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Victorian Scientific Naturalism examines the secular creeds of the generation of intellectuals who, in the wake of The Origin of Species, wrested cultural authority from the old Anglican establishment while installing themselves as a new professional scientific elite. These scientific naturalists—led by biologists, physicists, and mathematicians such as William Kingdon Clifford, Joseph Dalton Hooker, Thomas Henry Huxley, and John Tyndall—sought to persuade both the state and the public that scientists, not theologians, should be granted cultural authority, since their expertise gave them special insight into society, politics, and even ethics. In Victorian Scientific Naturalism, Gowan Dawson and Bernard Lightman bring together new essays by leading historians of science and literary critics that recall these scientific naturalists, in light of recent scholarship that has tended to sideline them, and that reevaluate their place in the broader landscape of nineteenth-century Britain. Ranging in topic from daring climbing expeditions in the Alps to the maintenance of aristocratic protocols of conduct at Kew Gardens, these essays offer a series of new perspectives on Victorian scientific naturalism—as well as its subsequent incarnations in the early twentieth century—that together provide an innovative understanding of the movement centering on the issues of community, identity, and continuity.
Physicist John Tyndall and his contemporaries were at the forefront of developing the cosmology of scientific naturalism during the Victorian period. They rejected all but physical laws as having any impact on the operations of human life and the universe. Contributors focus on the way Tyndall and his correspondents developed their ideas through letters, periodicals and scientific journals and challenge previously held assumptions about who gained authority, and how they attained and defended their position within the scientific community.
During the Victorian period science shifted from being practiced in a theistic context (integrating religious considerations and ideas) to a naturalistic context (explicitly forbidding religious matters). This book examines the foundations of that change. While it is generally thought that the transformation was due to the methodological superiority of naturalistic science, Matthew Stanley shows that most of the methodological values underlying scientific practice were virtually identical between the theists and the naturalists. Each agreed on the importance of the uniformity of natural laws, the use of hypothesis and theory, the moral value of science, and intellectual freedom. This was despite the claims by both groups that those fundamentals were intrinsic to their worldview, and completely incompatible with that of their opponents. Stanley goes on to argue that the victory of the scientific naturalists came from deliberate strategies executed over a generation to gain control of the institutions of scientific education and to re-imagine the history of their discipline. Rather than a sudden revolution, the similarity between theistic and naturalistic science allowed for a relatively smooth transition in practice from the old guard to the new. "Huxley's Church and Maxwell's Demon" explores this shift through a parallel study of two major scientific figures: James Clerk Maxwell, a devout Christian physicist, and Thomas Henry Huxley, the iconoclast biologist who coined the word agnostic. Both were deeply engaged in the methodological, institutional, and political issues that were crucial to the theistic-naturalistic transformation. The author s astute examination of the ascendance of scientific naturalism sheds new light on the controversies over science and religion in modern America. "
The nineteenth century, which saw the triumph of the idea of progress and improvement, saw also the triumph of science as a political and cultural force. In England, as science and its methods claimed privilege and space, its language acquired the vocabulary of religion. The new 'creed' of science embraced what John Tyndall called the 'scientific movement'; it was, in the language of T.H. Huxley, a militant creed. The 'march' of invention, the discoveries of chemistry, and the wonders of steam and electricity culminated in a crusade against ignorance and unbelief. It was a creed that looked to its own apostolic succession from Copernicus, Galileo and the martyrs of the 'scientific revolution'. Yet, it was a creed whose doctrines were divisive, and whose convictions resisted. Alongside arguments for materialism, utility, positivism, and evolutionary naturalism, persisted reservations about the nature of man, the role of ethics, and the limits of scientific method. These essays discuss leading strategists in the scientific movement of late-Victorian England. At the same time, they show how 'science established' served not only the scientific community, but also the interests of imperial and colonial powers.
A critical look at the aesthetic encounter with semi-detachment through literature and art When you are half lost in a work of art, what happens to the half left behind? Semi-Detached delves into this state of being: what it means to be within and without our social and physical milieu, at once interacting and drifting away, and how it affects our ideas about aesthetics. The allure of many modern aesthetic experiences, this book argues, is that artworks trigger and provide ways to make sense of this oscillating, in-between place. John Plotz focuses on Victorian and early modernist writers and artists who understood their work as tapping into, amplifying, or giving shape to a suspended duality of experience. The book begins with the decline of the romantic tale, the rise of realism, and John Stuart Mill’s ideas about social interaction and subjective perception. Plotz examines Pre-Raphaelite paintings that take semi-detached states of attention as their subject and novels that treat provincial subjects as simultaneously peripheral and central. He discusses how realist writers such as Charles Dickens, George Eliot, and Henry James show how consciousness can be in more than one place at a time; how the work of William Morris demonstrates the shifting forms of semi-detachment in print and visual media; and how Willa Cather created a form of modernism that connected aesthetic dreaming and reality. Plotz concludes with a look at early cinema and the works of Buster Keaton, who found remarkable ways to portray semi-detachment on screen. In a time of cyberdependency and virtual worlds, when it seems that attention to everyday reality is stretching thin, Semi-Detached takes a historical and critical look at the halfway-thereness that audiences have long comprehended and embraced in their aesthetic encounters.
A volume of essays which constitutes a major overview of the Victorian intellectual enterprise.
In 1864, amid headline-grabbing heresy trials, members of the British Association for the Advancement of Science were asked to sign a declaration affirming that science and scripture were in agreement. Many criticized the new test of orthodoxy; nine decided that collaborative action was required. The X Club tells their story. These six ambitious professionals and three wealthy amateurs—J. D. Hooker, T. H. Huxley, John Tyndall, John Lubbock, William Spottiswoode, Edward Frankland, George Busk, T. A. Hirst, and Herbert Spencer—wanted to guide the development of science and public opinion on issues where science impinged on daily life, religious belief, and politics. They formed a private dining club, which they named the X Club, to discuss and further their plans. As Ruth Barton shows, they had a clear objective: they wanted to promote “scientific habits of mind,” which they sought to do through lectures, journalism, and science education. They devoted enormous effort to the expansion of science education, with real, but mixed, success. ​For twenty years, the X Club was the most powerful network in Victorian science—the men succeeded each other in the presidency of the Royal Society for a dozen years. Barton’s group biography traces the roots of their success and the lasting effects of their championing of science against those who attempted to limit or control it, along the way shedding light on the social organization of science, the interactions of science and the state, and the places of science and scientific men in elite culture in the Victorian era.
"In 1843, the Victorian political theorist John Stuart Mill outlined a new science, "the science of the formation of character." Although Mill's proposal failed as scientific practice, S. Pearl Brilmyer shows that it survived in the work of Victorian novelists, who cultivated a narrative science of human nature. Brilmyer explores this characterological project in the work of such novelists as George Eliot, Thomas Hardy, and Olive Schreiner. Bringing to life Mill's unrealized dream of a science of character, Victorian realists used fiction to investigate the nature of embodied experience, how traits and behaviors in human and nonhuman organisms emerge and develop, and how aesthetic features-shapes, colors, and gestures-come to take on cultural meaning through certain categories, such as race and sex. In the hands of these authors, Brilmyer argues, literature became a science, not in the sense that its claims were falsifiable or even systematically articulated, but in its commitment to uncovering, through a fictional staging of realistic events, the universal laws governing human life. The Science of Character offers brilliant insights into important novels of the period, including Eliot's Middlemarch, and a fuller picture of English realism during the crucial span between 1870 and 1920"--
Anne DeWitt examines how Victorian novelists challenged the claims of men of science to align scientific practice with moral excellence.