A powerful reimagining of the world in which a young Charles Darwin developed his theory of evolution.
When Charles Darwin returned to Britain from the Beagle voyage in 1836, the most talked-about scientific books of the day were the Bridgewater Treatises. This series of eight works was funded by a bequest of the last Earl of Bridgewater and written by leading men of science appointed by the president of the Royal Society to explore "the Power, Wisdom, and Goodness of God, as manifested in the Creation." Securing public attention beyond all expectations, the series offered Darwin’s generation a range of approaches to one of the great questions of the age: how to incorporate the newly emerging disciplinary sciences into Britain’s overwhelmingly Christian culture.
Drawing on a wealth of archival and published sources, including many unexplored by historians, Jonathan R. Topham examines how and to what extent the series contributed to a sense of congruence between Christianity and the sciences in the generation before the fabled Victorian conflict between science and religion. Building on the distinctive insights of book history and paying close attention to the production, circulation, and use of the books, Topham offers new perspectives on early Victorian science and the subject of science and religion as a whole.
The Apocalypse lends itself to multivalent readings, and this volume fills a gap for students and scholars by discussing how different methods apply to readings. Using historical, literary, and social analysis in combination with strategies such as social-conflict theory, philosophy, women’s studies, ethics, history of religions, postcolonial studies, and popular culture, the essays in this volume focus on specific texts and show not only how each helps interpret the text but also how diverse methods produce divergent readings of a text. Developed as a classroom resource for undergraduates, this work will also prove useful to graduate students, religious leaders, and others who wish to explore how methods shape our understandings of various texts, including Revelation.
Arguably no other nineteenth-century German composer was as literate or as finely attuned to setting verse as Robert Schumann. Jon W. Finson challenges long-standing assumptions about Schumann's Lieder, engaging traditionally held interpretations. He argues against the belief that the "Year of Song" simply reflects Schumann's personal life. Finson also devotes attention to the form and metric structure of German poetry that is almost entirely new to the discussion of Schumann's songs.
Arranged in part thematically, rather than merely by strict compositional chronology, this book speaks to the heart of Schumann's music. Finson's sustained attention to performance, such as questions of whether two singers might divide performance of cycles or whether miscellanies form coherent entities, allows the reader to engage Schumann's songs in novel ways.
Finson brings original research and the most recent scholarship to the musically literate public and the expert alike. This represents the definitive work on Schumann's songs and the standard reference for any Schumann enthusiast.