Aesthetic Apprehensions: Silences and Absences in False Familiarities is a scholarly conversation about encounters between habitual customs of reading and seeing and their ruptures and ossifications. In closely connected discourses, the thirteen essays collected here set out to carefully probe the ways our aesthetic immersions are obfuscated by deep-seated epistemological and ideological apprehensions by focusing on how the tropology carried by silence, absence, and false familarity crystallize to define the gaps that open up. As they figure in the subtitle of this volume, the tropes may seem straightforward enough, but a closer examination of their function in relation to social, cultural, and political assumptions and gestalts reveal troubling oversights. Aesthetic Apprehensions comes to name the attempt at capturing the outlier meanings residing in habituated receptions as well as the uneasy relations that result from aesthetic practices already in place, emphasizing the kinds of thresholds of sense and sensation which occasion rupture and creativity. Such, after all, is the promise of the threshold, of the liminal: to encourage our leap into otherness, for then to find ourselves and our sensing again, and anew in novel comprehensions.

This volume provides, for the first time, an extensive and wide-ranging discussion of the relationship between Romanticism and Roman antiquity. Encompassing literature, music, sculpture, film, history, politics, and scholarship from across Europe and the US, it assesses the influence ancient Roman culture has had upon Romanticism, and the influence Romanticism has in turn had upon our understanding of the ancient Romans.
Arranged in three sections - Romanticisms, Romantics, and Reception - the 20 contributions in this volume assess various shared themes and motifs, case studies from the Romantic Period, and the way in which reception of Romanticism shaped and was shaped by the reception of Roman antiquity. By highlighting the key role that the Romans played in the creation and development of Romanticism, and the role Romanticism has since played in conceptions of the Romans, Romans and Romantics initiates not only a reassessment of the relationship between its two protagonists, but develops a new understanding of each of them individually.
Figures discussed within the volume include Byron, Emerson, Foscolo, Goethe, Hardy, Hawthorne, Keats, Maggi, Mozart, Niebuhr, Pastrone, Pater, Jean Paul, Poe, Pushkin, Mary and Percy Shelley, the Schlegel brothers, Charlotte Smith, Madame de Stael, Thoreau, Vosmaer, Wergeland, and Wordsworth."

Almost every scientist has heard of catastrophe theory and knows that there has been a considerable amount of controversy surrounding it. Yet comparatively few know anything more about it than they may have read in an article written for the general public. The aim of this book is to make it possible for anyone with a comparatively modest background in mathematics - no more than is usually included in a first year university course for students not specialising in the subject - to understand the theory well enough to follow the arguments in papers in which it is used and, if the occasion arises, to use it. Over half the book is devoted to applications, partly because it is not possible yet for the mathematician applying catastrophe theory to separate the analysis from the original problem. Most of these examples are drawn from the biological sciences, partly because they are more easily understandable and partly because they give a better illustration of the distinctive nature of catastrophe theory. This controversial and intriguing book will find applications as a text and guide to theoretical biologists, and scientists generally who wish to learn more of a novel theory.

Almost every scientist has heard of catastrophe theory and knows that there has been a considerable amount of controversy surrounding it. Yet comparatively few know anything more about it than they may have read in an article written for the general public. The aim of this book is to make it possible for anyone with a comparatively modest background in mathematics - no more than is usually included in a first year university course for students not specialising in the subject - to understand the theory well enough to follow the arguments in papers in which it is used and, if the occasion arises, to use it. Over half the book is devoted to applications, partly because it is not possible yet for the mathematician applying catastrophe theory to separate the analysis from the original problem. Most of these examples are drawn from the biological sciences, partly because they are more easily understandable and partly because they give a better illustration of the distinctive nature of catastrophe theory. This controversial and intriguing book will find applications as a text and guide to theoretical biologists, and scientists generally who wish to learn more of a novel theory.

Beginning in outer space and ending up among the atoms, "Bucolic Ecology" illustrates how these poems repeatedly turn to the natural world in order to define themselves and their place in the literary tradition. It argues that the 'Eclogues' find there both a sequence of analogies for their own poetic processes and a map upon which can be located other landmarks in Greco-Roman literature. Unlike previous studies of this kind, "Bucolic Ecology" does not attribute to Virgil a predominantly Romantic conception of nature and its relationship to poetry, but by adopting such differing approaches to the physical world as astronomy, geography, topography, landscape and ecology, it offers an account of the Eclogues that emphasises their range and complexity and reaffirms their innovation and audacity.