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The ambiguities and transitional structures in that early modern world have contributed to the inconsistencies that are part of Bach's legacy." "The essays are complemented by statements (never before translated) about Lutheran church music by two of Bach's close contemporaries, Gottfried Ephraim Scheibel and Johann Kuhnau."--Jacket.
This book is a historical account of how natural philosophers and scientists have endeavoured to understand the universe at large, first in a mythical and later in a scientific context. Starting with the creation stories of ancient Egypt and Mesopotamia, the book covers all the major events in theoretical and observational cosmology, from Aristotle's cosmos over the Copernican revolution to the discovery of the accelerating universe in the late 1990s. It presents cosmology as asubject including scientific as well as non-scientific dimensions, and tells the story of how it developed into a true science of the heavens. Contrary to most other books in the history of cosmology, it offers an integrated account of the development with emphasis on the modern Einsteinian andpost-Einsteinian period. Starting in the pre-literary era, it carries the story onwards to the early years of the 21st century.
Seventeenth-century philosophy scholars come together in this volume to address the Insiders--Descartes, Spinoza, Leibniz, Locke, and Hobbes--and Outsiders--Pierre Gassendi, Kenelm Digby, Theophilus Gale, Ralph Cudworth and Nicholas Malebranche--of the philosocial canon, and the ways in which reputations are created and confirmed. In their own day, these ten figures were all considered to be thinkers of substantial repute, and it took some time for the Insiders to come to be regarded as major and original philosophers. Today these Insiders all feature in the syllabi of most history of philosophy courses taught in western universities, and the papers in this collection, contrasting the stories of their receptions with those of the Outsiders, give an insight into the history of philosophy which is generally overlooked.
Featuring more than 150 treasures from several of the world’s most prestigious collections, Making Marvels explores the vital intersection of art, technology, and political power at the courts of early modern Europe. It was there, from the sixteenth through eighteenth centuries, that a remarkable outpouring of creativity and learning gave rise to exquisite objects that were at once beautiful works of art and technological wonders. By amassing vast, glittering collections of these ingeniously crafted objects, princes flaunted their wealth and competed for mastery over the known world. More than mere status symbols, however, many of these marvels ushered in significant advancements that have had a lasting influence on astronomy, engineering, and even international politics. Incisive texts by leading scholars situate these works within the rich, complex symbolism of life at court, where science and splendor were pursued with equal vigor and together contributed to a culture of magnificence.
It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon-formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved. It is widely accepted among literary scholars that canon-formation began in the eighteenth century when scholarly editions and critical treatments of older works, designed to educate readers about the national literary heritage, appeared for the first time. In The Making of the English Literary Canon Trevor Ross challenges this assumption, arguing that canon- formation was going on well before the eighteenth century but was based on a very different set of literary and cultural values. Covering a period that extends from the Middle Ages to the institutionalisation of literature in the eighteenth century, Ross's comprehensive history traces the evolution of cultural attitudes toward literature in English society, highlighting the diverse interests and assumptions that defined and shaped the literary canon. An indigenous canon of letters, Ross argues, had been both the hope and aim of English authors since the Middle Ages. Early authors believed that promoting the idea of a national literature would help publicise their work and favour literary production in the vernacular. Ross places these early gestures toward canon-making in the context of the highly rhetorical habits of thought that dominated medieval and Renaissance culture, habits that were gradually displaced by an emergent rationalist understanding of literary value. He shows that, beginning in the late seventeenth century, canon-makers became less concerned with how English literature was produced than with how it was read and received. By showing that canon-formation has served different functions in the past, The Making of the English Literary Canon is relevant not only to current debates over the canon but also as an important corrective to prevailing views of early modern English literature and of how it was first evaluated, promoted, and preserved.
An encyclopedic collection of key scientists and the tools and concepts they developed that transformed our understanding of the physical world. Many are familiar with the ideas of Copernicus, Descartes, and Galileo. But here the reader is also introduced to lesser known ideas and contributors to the Scientific Revolution, such as the mathematical Bernoulli Family and Andreas Vesalius, whose anatomical charts revolutionized the study of the human body. More marginal characters include the magician Robert Fludd. The encyclopedia also discusses subjects like Arabic science and the bizarre history of blood transfusions, and institutions like the Universities of Padua and Leiden, which were dominant forces in academic medicine and science.