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For nearly two thousand years, the future was a realm reserved for prophets, poets, astrologers, and practitioners of deliberative rhetoric. Then in 1659 the French writer Jacques Guttin published his romance Epigone, which carried the subtitle "the history of the future century." Unlike the stories of space travel that were popular at the time, or the tales of travel to distant earthly lands which had long been a familiar literary genre, Guttin's romance described human societies displaced by time as well as by space and heroes not of his own day but of a future age. Paul Alkon's Origins of Futuristic Fiction examines the earliest works of prose fiction set in future time, the forgotten writings of the seventeenth, eighteenth, and nineteenth centuries that are the precursors of such well-known masterpieces of the form as H.G. Wells's The Time Machine, Aldous Huxley's Brave New World, and George Orwell's 1984. The first secular story to break the imaginative barrier against tales of the future, Epigone marked the emergence of a form unknown to classical, medieval, or renaissance literature. Guttin's courageous displacement of narrative into future time was followed by writers such as Samuel Madden, Louis-Sebastien Mercier, Cousin de Granville, Mary Shelley, and Emile Souvestre, who wrote books with such titles as Memoirs of the Twentieth Century, The Year 2440, The Last Man, and The World As It Will Be. Most extraordinary, though, may be Felix Bodin's great metafictional Le roman de l'avenir, "the novel of the future." Both a narrative of the future and a poetics of the new genre, this book identified in the previous isolated works set in future time a situation rarely encountered in literary history, in which the possibility for a new form clearly existed without yet being altogether achieved. In the introduction to his uncompleted novel, Bodin presented his vision of the futuristic novel as a literature of realism, morality, and fantasy. His remarkably astute attempt to define the aesthetics of a major transformation in the relation between literature and time still stands as the basis for the poetics of futuristic fiction. Tracing the early literary history of what became a major form of modern fiction, Origins of Futuristic Fiction examines the key works of the earliest writers of the genre not for what they betray of past expectations but for what they reveal about the formal problems that needed to be resolved before tales of the future could achieve their full power in the works of later novelists.
A scholarly and imaginative reconstruction of the voyage Daniel Defoe took from the pillory to literary immortality, The Shortest Way with Defoe contends that Robinson Crusoe contains a secret satire, written against one person, that has gone undetected for 300 years. By locating Defoe's nemesis and discovering what he represented and how Defoe fought him, Michael Prince's book opens the way to a new account of Defoe's emergence as a novelist. The book begins with Defoe’s conviction for seditious libel for penning a pamphlet called The Shortest Way with the Dissenters (1702). A question of biography segues into questions of theology and intellectual history and of formal analysis; these questions in turn require close attention to the early reception of Defoe's works, especially by those who hated or suspected him. Prince aims to recover the way of reading Defoe that his enemies considered accurate. Thus, the book rethinks the positions represented in Defoe's ambiguous alternation and mimicking of narrative and editorial voices in his tracts, proto-novels, and novels. By examining Defoe's early publications alongside Robinson Crusoe, Prince shows that Defoe traveled through nonrealist, nonhistorical genres on the way to discovering the form of prose fiction we now call the novel. Moreover, a climate (or figure) of extreme religious intolerance and political persecution required Defoe always to seek refuge in literary disguise. And, religious convictions aside, Defoe's practice as a writer found him inhabiting forms known for their covert deism.
Eighteenth-century England did not only see the rise of the novel, but also the rise of genres of what we now call the fantastic, such as imaginary voyages and apparition narratives. Combining theoretical reflection and cultural analysis, the author of this book investigates the origins, and demonstrates the formal and historical identity of a great variety of texts, which have never been considered as part of the same family. The fantastic, he argues, is an intrinsically modern mode, which uses the devices of realistic representation to describe supernatural phenomena. Its origins can be found in the seventeenth century, when the rise of modern empiricism threatened the ontological and epistemological underpinnings of traditional religious culture. The author shows how a broad range of discursive formations - demonology, providential literature, teratology, and natural philosophy - attempted to reconcile world-views that were felt to be increasingly incompatible, and traces the development of a new kind of fiction that gradually replaced them and took over their work of reconciliation. Coalescing as an autonomous system of genres, free from the restrictions of modern science and at the same time self-consciously aesthetic, the fantastic emerged as an instrument both to affirm and to transcend the empirical vision.
Using werewolves and Wernher von Braun, Stonehenge and the sex lives of sea corals, aboriginal myths, and an Anglican bishop in this new book, the author weaves variegated information into a glimpse of Earth's closest celestial neighbor, whose mere presence inspires us to wonder what might be out there. Going beyond the discoveries of contemporary science, he presents a cultural assessment of our complex relationship with Earth's lifeless, rocky satellite. As well as offering an engaging perspective on such age old questions as "What would Earth be like without the moon?" he surveys the moon's mythical and religious significance and provokes existential soul searching through a lunar lens, inquiring, "Forty years ago, the first man put his footprint on the moon. Will we continue to use it as the screen onto which we cast our hopes and fears?" Drawing on materials from different cultures and epochs, he walks readers down a moonlit path illuminated by more than seventy-five vintage photographs and illustrations. From scientific discussions of the moon's origins and its chronobiological effects on the mating and feeding habits of animals to an illuminating interpretation of Bishop Francis Godwin's 1638 novel The Man in the Moone, his interdisciplinary explorations recast a familiar object in an original light.
A scientist and members of a gun club decide they will build a spaceship that can reach the moon.
During the early modern period, western Europe was transformed by the proliferation of new worlds—geographic worlds found in the voyages of discovery and conceptual and celestial worlds opened by natural philosophy, or science. The response to incredible overseas encounters and to the profound technological, religious, economic, and intellectual changes occurring in Europe was one of nearly overwhelming wonder, expressed in a rich variety of texts. In the need to manage this wonder, to harness this imaginative overabundance, Mary Baine Campbell finds both the sensational beauty of early scientific works and the beginnings of the divergence of the sciences—particularly geography, astronomy, and anthropology—from the writing of fiction. Campbell's learned and brilliantly perceptive new book analyzes a cross section of texts in which worlds were made and unmade; these texts include cosmographies, colonial reports, works of natural philosophy and natural history, fantastic voyages, exotic fictions, and confessions. Among the authors she discusses are André Thevet, Thomas Hariot, Francis Bacon, Galileo, Margaret Cavendish, and Aphra Behn. Campbell's emphasis is on developments in England and France, but she considers works in languages other than English or French which were well known in the polyglot book culture of the time. With over thirty well-chosen illustrations, Wonder and Science enhances our understanding of the culture of early modern Europe, the history of science, and the development of literary forms, including the novel and ethnography.
Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.
Perception and analogy explores ways of seeing scientifically in the eighteenth century. The book examines how sensory experience is conceptualised during the period, drawing novel connections between treatments of perception as an embodied phenomenon and the creative methods employed by natural philosophers. Covering a wealth of literary, theological, and pedagogical texts that engage with astronomy, optics, ophthalmology, and the body, it argues for the significance of analogies for conceptualising and explaining new scientific ideas. As well as identifying their use in religious and topographical poetry, the book addresses how analogies are visible in material culture through objects such as orreries, camera obscuras, and aeolian harps. It makes the vital claim that scientific concepts become intertwined with Christian discourse through reinterpretations of origins and signs, the scope of the created universe, and the limits of embodied knowledge.
A comprehensive guide that defines the literature and the outlines the best-selling genre of all time: romance fiction. More than 2,000 romances are published annually, making it difficult for fans and the librarians who advise them to keep pace with new titles, emerging authors, and constant evolution of this dynamic genre. Fortunately, romance expert and librarian Kristin Ramsdell provides a definitive guide to this fiction genre that serves as an indispensible resource for those interested in it—including fans searching for reading material—as well as for library staff, scholars, and romance writers themselves. This title updates the last edition of Romance Fiction: A Guide to the Genre, published in 1999.While the emphasis is on newer titles, many of the important older classics are retained, keeping the focus of the book on the entire genre, instead of only those titles published during the last decade. Specific changes include new chapters on linked and continuing romances, a new section on "Chick Lit" in the Contemporary Romance chapter, an expansion of coverage on the alternative reality subset. This is THE romance genre guide to have.