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Gender, sexual difference and knowledge in Bacon’s New Atlantis
Kate Aughterson

156 Francis Bacon’s New Atlantis 8 ‘Strange things so probably told’: gender, sexual difference and knowledge in Bacon’s New Atlantis KATE AUGHTERSON I Let us establish a chaste and lawful marriage between mind and nature, with the divine mercy as bridewoman.1 I am come in very truth leading to you Nature with all her children to bind her to your service and make her your slave … so may I succeed in my only earthly wish, namely to stretch the deplorably narrow limits of man’s dominion over the universe to their promised bounds.2 The human mind in studying

in Francis Bacon’s New Atlantis
William Burchell’s Travels in the Interior of Southern Africa
Matthew Shum

’s influential Imperial Eyes: Travel Writing and Transculturation (1992). A central argument of the book is that systems of scientific naming and classification – with the binomial Linnean system the major culprit – act to integrate the natural world into a European ‘planetary consciousness’ shedding it of context and particularity. 13 Drawing on Michel Foucault’s analysis of eighteenth-century thought in The Order of Things (1966/1970), Pratt argues that the ‘systemizing of nature’ that the Linnaean taxonomy introduced into natural history ‘extracted specimens not only

in Worlding the south
Open Access (free)
Christopher Morgan

.1 As we have seen, Thomas’s mythic poems reflect primarily a deistic understanding, that is, they set forth a distant and, for the most part, impersonal creator-God. In partial contrast to Robinson, Thomas’s deistic divinity expresses wrath as well as divine compassion, but my point here is that whatever the nature of these expressions they occur across significant distances, allowing for little, if any, closer integration between creator and created. Alongside Thomas’s mythic poems however, one encounters others in which the poet is clearly seeking out the

in R. S. Thomas
Open Access (free)
Farah Karim-Cooper

were fraught with anxiety, contradiction and absolutes. Some writers, as contributors have pointed out here, were certain that there was a clear hierarchy of the senses, with sight at the top. This ordering of the senses occurs as early as Aristotle, but is later reimagined within a Christian framework through the Middle Ages and early modern periods. Other writers, such as Brathwaite, were troubled by the double nature of the senses and sense organs. For example, Jackie Watson shows us in Chapter 2 to what extent theories of vision were in flux and how the eyes were

in The senses in early modern England, 1558–1660
The unknowable image in The Winter’s Tale
Chloe Porter

and sexual difference. 30 The relevance of cultural meanings of motherhood for The Winter’s Tale has already been recognised in a number of studies focusing on Hermione’s maternal body. 31 Significantly, these readings of the play are at times invested in the unknowable, deferred ‘wholeness’ invoked by Hermione’s statue. For example, acknowledging the ‘decidedly patriarchal’ nature

in Making and unmaking in early modern English drama
Open Access (free)
Christopher Morgan

appears in Thomas’s chapter6 28/1/05 148 1:33 pm Page 148 Expanding deity poetry a waning of earlier preoccupations with Welsh rural life and the struggle for national identity in favour of an intensification of the personal search for deity. In his autobiography No-one (1986) Thomas writes of himself that ‘having reached Aberdaron … he turned to the question of the soul, the nature and existence of God’. (76). And later in the autobiography: He wrote political, patriotic poetry in English, and then fell quiet. He portrayed the life of the small farmer as an act

in R. S. Thomas
Mark Robson

aesthetics is usefully reconstructed by Andrew Bowie, following Gadamer. In a trajectory which stretches from Kant and Baumgarten through German Idealism to Nietzsche and Schopenhauer, Bowie suggests that the crucial aspect of the story of aesthetics is ‘the relationship between competing claims to truth’ but that, as Gadamer indicates, ‘one cannot presuppose that the nature of the division between philosophy and art can be truly defined by philosophy’.20 In freeing art from instrumental social functions, German Idealism stresses the role of the imagination in going beyond

in The new aestheticism
Open Access (free)
Sukanta Chaudhuri

Sicily. Only once, in Idyll 7, is there any suggestion that the shepherds may stand for people from another world, maybe the poet’s own. Virgil, however, seems to have introduced a measure of allusion in his Eclogues, beginning with the first, where the shepherd Tityrus, secure while his fellows are dislodged from the land, is held to represent Virgil himself, thanking the Emperor Augustus for his patronage. The extent and nature of the allusion is often uncertain; but scholiasts have confirmed what any reader might suspect, that it is there. When Virgilian pastoral

in Pastoral poetry of the English Renaissance
Open Access (free)
Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke
Lucy Collins

be identified and located the woman may gain power both through the act of self-articulation and through the assumption of a recognisable identity. Yet at the same time she surrenders the freedom of movement and self-definition that accompanies imaginative representations. The relationship between the speaker and the material world of the poem often reflects the contingent nature of ‘home’ for these poets: one interpretation sees the house as a space of security and sheltered intimacy; another, as a place of disenfranchisement for women. This double perspective

in Irish literature since 1990
Open Access (free)
Andrew Bowie

documents of barbarism.2 The problem with many of the contemporary versions of this stance is that the critic ends up placing herself in something like the position of the narrator-mouse of Kafka’s story, aware that she is deeply ambivalent about what she is confronted with, yet still obsessively concerned to get to the bottom of its nature. Added to this, What comes after art? 69 though, is the lurking suspicion that, in the last analysis, there may not be very much to get to the bottom of. Kafka’s narrator asks whether Josefine’s song might not be just a fraud, and

in The new aestheticism