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A study of the relationship between realism, probability and chance in eighteenth-century fiction.
This highly original and penetrating study explores fundamental intellectual predispositions and concepts which underpin the literature and thought of the Augustan period in England. By examining in particular Augustan notions of probability and the way they provided a framework for thinking about and organising experience, Dr Patey reconstructs a characteristically eighteenth-century theory of literature which offers a much more satisfactory account of the work of Pope, Johnson, Fielding and others than the Romantic literary categories already in existence. The scope of this study is encyclopaedic and it will be an essential reference work for all scholars of eighteenth-century English literature and intellectual history, as well as historians of ideas.
Originally published in 1991. A multidisciplinary guide in the form of a bibliography of selected time-related books and articles divided into 25 existing academic disciplines and about 100 subdisciplines which have a wide application to time studies.
Twelve scholars from the fields of English, French, and German literature here examine the complex ways in which the human body becomes the privileged semiotic model through which eighteenth-century culture defines its political and conceptual centers. In making clear that the deployment of the body varies tremendously depending on what is meant by the 'human body', the essays draw on popular literature, poetics and aesthetics, garden architecture, physiognomy, beauty manuals, pornography and philosophy, as well as on canonical works in the genres of the novel and the drama.
This edited collection is the first volume solely dedicated to research on Johann Gottfried Herder’s understanding of history, time, and temporalities. Although his ideas on time mark an important transition period that advanced the emergence of the modern world, scholars have rarely addressed Herder’s temporalities. In eight chapters, the volume examines and illuminates Herder’s conception of human freedom in connection with time; the importance of the concept of forces (Kräfte) for a dynamic ontology; human beings’ sensuous experience of inner and external temporality; Herder’s conception of Bildung, speculations on extra-terrestrial beings and on different perceptions of time; the mythological figure Nemesis and Herder’s view of the past and the future; the temporal dimension in Herder’s aesthetics; and Herder’s biblical studies in relationship to divine infinitude and human temporality. The volume concludes by outlining the influence of Herder’s understanding of time on following generations of thinkers. Forms of Temporality and Historical Time in the Work of Johann Gottfried Herder is ideal for scholars, graduates, and postgraduates interested in Herder’s metaphysics, epistemology, and philosophy of history, as well as any scholar concerned with eighteenth-century concepts of time and the emergence of the modern world at the beginning of the nineteenth century.
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This study examines different conceptions of time in Daniel Defoe's (1660-1731) novels. The temporal aspects of the novels are surveyed, taking into account the historical situation of the novel as a genre and contemporary conceptions of time. The modernisation process of the Western world serves as a wider context of the study, as present research indicates that Defoe's novels exemplify a multilayered shift from 'pre-modern' Western conceptions of time to those of the modern age. The author also explores gendered time and economic and cultural values of time in Defoe's novels. The book contributes a fresh analysis of Defoe's novels and demonstrates the crucial relation between historical-cultural conceptions of time and the historically changing genre of the novel.
"My other works are wine and water," said Samuel Johnson to Samuel Rogers, "but my Rambler is pure wine." Some critics have disagreed, labeling the essays uneven and dismissing the bulk of them as hastily concocted hackwork by a writer taking a break from or earning money for a more important project--the Dictionary of the English Language. Yet, Steven Lynn, in the first book-length study of The Rambler, resoundingly contradicts such critics; combining deconstruction and other current methods with eighteenth-century rhetorical theories, Lynn refutes conventional critical wisdom among Johnsonians, asserting that the 208 Rambler essays form a coherent whole. Lynn argues that a controlling tenet in the series is that "we are each and every one ramblers, wandering and searching for some stable meaning and satisfaction, which will inevitably elude us in this world. By confronting this absence, Johnson (like a deconstructive theologian) leads us repeatedly to acknowledge the necessity of faith." For Lynn, furthermore, the unifying thread running through the series is expressed in the prayer Johnson composed as he embarked on the journey of The Rambler: "Almighty God, . . . without whose grace all wisdom is folly, grant, I beseech Thee, that in this my undertaking thy Holy Spirit may not be witheld from me, but that I may promote thy glory, and the Salvation both of myself and others." As Lynn shows, though Johnson anticipates deconstruction, his controlling evangelistic aim differs profoundly and instructively from it.
In this provocative study Rose Zimbardo examines a crucial revolution in aesthetics that took place in the late seventeenth century and that to this day dominates our response to literature. Although artists of that time continued to follow the precept "imitate nature," that nature no longer corresponds to the earlier understanding of the term. What had been in essence an allegorical mode came to be a literal one. Focusing on the drama of the period as an exemplary form, Zimbardo shows how it moved from depicting a metaphysical reality of idea to portraying an inner reality of individual experience. But drama is constrained in expressing the inner experience since its medium is limited to human action. The novel arose to replace drama as the popular literary form, Zimbardo argues, because it could better and more freely convey man's inner world and thereby imitate the "new" nature. The study concluded that the changes which took place in drama during this period and which led to the invention of the novel resulted not from any "change of heart" or sensibility but from a fundamental change in the understanding of the nature which art was thought to imitate. Neither the drama of the 1690s nor the early novel, Zimbardo finds, was in the least "sentimental." A Mirror to Nature brings a new critical perspective to bear on literary developments at the end of the seventeenth century—one that must be considered by critics and historians of the period.