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Arguing that the early Royal Society moved science toward racialization by giving skin color a new prominence as an object of experiment and observation, Cristina Malcolmson provides the first book-length examination of studies of skin color in the Society. She also brings new light to the relationship between early modern literature, science, and the establishment of scientific racism in the nineteenth century. Malcolmson demonstrates how unstable the idea of race remained in England at the end of the seventeenth century, and yet how extensively the intertwined institutions of government, colonialism, the slave trade, and science were collaborating to usher it into public view. Malcolmson places the genre of the voyage to the moon in the context of early modern discourses about human difference, and argues that Cavendish’s Blazing World and Swift’s Gulliver’s Travels satirize the Society’s emphasis on skin color.
The Royal Society’s establishment in 1660 signaled a new beginning for the rhetoric of science, mainly because the organization’s founders advocated a modern plain style for scientific communication. Rhetoric and the Early Royal Society aims to initiate fresh debates about this watershed event in the history of rhetoric and science. In the last twenty years, scholars in numerous disciplines have produced significant work, ranging from theoretical essays to case studies of founding members such as Wilkins, Hooke and Boyle. This is the first book to collect in one volume the key contributions. The newly written introduction by editors Skouen and Stark places the reprinted essays into perspective by evaluating the Society’s pioneering role in shaping modern scholarly communication.
Early modern geographers and compilers of travel narratives drew on a lexicon derived from cartography’s seemingly unchanging coordinates to explain human diversity. Sandra Young’s inquiry into the partisan knowledge practices of early modernity brings to light the emergence of the early modern global south. Young proposes a new set of terms with which to understand the racialized imaginary inscribed in the scholarly texts that presented the peoples of the south as objects of an inquiring gaze from the north. Through maps, images and even textual formatting, equivalences were established between ’new’ worlds, many of them long known to European explorers, she argues, in terms that made explicit the divide between ’north’ and ’south.’ This book takes seriously the role of form in shaping meaning and its ideological consequences. Young examines, in turn, the representational methodologies, or ’artes,’ deployed in mapping the ’whole’ world: illustrating, creating charts for navigation, noting down observations, collecting and cataloguing curiosities, reporting events, formatting materials, and editing and translating old sources. By tracking these methodologies in the lines of beauty and evidence on the page, we can see how early modern producers of knowledge were able to attribute alterity to the ’southern climes’ of an increasingly complex world, while securing their own place within it.
An extraordinary exploration of the ancestry of Britain through seven burial sites. By using new advances in genetics and taking us through important archaeological discoveries, Professor Alice Roberts helps us better understand life today. ‘This is a terrific, timely and transporting book - taking us heart, body and mind beyond history, to the fascinating truth of the prehistoric past and the present’ Bettany Hughes We often think of Britain springing from nowhere with the arrival of the Romans. But in Ancestors, pre-eminent archaeologist, broadcaster and academic Professor Alice Roberts explores what we can learn about the very earliest Britons, from burial sites and by using new technology to analyse ancient DNA. Told through seven fascinating burial sites, this groundbreaking prehistory of Britain teaches us more about ourselves and our history: how people came and went and how we came to be on this island. It explores forgotten journeys and memories of migrations long ago, written into genes and preserved in the ground for thousands of years. This is a book about belonging: about walking in ancient places, in the footsteps of the ancestors. It explores our interconnected global ancestry, and the human experience that binds us all together. It’s about reaching back in time, to find ourselves, and our place in the world. PRE-ORDER CRYPT, THE FINAL BOOK IN ALICE ROBERTS' BRILLIANT TRILOGY – OUT FEBRUARY 2024.
In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
"Our intimate connection with the world, skin protects us while advertising our health, our identity, and our individuality. This synthetic overview, written with a poetic touch and taking many intriguing side excursions, is a guidebook to the pliable covering that makes us who we are. This book celebrates the evolution of three unique attributes of human skin: its naked sweatiness, its distinctive sepia rainbow of colors, and its remarkable range of decorations. Author Jablonski begins with a look at skin's structure and functions and then tours its three-hundred-million-year evolution, delving into such topics as the importance of touch and how the skin reflects and affects emotions. She examines the modern human obsession with age-related changes in skin, especially wrinkles, then turns to skin as a canvas for self-expression, exploring our use of cosmetics, body paint, tattooing, and scarification"--Publisher's description.
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Combining historical and interpretive work, this collection examines changing perceptions of and relations between human and nonhuman animals in Britain over the long eighteenth century. Persistent questions concern modes of representing animals and animal-human hybrids, as well as the ethical issues raised by the human uses of other animals. From the animal men of Thomas Rowlandson to the part animal-part human creature of Victor Frankenstein, hybridity serves less as a metaphor than as a metonym for the intersections of humans and other animals. The contributors address such recurring questions as the implications of the Enlightenment project of naming and classifying animals, the equating of non-European races and nonhuman animals in early ethnographic texts, and the desire to distinguish the purely human from the entirely nonhuman animal. Gulliver's Travels and works by Mary and Percy Shelley emerge as key texts for this study. The volume will be of interest to scholars and students who work in animal, colonial, gender, and cultural studies; and will appeal to general readers concerned with the representation of animals and their treatment by humans.
Investigating the history behind color as a method of gender differentiation in ancient Greek and Egyptian art