Despite its widely acknowledged importance in and beyond the thought of the Romantic period, the distinctive concept of the symbol articulated by such writers as Goethe and F. W. J. Schelling in Germany and S. T. Coleridge in England has defied adequate historical explanation. In contrast to previous scholarship, Nicholas Halmi's study provides such an explanation by relating the content of Romantic symbolist theory - often criticized as irrationalist - to the cultural needs of its time. Because its genealogical method eschews a single disciplinary perspective, this study is able to examine the Romantic concept of the symbol in a broader intellectual context than previous scholarship, a context ranging chronologically from classical antiquity to the present and encompassing literary criticism and theory, aesthetics, semiotics, theology, metaphysics, natural philosophy, astronomy, poetry, and the origins of landscape painting. The concept is thus revealed to be a specifically modern response to modern discontents, neither reverting to pre-modern modes of thought nor secularizing Christian theology, but countering Enlightenment dualisms with means bequeathed by the Enlightenment itself. This book seeks, in short, to do for the Romantic symbol what Percy Bysshe Shelley called on poets to do for the world: to lift from it its veil of familiarity.
In four decades of writing for magazines ranging from Texas Monthly to the Atlantic, American History, and Travel Holiday, Stephen Harrigan has established himself as one of America’s most thoughtful writers. In this career-spanning anthology, which gathers together essays from two previous books—A Natural State and Comanche Midnight—as well as previously uncollected work, readers finally have a comprehensive collection of Harrigan’s best nonfiction. History—natural history, human history, and personal history—and place are the cornerstones of The Eye of the Mammoth. But the specific history or place varies considerably from essay to essay. Harrigan’s career has taken him from the Alaska Highway to the Chihuahuan Desert, from the casinos of Monaco to his ancestors’ village in the Czech Republic. Texas is the subject of a number of essays, and a force in shaping others, as in “The Anger of Achilles,” in which a nineteenth-century painting moves the author despite his possessing a “Texan’s suspicion of serious culture.” Harrigan’s deceptively straightforward voice, however, belies an intense curiosity about things that, by his own admission, may be “unknowable.” Certainly, we are limited in what we can know about the inner life of George Washington, the last days of Davy Crockett, or the motives of a caged tiger, but Harrigan’s gift—a gift that has also made him an award-winning novelist—is to bring readers closer to such things, to make them less remote, just as a cave painting in the title essay eerily transmits the living stare of a long-extinct mammoth.
The distinctive concept of the symbol, articulated by such writers as Goethe, Schelling, and Coleridge, is of the utmost significance in the literary, philosophical, and even scientific thought of the Romantic period. This interdisciplinary historical study examines the development of the concept in a jargon-free style that will appeal to a braod range of readers.
The author traces the history and theory of visual culture asking how and why visual media have become so central to contemporary everyday life. He explores a wide range of visual forms, including painting, sculpture, photography, television, cinema, virtual reality, and the Internet while addressing the subjects of race, ethnicity, gender, sexuality, the body, and the international media event that followed the death of Princess Diana.
Contextualizes and annotates the influential, scandalous, and entertaining texts which appeared in the Blackwood's Magazine between 1817 and 1825. This title features a detailed general introduction, volume introductions and endnotes, providing the reader with an understanding of the origins and early history of Blackwood's Magazine.
Contextualizes and annotates the influential, scandalous, and entertaining texts which appeared in the "Blackwood's Magazine" between 1817 and 1825. This title features a detailed general introduction, volume introductions and endnotes, providing the reader with an understanding of the origins and early history of "Blackwood's Magazine".
A comprehensive revision to the textbook on modern psychiatric diagnosis and treatment, keyed to the DSM-5 and ICD-10. Long considered a leading text on the assessment, diagnosis, and treatment of psychiatric disorders, this latest revision includes cutting-edge updates in neuroscience, psychopharmacology, and genetics. Geared to resident students in psychiatry and related disciplines, it makes practical, readable sense of the field.
We feel therefore we are. Conscious sensations ground our sense of self. They are essential to our idea of ourselves as psychic beings: present, existent, and mattering. But is it only humans who feel this way? Do other animals? Will future machines? To answer these questions we need a scientific understanding of consciousness: what it is and why it has evolved. Nicholas Humphrey has been researching these issues for fifty years. In this extraordinary book, weavingtogether intellectual adventure, cutting-edge science, and his own breakthrough experiences, he tells the story of his quest to uncover the evolutionary history of consciousness: from his discovery of blindsight after brain damage in monkeys, to hanging out with mountain gorillas in Rwanda, tobecoming a leading philosopher of mind. Out of this, he has come up with an explanation of conscious feeling - 'phenomenal consciousness' - that he presents here in full for the first time. Building on this theory of how phenomenal consciousness is generated in the human brain, he turns to the morally crucial question of whether it exists in non-human creatures. His conclusions, on the evidence as it stands, are radical. Contrary to both popular and much scientific opinion, he argues thatphenomenal consciousness is a relatively recent evolutionary innovation, present only in warm-blooded creatures, mammals and birds. Invertebrates, such as octopuses and bees, for all their intelligence, are in this respect unfeeling zombies. And for now, but not necessarily for ever, so are man-mademachines.
Stress and Immunity introduces and updates the status of research on stress and immunity. Clinical aspects of stress and immunity are presented in the first 17 chapters and include discussions regarding the influence of depression disorders on immune functions and stress interrelationships with cancer, AIDS, Chronic Fatigue Syndrome, and Herpes Simplex infections. There is also a review of physical exercise and immunity. The second half of the book is devoted to discussions regarding basic research being conducted in the field of stress and immunity. This includes discussions on the interrelationships of the central nervous system and the immune system and research on stress hormones (e.g., enkephalins, endorphins) as they interrelate with the immune system. In addition, animal models for the study of stress and immunity are discussed. Psychiatrists, neurologists, psychologists, clinical psychologists, internists, immunologists, and researchers in psychosomatic disorders should consider this an essential reference volume.
The distinctive concept of the symbol, articulated by such writers as Goethe, Schelling, and Coleridge, is of the utmost significance in the literary, philosophical, and even scientific thought of the Romantic period. This interdisciplinary historical study examines the development of the concept.
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