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A collection of poems by Angela Mary Lisle, 'Is Poetry a Science?' also examines the author's own approach to writing.
The scientific discovery that chaotic systems embody deep structures of order is one of such wide-ranging implications that it has attracted attention across a spectrum of disciplines, including the humanities. In this volume, fourteen theorists explore the significance for literary and cultural studies of the new paradigm of chaotics, forging connections between contemporary literature and the science of chaos. They examine how changing ideas of order and disorder enable new readings of scientific and literary texts, from Newton's Principia to Ruskin's autobiography, from Victorian serial fiction to Borges's short stories. N. Katherine Hayles traces shifts in meaning that chaos has undergone within the Western tradition, suggesting that the science of chaos articulates categories that cannot be assimilated into the traditional dichotomy of order and disorder. She and her contributors take the relation between order and disorder as a theme and develop its implications for understanding texts, metaphors, metafiction, audience response, and the process of interpretation itself. Their innovative and diverse work opens the interdisciplinary field of chaotics to literary inquiry.
The poems in this debut collection spring from a unique collision of science and art in one poet's heart and mind. In these often elegiac poems, Hazen explores many forms of love — between children, parents, siblings, friends, and lovers. In powerful poetic language and structure, loss is explored, and survival becomes another form of understanding, a way of seeing ourselves and others not as guilty or innocent, good or bad, but as complex, sometimes thwarted beings who are always striving for more wisdom, more empathy, more light. Hazen's language is elegant, her point of view unflinching, her voice mature and warm. Science in these poems is both information and consolation, a way of untangling chaos, of seeing more clearly and cleanly. Hazen is a poet who understands that we are all searching in various ways to make order of our lives and loves, and who crafts poems that can aid us in that search.
Intense, resonant, and deeply literary, this account of an American poetics shows how today's consumerist and conformist culture subverts the imagination of a free people. Poetry, the author maintains, is central to any coherent vision of life.
The stories we tell in our attempt to make sense of the world—our myths and religion, literature and philosophy, science and art—are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent. In this book, Martin Meisel considers the long effort to conjure, depict, and rationalize extreme disorder, with all the passion, excitement, and compromises the act provokes. Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada, and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold effect of thermodynamics. He then uses this chaotic frame to elaborate on purpose, mortality, meaning, and mind.
These essays throw new light on the complex relations between science, literature and rhetoric as avenues to discovery in early modern England. Analyzing the contributions of such diverse writers as Shakespeare, Bacon, Hobbes, Milton, Cavendish, Boyle, Pope and Behn to contemporary epistemological debates, these essays move us toward a better understanding of interactions between the sciences and the humanities during a seminal phase in the development of modern Western thought.
Wittgenstein wrote that "philosophy ought really to be written only as a form of poetry." American poetry has long engaged questions about subject and object, self and environment, reality and imagination, real and ideal that have dominated the Western philosophical tradition since the Enlightenment. Kristen Case's book argues that American poets from Emerson to Susan Howe have responded to the central problems of Western philosophy by performing, in language, the continually shifting relation between mind and world. Pragmatism, recognizing the futility of philosophy's attempt to fix the mind/world relation, announces the insights that these poets enact. Pursuing the flights of pragmatist thinking into poetry and poetics, Case traces an epistemology that emerges from American writing, including that of Emerson, Marianne Moore, William James, and Charles Olson. Here mind and world are understood as inseparable, and the human being is regarded as, in Thoreau's terms, "part and parcel of Nature." Case presents a new picture of twentieth-century American poetry that disrupts our sense of the schools and lineages of modern and postmodern poetics, arguing that literary history is most accurately figured as a living field rather than a line. This book will be of particular interest to scholars and students of pragmatism, transcendentalism, and twentieth-century American poetry. Kristen Case is Assistant Professor of English at the University of Maine at Farmington.
A bestseller--more than 300,000 copies sold, translated into seventeen languages, and featured in the Los Angeles Times, Washington Post, Miami Herald, Harvard Business Review, Fast Company, and Fortune; Shows how discoveries in quantum physics, biology, and chaos theory enable us to deal successfully with change and uncertainty in our organizations and our lives; Includes a new chapter on how the new sciences can help us understand and cope with some of the major social challenges of our timesWe live in a time of chaos, rich in potential for new possibilities. A new world is being born. We need new ideas, new ways of seeing, and new relationships to help us now. New science--the new discoveries in biology, chaos theory, and quantum physics that are changing our understanding of how the world works--offers this guidance. It describes a world where chaos is natural, where order exists ''for free.'' It displays the intricate webs of cooperation that connect us. It assures us that life seeks order, but uses messes to get there.Leadership and the New Science is the bestselling, most acclaimed, and most influential guide to applying the new science to organizations and management. In it, Wheatley describes how the new science radically alters our understanding of the world, and how it can teach us to live and work well together in these chaotic times. It will teach you how to move with greater certainty and easier grace into the new forms of organizations and communities that are taking shape.
At a time when we are witnessing the return of the World Soul, the rise of feminine consciousness and the re-enchantment of Nature, the friendship between Marion Woodman and Elinor Dickson offers us a rare glimpse into the new story yearning to be born. Dancing at the Still Point reveals a remarkable friendship rooted in Soul that is both deeply personal and transpersonal. Prompted by a dream in which Marion told her to write about their friendship, Elinor has succeeded in weaving their shared visions, dreams and insights with the playfulness, challenges, and honesty they shared over thirty-four years. Like all deep friendships, Marion and Elinor mirrored each other while mutually affirming their individual destinies. This is a book that celebrates the gift of friendship as a compelling model for community in these times. As Marion would say, “where soul meets soul that’s love” and love is the field in which we are all called to dance. Elinor Dickson, Ph.D., is a psychologist, Jungian therapist, lecturer and workshop leader. She is the co-author of Dancing in the Flames written with Marion Woodman. She lives in Toronto, Ontario
Though the interests of science and art frequently seem to inhabit opposite poles, The Measured Word assembles a brilliant anthology of twelve essays that illumine the historic--and newly emerging--relationships between the poetic and scientific imaginations. Assembling the writings of leading contemporary poets, essayists, and thinkers, Kurt Brown highlights ways in which poets use scientific discoveries and mathematical ideas to their artistic advantage--and offers insight on the recently apparent integration of technology and other discoveries into the postmodernist poetry. Here are meditations on the similarities and differences between the poetic and scientific imagination; on the poetic use of fractals; on hypertext; on the changing shape of poetry in the scientific age. Commentary by Czech poet and immunologist Miroslav Holub, Paul Lake, Alison Hawthorne Deming, Alice Fulton, Forrest Gander, and Stephanie Strickland, among others, presents a diverse selection of opinions. These viewpoints are complemented by many careful, innovative readings of individual poems informed by the sciences. The writings in this collection not only celebrate the advent of a new age of discovery but also identify the need for a revision of the western thinking that separates the mind and the heart--replacing division with the reciprocity of mutual communication.