"In a wide-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno and Derrida and looks at the works of modernist and postmodernist artists such as Cezanne, Debussy and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress and humanity, and the transition to postmodernity. Lyotard claims that it is the task of literature, philosophy (...) and the arts to bear witness to and explain this difficult transition." "This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary and cultural theory and politics."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

"In a wide-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno and Derrida and looks at the works of modernist and postmodernist artists such as Cezanne, Debussy and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress and humanity, and the transition to postmodernity. Lyotard claims that it is the task of literature, philosophy (...) and the arts to bear witness to and explain this difficult transition." "This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary and cultural theory and politics."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

This is Werner S. Pluhar's translation of Immanuel Kant's Critique of Judgment (Kritik der Urtheilskraft) for Hackett Publications (Indianapolis, Indiana). ISBN 9780872200258 (paperback).

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.

Though the name of Robert Mallet was once inevitably associated with the scientific study of earthquakes, it is less well known today. As part of an overdue reappraisal, this essay examines Mallet's major seismological projects and publications, emphasizing his theoretical contributions. Mallet's own claim to be a founder of modern seismology is upheld. Beyond that, however, he is also seen to be an important precursor of plate tectonics.

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

When HMS Beagle made its first landfall in January 1832, the twenty-two-year-old Charles Darwin set about taking detailed notes on geology. He was soon planning a volume on the geological structure of the places visited, and letters to his sisters confirm that he identified himself as a ‘geologist’. For a young gentleman of his class and income, this was a remarkable thing to do. Darwin's conversion to evolution by selection has been examined so intensively that it is easy to forget (...) that the most extraordinary decision he ever made was to devote his life to the study of the natural world by becoming a geologist. It is only slightly less astonishing that he should have decided to align his work with Charles Lyell's controversial programme of geological reform, which had almost no followers in England. (shrink)

The Geological Society of London was the first learned society to be devoted solely to geology, and its members were responsible for much of the spectacular progress of the science in the nineteenth century. Its distinctive character as a centre of geological discussion and research was established within the first five years from its foundation in 1807. During this period its activities were directed, and its policies largely shaped, by its President, George Bellas Greenough, on whose unpublished papers this account (...) is chiefly based.The Society began as a small scientific dining club in London, but it developed rapidly into a learned society with a nation-wide membership. It became so independent in outlook and so active in research that it was felt to threaten the esteem of the Royal Society; and little more than a year after its foundation it clashed with the Royal Society so violently that its continued existence was for a time uncertain.Its development into a large independent society was the outcome of its ‘Baconian’ view of the importance of collecting geological facts as a surer basis for geological theories. For this purpose it initiated an ambitious scheme for co-operative research, which would unite the efforts of ‘philosophers’ with those of ‘practical men’. Only personal reasons seem to have kept the most prominent of the practical men—William Smith—from co-operating with the Society. (shrink)

1990 marked the 150th anniversary of the publication of Charles Darwin's first major scientific theory. The paper, first presented by Darwin to the Geological Society of London on 7 March 1838, was entitled ‘On the Connexion of Certain Volcanic Phenomena and on the Formation of Mountain-Chains and the Effects of Continental Elevations.’ The paper was a remarkable attempt to develop a global tectonic synthesis. It was the culmination of a period of intensive geological activity by Darwin – then twenty-nine – (...) who had returned from the Beagle voyage only eighteen months previously. The present article reviews the development of Darwin's views, their impact upon his contemporaries, their role in shaping his later views on the origin of species, and their significance in scientific theory-making. It draws, in part, on Darwin's unpublished geological notes and jottings. This paper, and the papers by Sandra Herbert and James Secord that accompany it, were delivered at a symposium which I organized at the Geological Society of London on 31 October 1988 to mark the 150th anniversary of the reading of Darwin's paper. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who (...) held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)

Each title in the Literary and Cultural Movements: Sources and Documents series concentrates on a significant cultural and literary area or period and offers the student an extensive range of primary source and documentary material which together represents a significant research resource.

Wonders and the Order of Nature is about the ways in which European naturalists from the High Middle Ages through the Enlightenment used wonder and wonders, the passion and its objects, to envision themselves and the natural world. Monsters, gems that shone in the dark, petrifying springs, celestial apparitions---these were the marvels that adorned romances, puzzled philosophers, lured collectors, and frightened the devout. Drawing on the histories of art, science, philosophy, and literature, Lorraine Daston and Katharine Park explore and explain (...) how wonder and wonders fortified princely power, rewove the texture of scientific experience, and shaped the sensibility of intellectuals. This is a history of the passions of inquiry, of how wonder sometimes inflamed, sometimes dampened curiosity about nature’s best-kept secrets. Refracted through the prism of wonders, the order of nature splinters into a spectrum of orders, a tour of possible worlds. Frontmatter Preface, page 9 Introduction: At the Limit, page 13 I THE TOPOGRAPHY OF WONDER, page 21 II THE PROPERTIES OF THINGS, page 67 III WONDER AMONG THE PHILOSOPHERS, page 109 IV MARVELOUS PARTICULARS, page 135 V MONSTERS: A CASE STUDY, page 173 VI STRANGE FACTS, page 215 VII WONDERS OF ART, WONDERS OF NATURE, page 255 VIII THE PASSIONS OF INQUIRY, page 303 IX THE ENLIGHTENMENT AND THE ANTI-MARVELOUS, page 329 Epilogue, page 365 Photo Credits, page 369 Notes, page 373 Bibliography, page 451 Index, page 499. (shrink)

Originally published in 1830, this book can be called the first modern work in the philosophy of science, covering an extraordinary range of philosophical, methodological, and scientific subjects. "Herschel's book . . . brilliantly analyzes both the history and nature of science."—Keith Stewart Thomson, American Scientist.

Prologue: objectivity shock -- Epistemologies of the eye -- Blind sight -- Collective empiricism -- Objectivity is new -- Histories of the scientific self -- Epistemic virtues -- The argument -- Objectivity in shirtsleeves -- Truth-to-nature -- Before objectivity -- Taming nature's variability -- The idea in the observation -- Four-eyed sight -- Drawing from nature -- Truth-to-nature after objectivity -- Mechanical objectivity -- Seeing clear -- Photography as science and art -- Automatic images and blind sight -- Drawing against (...) photography -- Self-surveillance -- Ethics of objectivity -- The scientific self -- Why objectivity? -- The scientific subject -- Kant among the scientists -- Scientific personas -- Observation and attention -- Knower and knowledge -- Structural objectivity -- Objectivity without images -- The objective science of mind -- The real, the objective, and the communicable -- The color of subjectivity -- What even a god could not say -- Dreams of a neutral language -- The cosmic community -- Trained judgment -- The uneasiness of mechanical reproduction -- Accuracy should not be sacrificed to objectivity -- The art of judgment -- Practices and the scientific self -- Representation to presentation -- Seeing is being : truth, objectivity, and judgment -- Seeing is making : nanofacture -- Right depiction. (shrink)