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Empiricism, one of Raymond William's keywords, circulates in much contemporary thought and criticism solely as a term of censure, a synonym for spurious objectivity or positivism. Yet rarely, if ever, has it had this philosophical implication. Dr Johnson, it should be recalled, kicked the stone precisely to expose empiricism's baroque falsifications of common sense. In an effort to restore historical depth to the term, this book examines epistemology in the narrative prose of five writers, John Ruskin, Alexander Bain, G. H. Lewes, Herbert Spencer, and George Eliot, developing the view that the flourishing of nineteenth-century scientific culture occurred at a time when empiricism itself was critically dismantling any such naive representationalism. --
Reads Victorian literature and science as artful practices that surpass the theories and discourses supposed to contain them
The Routledge Companion to Victorian Literature offers 45 chapters by leading international scholars working with the most dynamic and influential political, cultural, and theoretical issues addressing Victorian literature today. Scholars and students will find this collection both useful and inspiring. Rigorously engaged with current scholarship that is both historically sensitive and theoretically informed, the Routledge Companion places the genres of the novel, poetry, and drama and issues of gender, social class, and race in conversation with subjects like ecology, colonialism, the Gothic, digital humanities, sexualities, disability, material culture, and animal studies. This guide is aimed at scholars who want to know the most significant critical approaches in Victorian studies, often written by the very scholars who helped found those fields. It addresses major theoretical movements such as narrative theory, formalism, historicism, and economic theory, as well as Victorian models of subjects such as anthropology, cognitive science, and religion. With its lists of key works, rich cross-referencing, extensive bibliographies, and explications of scholarly trajectories, the book is a crucial resource for graduate students and advanced undergraduates, while offering invaluable support to more seasoned scholars.
The Victorians were obsessed with the empirical but were frequently frustrated by the sizeable gaps in their understanding of the world around them. This study examines how literature and popular culture adopted the emerging language of physics to explain the unknown or ‘imponderable’.
The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories—such as Darwin’s theory of evolution and sexual selection—deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalized, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy.
Departing from traditional historiography focused on the economic role of resource development, Canada's Victorian Oil Town incorporates an understanding of the connections between science and technology, nation and imperialism, and cultural nuances of community-building. Burr looks at the cultural importance of place and how collective identity was nurtured in the community. She also illustrates how the image of Petrolia as Canada's Victorian Oil Town has been used since the 1970s to develop a thriving tourist industry in the region. Interdisciplinary in scope, Canada's Victorian Oil Town draws from the history of imperialism, science, resource development, local history, gender studies, and cultural geography.
How did literary aestheticism emerge in Victorian Britain, with its competing models of religious doubt and visions of secularisation? For Lyons, the aestheticism developed and progressively revised by Algernon Charles Swinburne (1837-1909) and Walter Pater (1839-1894) illuminates the contradictory impulses of modern secularism: on the one hand, a desire to cast itself as a form of neutrality or disinterestedness; on the other, a desire to affirm 'this world' as the place of human flourishing or even enchantment. The standard narrative of a 'crisis of faith' does not do justice to the fissured, uncertain quality of Victorian visions of secularisation. Precisely because it had the status of a confusing hypothesis rather than a self-evident reality, it provoked not only dread and melancholia, but also forms of fantasy. Within this context Lyons gives a fundamentally new account of the aims and nature of Victorian aestheticism, taking as a focus its deceptively simple claim that art is for art's sake first of all.
This book tells the story of how nineteenth-century writers turned to the realist novel in order to reimagine Jesus during a century where traditional religious faith appeared increasingly untenable. Re-workings of the canonical Gospels and other projects to demythologize the story of Jesus are frequently treated as projects aiming to secularize and even discredit traditional Christian faith. The novels of Charles Kingsley, George Eliot, Eliza Lynn Linton, and Mary Augusta Ward, however, demonstrate that the work of bringing the Christian tradition of prophet, priest, and king into conversation with a rapidly changing world can at times be a form of authentic faith-even a faith that remains rooted in the Bible and historic Christianity, while simultaneously creating a space that allows traditional understandings of Jesus' identity to evolve.
This is Volume VII of twenty-two of a series on 20th Century Philosophy. Originally published 1925, in this is part two of three offering a collection personal statements by leading philosophical theorists-James Ward, E. Belfort Bax, G.E. Moore, Clement C.J. Webb, G. Dawes Hicks and others.