian literature, the Surrealists' reaction to the Popular Front, and their eventual defense of an experimental modern art following their break with the French Communist Party in 1935.
This Italian work, published in Naples in 1897, provides a comprehensive bibliography of works, published in Europe and the United States prior to the twentieth century, on the subject of Mount Vesuvius. Federigo Furchheim (b. 1844) begins with the famous eruption of 1631, on the ground that ancient accounts are sufficiently well known, and that reports and descriptions before the seventeenth century are not reliable. The bibliography is wide-ranging and includes works on other volcanos (such as Santorini), earthquakes and mineralogy. Nor is it confined to factual observations: travel writing, poetry, and even fiction, including Bulwer Lytton's The Last Days of Pompeii, appear alongside scientists such as Sir Humphry Davy and enthusiastic amateurs such as Sir William Hamilton. The book includes a chronological listing of published maps and illustrations, and an appendix, arranged chronologically and by topic, that briefly lists ancient and medieval accounts as well as more modern publi
A History of Virginia Literature chronicles a story that has been more than four hundred years in the making. It looks at the development of literary culture in Virginia from the founding of Jamestown in 1607 to the twenty-first century. Divided into four main parts, this History examines the literature of colonial Virginia, Jeffersonian Virginia, Civil War Virginia, and modern Virginia. Individual chapters survey such literary genres as diaries, histories, letters, novels, poetry, political writings, promotion literature, science fiction, and slave narratives. Leading scholars also devote special attention to several major authors, including William Byrd of Westover, Thomas Jefferson, Ellen Glasgow, Edgar Allan Poe, and William Styron. This book is of pivotal importance to the development of American literature and of American studies more generally.
Robert Frost is one of the most popular American poets and remains widely read. His work is deceptively simple, but reveals its complexities upon close reading. This Introduction provides a comprehensive but intensive look at his remarkable oeuvre. The poetry is discussed in detail in relation to ancient and modern traditions as well as to Frost's particular interests in language and sound, metaphor, science, religion, and politics. Faggen both looks back to the literary traditions that shape Frost's use of form and language, and forward to examine his influence on poets writing today. The recent controversies in Frost criticism and in particular in Frost biography are brought into sharp focus as they have shaped the poet's legacy and legend. The most accessible overview available, this book will be invaluable to students, readers and admirers of Frost.
This collection of specially-commissioned essays by experts in the field explores key dimensions of Robert Frost's poetry and life. Frost remains one of the most memorable and beguiling of modern poets. Writing in the tradition of Virgil, Milton, and Wordsworth, he transformed pastoral and georgic poetry both in subject matter and form. Mastering the rhythms of ordinary speech, Frost made country life the point from which to view the world and the complexities of human psychology. The essays in this volume enable readers to explore Frost's art and thought, from the controversies of his biography to his subtle reinvention of poetic and metric traditions and the conflicts in his thought about politics, gender, science and religion. This volume will bring fresh perspectives to the lyric, narrative and dramatic poetry of an American master, and its chronology and guide to further reading will prove valuable to scholars and students alike.
Robert Frost is one of the most popular American poets and remains widely read. His work is deceptively simple, but reveals its complexities upon close reading. This Introduction provides a comprehensive but intensive look at his remarkable oeuvre. The poetry is discussed in detail in relation to ancient and modern traditions as well as to Frost's particular interests in language and sound, metaphor, science, religion, and politics. Faggen both looks back to the literary traditions that shape Frost's use of form and language, and forward to examine his influence on poets writing today. The recent controversies in Frost criticism and in particular in Frost biography are brought into sharp focus as they have shaped the poet's legacy and legend. The most accessible overview available, this book will be invaluable to students, readers and admirers of Frost.
This collection of specially-commissioned essays by experts in the field explores key dimensions of Robert Frost's poetry and life. Frost remains one of the most memorable and beguiling of modern poets. Writing in the tradition of Virgil, Milton, and Wordsworth, he transformed pastoral and georgic poetry both in subject matter and form. Mastering the rhythms of ordinary speech, Frost made country life the point from which to view the world and the complexities of human psychology. The essays in this volume enable readers to explore Frost's art and thought, from the controversies of his biography to his subtle reinvention of poetic and metric traditions and the conflicts in his thought about politics, gender, science and religion. This volume will bring fresh perspectives to the lyric, narrative and dramatic poetry of an American master, and its chronology and guide to further reading will prove valuable to scholars and students alike.
In Modernism and Eugenics, first published in 2001, Donald Childs shows how Virginia Woolf, T. S. Eliot and W. B. Yeats believed in eugenics, the science of race improvement and adapted this scientific discourse to the language and purposes of the modern imagination. Childs traces the impact of the eugenics movement on such modernist works as Mrs Dalloway, A Room of One's Own, The Waste Land and Yeats's late poetry and early plays. The language of eugenics moves, he claims, between public discourse and personal perspectives. It informs Woolf's theorization of woman's imagination; in Eliot's poetry, it pictures as a nightmare the myriad contemporary eugenical threats to humankind's biological and cultural future. And for Yeats, it becomes integral to his engagement with the occult and his commitment to Irish Nationalism. This is an interesting study of a controversial theme which reveals the centrality of eugenics in the life and work of several major modernist writers.
At a time when religion and science are thought to be at loggerheads, art is widely hailed as religion's natural spiritual ally. Philosophy, Art, and Religion investigates the extent to which this is true. It charts the way in which modern conceptions of 'Art' often marginalize the sacred arts, construing choral and instrumental music, painting and iconography, poetry, drama, and architecture as 'applied' arts that necessarily fall short of the ideal of 'art for art's sake'. Drawing on both history of art and philosophical aesthetics, Graham sets out the historical context in which the arts came to free themselves from religious patronage, in order to conceptualize the cultural context in which religious art currently finds itself. The book then relocates religious art within the aesthetics of everyday life. Subsequent chapters systematically explore each of the sacred arts, using a wide range of illustrative examples to uncover the ways in which artworks can illuminate religious faith
At a time when religion and science are thought to be at loggerheads, art is widely hailed as religion's natural spiritual ally. Philosophy, Art, and Religion investigates the extent to which this is true. It charts the way in which modern conceptions of 'Art' often marginalize the sacred arts, construing choral and instrumental music, painting and iconography, poetry, drama, and architecture as 'applied' arts that necessarily fall short of the ideal of 'art for art's sake'. Drawing on both history of art and philosophical aesthetics, Graham sets out the historical context in which the arts came to free themselves from religious patronage, in order to conceptualize the cultural context in which religious art currently finds itself. The book then relocates religious art within the aesthetics of everyday life. Subsequent chapters systematically explore each of the sacred arts, using a wide range of illustrative examples to uncover the ways in which artworks can illuminate religious faith
This volume brings John Milton's Paradise Lost into dialogue with the challenges of cosmology and the world of Galileo, whom Milton met and admired: a universe encompassing space travel, an earth that participates vibrantly in the cosmic dance, and stars that are 'world[s] / Of destined habitation'. Milton's bold depiction of our universe as merely a small part of a larger multiverse allows the removal of hell from the center of the earth to a location in the primordial abyss. In this wide-ranging work, Dennis Danielson lucidly unfolds early modern cosmological debates, engaging not only Galileo but also Copernicus, Tycho, Kepler, and the English Copernicans, thus placing Milton at a rich crossroads of epic poetry and the history of science.
