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"Ends of Enlightenment" explores three realms of eighteenth-century
European innovation that remain active in the twenty-first century:
the realist novel, philosophical thought, and the physical
sciences, especially human anatomy. The European Enlightenment was
a state of being, a personal stance, and an orientation to the
world. Ways of probing experience and knowledge in the novel and in
the visual arts were interleaved with methods of experimentation in
science and philosophy. This book's fresh perspective considers the
novel as an art but also as a force in thinking. The critical
distance afforded by a view back across the centuries allows Bender
to redefine such novelists as Defoe, Fielding, Goldsmith, Godwin,
and Laclos by placing them along philosophers and scientists like
Newton, Locke, and Hume but also alongside engravings by Hogarth
and by anatomist William Hunter. His book probes the kinship among
realism, hypothesis, and scientific fact, defining in the process
the rhetorical basis of public communication during the
Enlightenment.
"Ends of Enlightenment" explores three realms of eighteenth-century
European innovation that remain active in the twenty-first century:
the realist novel, philosophical thought, and the physical
sciences, especially human anatomy. The European Enlightenment was
a state of being, a personal stance, and an orientation to the
world. Ways of probing experience and knowledge in the novel and in
the visual arts were interleaved with methods of experimentation in
science and philosophy. This book's fresh perspective considers the
novel as an art but also as a force in thinking. The critical
distance afforded by a view back across the centuries allows Bender
to redefine such novelists as Defoe, Fielding, Goldsmith, Godwin,
and Laclos by placing them along philosophers and scientists like
Newton, Locke, and Hume but also alongside engravings by Hogarth
and by anatomist William Hunter. His book probes the kinship among
realism, hypothesis, and scientific fact, defining in the process
the rhetorical basis of public communication during the
Enlightenment.
Regimes of Description responds to the perception - however
imprecise - that forms of knowledge in every sector of contemporary
culture are being fundamentally reshaped by the digital revolution:
music, speech, engineering diagrams, weather reports, works of
visual art, even the words most of us write are now subject, as
Lyotard points out in The Inhuman, to a logic of the bit, the
elemental unit of electronic information. It is now possible to
slice, graft, and splice this knowledge in ways never before
imagined using technologies that treat vast bodies of information
as a stream of data bits. Programs and technical algorithms specify
the criteria for discriminating between the data stream of a Mozart
string quartet and the CAT scan of a diseased organ. But are these
machine instructions and design parameters descriptions, or merely
mechanical filters? And if the latter, what constitutes a
description of digitally encoded knowledge? As a group, the essays
in this volume pose that question as a first attempt to write the
archaeology of the nature and history of description in the digital
age.
The discipline of rhetoric-adapted through a wide range of
reformulations to the specific requirements of Greek, Roman,
Medieval, and Renaissance societies-dominated European education
and discourse, whether public or private, for more than two
thousand years. The end of classical rhetoric's domination was
brought about by a combination of social and cultural
transformations that occurred between the seventeenth and ninteenth
centuries. Concurrent with the "theory boom" of recent decades,
rhetoric has reappeared as a center of discussion in the humanities
and social sciences. Rhetorical inquiry, as it is thought and
practiced today, occurs in an interdisciplinary matrix that touches
on philosophy, linguistics, communication studies, psychoanalysis,
cognitive science, sociology, anthropology, and political theory.
Rhetoric is now an area of study without accepted certainties, a
territory not yet parceled into topical subdivisions, a mode of
discourse that adheres to no fixed protocols. It is a noisy field
in the cybernetic sense of the term: a fertile ground for creative
innovation. This volume embodies the interdisciplinary character of
rhetoric. The essays draw on wide-ranging conceptual resources, and
combine historical, theoretical, and practical points of view. The
contributors develop a variety of perspectives on the central
concepts of rhetorical theory, on the work of some of its major
proponents, and on the breaks and continuities of its history. The
spectrum of thematic concern is broad, extending from the Greek
polis to the multi-ethnic city of modern America, from Aristotle to
poststructuralism, from questions of figural language to problems
of persuasion and interaction. But a common interdisciplinary
interest runs through all the essays: the effort to rethink
rhetoric within the contemporary epistemological situation. In this
sense, the book opens new possiblities for research within the
human sciences.
The discipline of rhetoric-adapted through a wide range of
reformulations to the specific requirements of Greek, Roman,
Medieval, and Renaissance societies-dominated European education
and discourse, whether public or private, for more than two
thousand years. The end of classical rhetoric's domination was
brought about by a combination of social and cultural
transformations that occurred between the seventeenth and ninteenth
centuries. Concurrent with the "theory boom" of recent decades,
rhetoric has reappeared as a center of discussion in the humanities
and social sciences. Rhetorical inquiry, as it is thought and
practiced today, occurs in an interdisciplinary matrix that touches
on philosophy, linguistics, communication studies, psychoanalysis,
cognitive science, sociology, anthropology, and political theory.
Rhetoric is now an area of study without accepted certainties, a
territory not yet parceled into topical subdivisions, a mode of
discourse that adheres to no fixed protocols. It is a noisy field
in the cybernetic sense of the term: a fertile ground for creative
innovation. This volume embodies the interdisciplinary character of
rhetoric. The essays draw on wide-ranging conceptual resources, and
combine historical, theoretical, and practical points of view. The
contributors develop a variety of perspectives on the central
concepts of rhetorical theory, on the work of some of its major
proponents, and on the breaks and continuities of its history. The
spectrum of thematic concern is broad, extending from the Greek
polis to the multi-ethnic city of modern America, from Aristotle to
poststructuralism, from questions of figural language to problems
of persuasion and interaction. But a common interdisciplinary
interest runs through all the essays: the effort to rethink
rhetoric within the contemporary epistemological situation. In this
sense, the book opens new possiblities for research within the
human sciences.
This brilliant and insightful contribution to cultural studies
investigates the role of literature--particularly the novel--and
visual arts in the development of institutions. Arguing the
attitudes expressed in narrative literature and art between 1719
and 1779 helped bring about the change from traditional prisons to
penitentiaries, John Bender offers studies of "Robinson Crusoe,
Moll Flanders, The Beggar's Opera," Hogarth's "Progresses, Jonathan
Wild," and "Amelia" as well as illustrations from prison
literature, art, and architecture in support of his thesis.
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Tom Jones (Paperback)
Henry Fielding; Edited by John Bender, Simon Stern
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R317
R293
Discovery Miles 2 930
Save R24 (8%)
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Ships in 12 - 17 working days
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Fielding's comic masterpiece of 1749 was immediately attacked as `A
motley history of bastardism, fornication, and adultery'. Indeed,
his populous novel overflows with a marvellous assortment of
prudes, whores, libertines, bumpkins, misanthropes, hypocrites,
scoundrels, virgins, and all too fallible humanitarians. At the
centre of one of the most ingenious plots in English fiction stands
a hero whose actions were, in 1749, as shocking as they are funny
today. Expelled from Mr Allworthy's country estate for his wild
temper and sexual conquests, the good-hearted foundling Tom Jones
loses his money, joins the army, and pursues his beloved across
Britain to London, where he becomes a kept lover and confronts the
possibility of incest. Tom Jones is rightly regarded as Fielding's
greatest work, and one of the first and most influential of English
novels. This carefully modernized edition is based on Fielding's
emended fourth edition text and offers the most thorough notes,
maps, and bibliography. The introduction uses the latest
scholarship to examine how Tom Jones exemplifies the role of the
novel in the emerging eighteenth-century public sphere. ABOUT THE
SERIES: For over 100 years Oxford World's Classics has made
available the widest range of literature from around the globe.
Each affordable volume reflects Oxford's commitment to scholarship,
providing the most accurate text plus a wealth of other valuable
features, including expert introductions by leading authorities,
helpful notes to clarify the text, up-to-date bibliographies for
further study, and much more.
A comprehensive survey of the British novel from its origins in the
18th century to the modern day. Organized chronologically, this
reference work traces the development of the novel and provides
essays on its most illustrious practitioners, from Fielding and
Austen to the postmodernists. The contributors challenge
contemporary views of the classics by examining canonical writers,
as well as women and post-colonial novelists. They also examine
subgenres such as picaresque fiction, travelogues, historical
romances, detective novels, adventures and the Bildungsroman. Brief
biographies of the novelists discussed are given, along with lists
for further reading.
Regimes of Description responds to the perception - however
imprecise - that forms of knowledge in every sector of contemporary
culture are being fundamentally reshaped by the digital revolution:
music, speech, engineering diagrams, weather reports, works of
visual art, even the words most of us write are now subject, as
Lyotard points out in The Inhuman, to a logic of the bit, the
elemental unit of electronic information. It is now possible to
slice, graft, and splice this knowledge in ways never before
imagined using technologies that treat vast bodies of information
as a stream of data bits. Programs and technical algorithms specify
the criteria for discriminating between the data stream of a Mozart
string quartet and the CAT scan of a diseased organ. But are these
machine instructions and design parameters descriptions, or merely
mechanical filters? And if the latter, what constitutes a
description of digitally encoded knowledge? As a group, the essays
in this volume pose that question as a first attempt to write the
archaeology of the nature and history of description in the digital
age.
"The Culture of Diagram" is about visual thinking. Exploring a
terrain where words meet pictures and formulas meet figures, the
book foregrounds diagrams as tools for blurring those boundaries to
focus on the production of knowledge as process. It outlines a
history of convergence among diverse streams of data in real-time:
from eighteenth-century print media and the diagrammatic procedures
in the pages of Diderot's "Encyclopedia" to the paintings of
Jacques-Louis David and mathematical devices that reveal the unseen
worlds of quantum physics. Central to the story is the process of
correlation, which invites observers to participate by eliciting
leaps of imagination to fill gaps in data, equations, or
sensations. This book traces practices that ran against the grain
of both Locke's clear and distinct ideas and Newton's
causality--practices greatly expanded by the calculus,
probabilities, and protocols of data sampling.
Today's digital technologies are rooted in the ability of
high-speed computers to correct errors when returning binary data
to the human sensorium. High-tech diagrams echo the visual
structures of the "Encyclopedia," arraying packets of dissimilar
data across digital spaces instead of white paper. The culture of
diagram broke with the certainties of eighteenth-century science to
expand the range of human experience. Speaking across disciplines
and discourses, Bender and Marrinan situate our modernity in a new
and revealing light.
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Animal ABCs (Paperback)
Rose O'keefe; Illustrated by John Bender
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R95
R79
Discovery Miles 790
Save R16 (17%)
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Out of stock
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"The Culture of Diagram" is about visual thinking. Exploring a
terrain where words meet pictures and formulas meet figures, the
book foregrounds diagrams as tools for blurring those boundaries to
focus on the production of knowledge as process. It outlines a
history of convergence among diverse streams of data in real-time:
from eighteenth-century print media and the diagrammatic procedures
in the pages of Diderot's "Encyclopedia" to the paintings of
Jacques-Louis David and mathematical devices that reveal the unseen
worlds of quantum physics. Central to the story is the process of
correlation, which invites observers to participate by eliciting
leaps of imagination to fill gaps in data, equations, or
sensations. This book traces practices that ran against the grain
of both Locke's clear and distinct ideas and Newton's
causality--practices greatly expanded by the calculus,
probabilities, and protocols of data sampling.
Today's digital technologies are rooted in the ability of
high-speed computers to correct errors when returning binary data
to the human sensorium. High-tech diagrams echo the visual
structures of the "Encyclopedia," arraying packets of dissimilar
data across digital spaces instead of white paper. The culture of
diagram broke with the certainties of eighteenth-century science to
expand the range of human experience. Speaking across disciplines
and discourses, Bender and Marrinan situate our modernity in a new
and revealing light.
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