Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

This volume follows shifting conceptions of decadence in art and society at various moments in British literature. The decline from a higher standard, social malaise, aesthetic ennui -- all of these ideas presume certain facts about the past, the present, and time's linear nature. To reject the past as a given and to relish the subtleties of present nuance is the beginning of decadence. This study explores the inherent conflict between society's moral contempt toward purportedly decadent artists and (...) the artist's belief that the stranglehold society maintained on individual interpretation was true decadence. (shrink)

The ‘musca depicta’ trope is well known to art historians, with a history going back to Pliny. It flourished in the Renaissance, but in eighteenth-century England the meaning of the trope was altered greatly when employed in popular culture, both in live theatrical presentations (by George Alexander Stevens) and in published poetry (by James Robertson, comedian of York). Originally, the trope signalled the virtuosity of the painter, who was able to fool the eye by depicting flies so real that the (...) viewer attempted to shoo them off the picture. However, in the hands of Stevens and Robertson, that bit of theatre was turned on its head, as the supposed connoisseur engaged in a harsh criticism of a painting is startled when a fly that he thinks poorly depicted suddenly flies off the canvas, thereby rendering the connoisseur a satiric target. (shrink)

In a time of political, epistemic and aesthetic revolutions, early 18th-century Britain saw the emergence of a public discourse of common sense which had a lasting influence on cliched concepts of cultural identity. By retracing the compensatory impulses of common sense discourse and highlighting the role of literary texts in its formation and dissemination, this study challenges the received view of Augustan England as a mere Age of Reason.".

The history of British political thought has been one of the most fertile fields of Anglo-American historical writing in the last half-century. David Armitage brings together an interdisciplinary and international team of authors to consider the impact of this scholarship on the study of early modern British history, English literature, and political theory. Leading historians survey the impact of the history of political thought on the 'new' histories of Britain and Ireland; eminent literary scholars offer novel critical (...) methods attentive to literary form, genre, and language; and distinguished political theorists treat the relationship of history and theory in studies of rights and privacy. The outstanding examples of critical practice collected here will encourage the emergence of fresh research on the historical, critical, and theoretical study of the English-speaking world in the period around 1500-1800. This volume celebrates the contribution of the Folger Institute to British studies over many years. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

This book is a collection of essays, and is an exercise in literary criticism. Most of the entries couple a philosopher with a literary artist, and the majority of these have an emphasis on the philosophical partner which one frequently fails to find in this sort of study. While few of the critics are capable of sustaining their subtle distinctions, a task properly required of a philosopher, it is nonetheless true that few philosophers can likewise do this. The ability to (...) systematically sustain these distinctions is what characterizes those first-order thinkers whom the body of philosophers and critics alike study. Granting this, the fact still remains that first-rate criticism is vastly more palatable intellectual fodder than is less than first-rate philosophizing. Studies such as the current one bring philosophy back into reality; the relation of a philosopher’s thought to his period, in all of the latter’s diversity, gives to that thought a realistic character that more transparently informs the creations of the fine arts than it does the original products of thought. And if thought is to avoid the sterility which so antagonized both a Sterne and a Hegel, and to become genuinely meaningful, this larger context will be forever indispensable.—R. J. G. (shrink)

Literature from the United Kingdom and the United States represents the cultural expression of those peoples' lived experiences. Reading British and American literature may also aid in our understanding of the values, worldview, and ideological underpinnings of western civilization. Therefore, this thesis examines the mythological and religious themes in British and American literature using literary works from both countries. Greek Myth is the source and soil of ancient Greek literature. Ancient Greek and Roman (...) class='Hi'>literature is a rich treasure for later generations to understand myths, providing creative materials for later British and American writers. It can be said that myths and religious ideas gave birth to great literary works and some immortal poets. Among them, "_Wuthering Heights_" is the main representative work of 19 th -century literature and occupies an important position in British and American literary history. Based on this, this paper discusses British and American literature's religious and cultural characteristics in "_Wuthering Heights_", mainly from the perspective of environment description and plot shaping. I hope this research can play a role in attracting jade. (shrink)

In Literature and Truth Richard Lansdown continues a discussion concerning the truth-bearing status of imaginative literature that pre-dates Plato. The book opens with a general survey of contemporary approaches in philosophical aesthetics, and a discussion of the contribution to the question made by British philosopher R. G. Collingwood in particular, in his Speculum Mentis. It then offers six case-studies from the Romantic era to the contemporary one as to how imaginative authors have variously dealt with bodies of (...) discursive thought such as Stoicism, Christianity, evolution, humanism, and socialism. It concludes with a reading going in the other direction, in which the diary of Bronislaw Malinowski is seen in terms of the anthropologist's reading habits during his legendary Trobriander fieldwork. (shrink)

Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular (...) literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book. (shrink)

In the ever-expanding field of nuclear history, studies of ‘nuclear culture’ are becoming increasingly popular. Often situated within national contexts, they typically explore responses to the nuclear condition in the cultural modes of literature, art, music, theatre, film and other media, as well as nuclear imagery more generally. This paper offers a critique of current conceptions of ‘nuclear culture’, and argues that the term has little analytical coherence. It suggests that historians of ‘nuclear culture’ have tended to essentialize the (...) nuclear to the detriment of historical analysis, and that the wide variety of methodological approaches to ‘nuclear culture’ are simultaneously a strength and a more significant weakness, in that they have little shared sense of the meaning of the term, its theoretical underpinnings or its analytical purchase. The paper then offers a study of Ewan MacColl's 1946 playUranium 235, whose career reveals much about the diversity of cultures of the nuclear in post-war Britain. The study moves us away from a single, homogeneous ‘British nuclear culture’ towards a pluralistic critical history of cultural responses to nuclearization. These responses, I conclude, should be seen as collectively constitutive of the nuclear condition rather than as passive reflections of it. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

This timely book argues that the institutionalisation of literary theory, particularly within American and British academic circles, has led to a sterility of thought which ignores the special character of literary art. Mark Edmundson traces the origins of this tendency to the ancient quarrel between philosophy and poetry, in which Plato took the side of philosophy; and he shows how the work of modern theorists - Foucault, Derrida, de Man and Bloom - exhibits similar drives to subsume poetic art (...) into some 'higher' kind of thought. Challenging and controversial, this book should be read by all teachers of literature and of theory, and by anyone concerned about the future of institutionalised literary studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and the Contemporary British Novel by Caroline EdwardsMark SchmittCaroline Edwards. Utopia and the Contemporary British Novel. Cambridge: Cambridge University Press, 2021. 277 pp. Paperback, ISBN 9781108712392.The development of the novel as a literary form is closely linked to the representational mode of realism and how it can convey the human experience of time. That the novel distinguishes itself substantially from earlier forms of literature (...) in how it attempts to capture temporality through means of literary realism has been acknowledged ever since Ian Watt’s The Rise of the Novel (1957). As such, the novel form underwent dramatic changes throughout the periods of modernity and postmodernity, with modernist and postmodernist techniques of representation mirroring shifts in the temporal experience. But how can the contemporary novel—a category itself loaded with implication and definitional problems—of the twenty-first century confront the particular representational challenges of its time? This is the question that Caroline Edwards addresses in her study Utopia and the Contemporary British Novel. Edwards is concerned with the wider repercussions of the post-postmodernist notion of the Fukuyaman thesis of the “end of history” and the profound challenges to this thesis in the face of the post-9/11 unfolding of the twenty-first century. The temporal experience of this century is marked by what Edwards calls “non-contemporaneity,” that is, a “political, and even ontological uncertainty” (9). In the context of contemporary literature, the resulting “temporal disjointedness that marks our experience in the twenty-first century” has “given rise to different expressions of the unevenness of the contemporary, at the level of novelistic structure, prose style, generic sampling and non-mimetic interventions into otherwise realist narratives and juxtaposed timescales” (9). The notion of non-contemporaneity is drawn from Ernst Bloch’s concept of Ungleichzeitigkeit, which Edwards considers to be “productive to thinking about the complexity of [End Page 595] utopian times and the different kinds of pasts and futures that circulate within our own present moment of contemporaneity, which is inescapably non-contemporaneous with itself ” (30). Edwards considers this noncontemporaneity as a prevalent temporal register in contemporary British fiction that speak to the crises of temporality associated with a range of political, social, and economic events and processes that have marked the first decades of the twenty-first century. The seemingly natural unfolding of the “the linear progressive time of neoliberalism” (8), what Mark Fisher has called “capitalist realism,” has increasingly been put into question, not least due to the 2008 Global Financial Crisis (158). Similarly, Edwards identifies the 2016 Brexit referendum as symptomatic of a nationalism that must, following Michael Gardiner, always appear to be “out of time” (8). Such crises are thus indicative of anachronistic unevenness and conflicting temporalities. Consequently, a literary fiction that wants to adequately represent these struggles with temporality cannot confine itself to the pitfalls of literary realism, but it would be equally ill-suited by resorting to postmodernist metafiction and irony. Rather, as Edwards contends, the twenty-first-century fictions that she discusses attempt to complicate realist modes by using disruptive and experimental narrative techniques that amount to “non-mimetic experiments with narrative voice and structure” and “delinearised” temporalities (4). With this approach, Edwards argues, these texts interrogate the present as unstable.The four main chapters of Edwards’s book proceed by first establishing the dominant philosophical and theoretical concepts underlying her hypothesis. Chapter 2 (“Reading Fictions of the Not Yet”) is a theoretical and methodological chapter and offers an in-depth engagement with theories of temporality and narratology. Edwards’s aim here is to advocate for an updating of conventional narratology to account for the multilayered narrative experiments with time since modernism and especially in contemporary fiction. Her approach to theorization and analysis is inspired by Elizabeth Freeman’s Time Binds: Queer Temporalities, Queer Histories (2010) in the decision to focus on close readings of a small number of primary texts and read them as texts or aesthetic artifacts that develop “theories of their own” (29). The chapter offers an in-depth engagement with Bloch’s philosophy of utopianism and his concept of Ungleichzeitigkeit.Another cornerstone for Edwards’s theory and method is the work of... (shrink)

Volume 24, Issue 3-4, May - June 2019, Page 259-263.

This book analyzes iconic British children's literature through the lens of formal educational theory, policy, and practice. Examining themes like growth mindset and project-based learning alongside educational philosophers like Plato, Rousseau, and Dewey, the author sheds new light on children’s classics from Alice in Wonderland to Harry Potter.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Seventeenth-Century British PhilosophersA. P. MartinichAndrew Pyle, general editor. The Dictionary of Seventeenth-Century British Philosophers. 2 volumes. Bristol: Thoemmes Press, 2000. Pp. xxi + 932. Cloth, $550.00.The history of modern philosophy is flourishing. More scholars are producing excellent works in this area than ever before. A large part of this health is due to scholars whose primary training is not in philosophy, such as (...) historians of political thought or literature (hereafter: historians). The dictionary being reviewed here is a case in point, a production of more than ninety scholars of whom the overwhelming majority are not formally trained philosophers.The dictionary consists of about 400 entries, alphabetically from Isaac Abendana (d. 1699) to Richard Zouche (1590-1661) and chronologically from John Case and Richard Hooker, both of whom died in 1600, to Richard Mead (1673-1754). As this list indicates, the general editor construed "philosopher" very broadly, too broadly, I think. There should be no objection to including scientists like Robert Boyle and Newton, theologians like William Chillingsworth and Henry Hammond, and poets like Andrew Marvell and John Milton, each of whom wrote some works with philosophical import. But Ralph Bathurst, a physician, comes no closer to being a philosopher than being "an early admirer of Hobbes's scientific work and [having] contributed some enthusiastic Latin verses to the latter's Humane Nature (1650)" (75a). Likewise Richard Barckley (fl. 1598), about whose life virtually "[n]othing is known" and whose sole book may be described as consisting of "meatpies stuffed with commonplaces"—Montaigne's phrase—does not deserve inclusion (55a, 56a). (Jill Kraye, the author of the article, serves Barckley very well.)Ramist logicians "are largely excluded... [because] they tended to assimilate logic to rhetoric and to limit it to the orderly exposition of what is already known" (p. x). Nonetheless, it is unfortunate, I think, that Abraham Fraunce (c. 1558-1633) and George Downham (d. 1634) are not included.The best articles tend to be about the best philosophers of the age: Thomas Hobbes and John Locke by G. A. J. Rogers, Shaftesbury by David McNaughton, and Francis Bacon by Graham Rees (who pointedly observed about Historia ventorum that "Bacon accomplished the considerable feat of making the weather boring" [41b]). Although by quality of thought and influence, each of these warrant longer treatment, the editor was right to restrict their length to a modest six or seven pages, the same length as those about William Ames, William Harvey, Bernard Mandeville, and John Toland. There are plenty of other places to go for information about the great philosophers. What we want and what the Dictionary provides are articles about the obscure philosophers.Some of the other especially well wrought articles are those on Richard Baxter by William Lamont, Walter Charleton by Margaret J. Osler, Joseph Glanvill by Richard Popkin, John Hales by Victor Nuovo, John Wilkins by John Henry, and Thomas White by Beverley Southgate.The editor is not nationalistic in his understanding of "British." Scots who spent their academic career on the Continent are included. Also included are the Czech John Comenius (1592-1670), the Dutchman Franciscus Mercurius van [End Page 598] Helmont (1614-98), and the Venetian Marc Antonio De Dominis (1560-1624), as they should, because of their influence on British thought or sometime residence. By the same token, Hugo Grotius should have an entry; but he does not.An average of two pages each is devoted to six women, Mary Astell, Catherine Cockburn, Ann Conway, Margaret Cavendish, Jane Lead, and Damaris Cudworth Masham. They deserve more space, especially Cavendish, whose The World's Olio (1655) includes a utopian scheme.Some other articles that I wish had been longer include those about John Bramhall, Richard Crackanthorpe, William Davenant, and John Eacherd, each roughly two pages. Although the proportional space allotted to a thinker is generally right, I think some figures should not have been included at all. John Flavel (1596-1617) does not deserve even the 3 column inches devoted to him. Better to have assigned those inches to someone else. None of the remaining articles should be shorter than they are, not even the five pages devoted... (shrink)

During the 18th Century there was an explosion of female writing as well as a demand from women for fiction. This was predominently met by the growing number of circulating libraries and together with the rapid and rather inferior methods of production, precluded a high survival rate for the mass of this genre. This has resulted in a general scarcity and inaccessability of English novels of this period with, until recently, a corresponding shortage of critical knowledge and study. New introductions (...) specially commissioned from Dr Peter Garside, University of Wales Collge of Cardiff, and Dr Caroline Franklin, Trinity College Carmarthen, put these neglected works in the wider context of the development of English Literature. The choice of books reprinted in this first series of 'British Novels in the 18th and 19th Century' also reflects the varied motives of authorship during that period. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; (...) and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic (...) concepts and discuss the ethical and political significance of the aesthetic theories of several key figures, namely the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German thinkers examine aesthetic experience and moral concerns and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others. This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic. (shrink)

ABSTRACTIn this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France:...