Mediating Order and Chaos: The Water-cycle in the Complex Adaptive Systems of Romantic CultureRodopi, 2001 - 349 pages This literature-centered study offers an interdisciplinary approach to Romantic culture. If is pioneering in that it employs the complexity method of anthropology. Recent literary studies employ the complexity/chaos theory adapted from the natural sciences; however, here is presented for the first time a complexity method taken from the social/human sciences. This complexity method is useful in mediating not only contradictions within Romanticism, but the chaos of contemporary theories concerning it. One of the intensifying literary debates is that between the so-called "Greens" and "Reds," naturalists and humanists. Mediating Order and Chaos not only traces the split between nature and man to Romantic Culture but finds there, too, a Spinozian vision of man and nature in unity - thereby denying any naturalist/humanist split. This volume is of interest for those who wish to see essays in the holistic approach to culture. Centering on hydraulics, hydrology, and meteorology, this study examines literature, painting, music, economics, and the rhetoric of science, philosophy, and politics, it therewith demonstrates how the water cycle was transformed into a cosmic metaphor that mediated, in the form of several complex adaptive systems, between the chaos of too much change and that of not enough. |
From inside the book
Results 1-5 of 70
Page 37
... lyrics of Victor Hugo . The dialectical relationship between Neoclassic waters 56 Friedrich Blume , Classic and Romantic Music : A Comprehensive Survey , trans . by M.D. Herter Norton ( New York : Norton , 1970 ) 124-25 . Fritz Novotny ...
... lyrics of Victor Hugo . The dialectical relationship between Neoclassic waters 56 Friedrich Blume , Classic and Romantic Music : A Comprehensive Survey , trans . by M.D. Herter Norton ( New York : Norton , 1970 ) 124-25 . Fritz Novotny ...
Page 42
... lyric by Rückert . The early , proto - political period of Heine will be represented by the poetic seascapes in Die Nordsee . Although it is uncharacteristic of his output , a fragment by Burns is included as an interesting example of ...
... lyric by Rückert . The early , proto - political period of Heine will be represented by the poetic seascapes in Die Nordsee . Although it is uncharacteristic of his output , a fragment by Burns is included as an interesting example of ...
Page 43
... lyrics in Germany . For the representative of the first wave of French romantic poetry , I have chosen De Staël , as well as Lamartine , partly for his considerable qualities as a poet and partly for his corresponding political career ...
... lyrics in Germany . For the representative of the first wave of French romantic poetry , I have chosen De Staël , as well as Lamartine , partly for his considerable qualities as a poet and partly for his corresponding political career ...
Page 52
... lyric , which was first published in a review , expresses a genuine contempt for the backward - looking conservatism of the majority of his European contemporaries . He contrasts them metaphorically with the nomadic peoples of Arabia ...
... lyric , which was first published in a review , expresses a genuine contempt for the backward - looking conservatism of the majority of his European contemporaries . He contrasts them metaphorically with the nomadic peoples of Arabia ...
Page 53
... lyric , with a powerful prose preface : Autumn Leaves / Les Feuilles d'automne . His ' Fantasy of a Passerby ; speaking of a King ' / ' Rêverie 86 Fortescue 44 , 47-48 , 50 , 70 , 91 , 100-03 , et passim . d'un passant ; à Propos d'un ...
... lyric , with a powerful prose preface : Autumn Leaves / Les Feuilles d'automne . His ' Fantasy of a Passerby ; speaking of a King ' / ' Rêverie 86 Fortescue 44 , 47-48 , 50 , 70 , 91 , 100-03 , et passim . d'un passant ; à Propos d'un ...
Contents
1 | |
7 | |
SOURCE | 69 |
FLOW | 117 |
RECEPTACLE | 199 |
LINK | 267 |
CONCLUSION | 325 |
PRIMARY BIBLIOGRAPHY | 331 |
BIBLIOGRAPHICAL ESSAY ON SECONDARY WORKS | 342 |
Other editions - View all
Mediating Order and Chaos: The Water-cycle in the Complex Adaptive Systems ... Rodney Farnsworth No preview available - 2001 |
Common terms and phrases
Abrams allegorical artist aspect Baroque Byron Caspar David Friedrich century chaos chapter Classicism clouds Coleridge complexity theory concept Constable context cosmic create cycle described Dorothea Duddon elements employed eternal falls Faust flow flux fountain French Revolution Friedrich glacier Goethe Goethe's Hermann and Dorothea Hugo Hugo's human hydrological-cycle hydrology imagery Jane Austen Kenneth Clark lake Lamartine landscape Lansing lines lyric Mary Shelley metaphor mind mist Mont Blanc movement nature Neoclassical Neoclassicism ocean offers painters painting paradox passage permanence in change persona poem poet poet's poetic poetry political quarter rain rendered represent rhetoric river River Duddon rocks Romantic culture Romanticism scene scientific seems sense Shelley Shelley's significant sonnet spring stanza Stolberg Storm and Stress stream suggest symbol term topographical treated Turner Vaughan vision water images water phenomena water-cycle waterfall waves Weimar Classicism Werther Wordsworth world view York
Popular passages
Page 249 - And first one universal shriek there rush'd, Louder than the loud ocean, like a crash Of echoing thunder; and then all was hush'd, Save the wild wind and the remorseless dash Of billows; but at intervals there gush'd, Accompanied with a convulsive splash, A solitary shriek, the bubbling cry Of some strong swimmer in his agony.
Page 103 - Motionless torrents! silent cataracts! Who made you glorious as the Gates of Heaven Beneath the keen full moon? Who bade the sun Clothe you with rainbows? Who, with living flowers Of loveliest blue, spread garlands at your feet? GOD! let the torrents, like a shout of nations, Answer! and let the ice-plains echo, GOD!
Page 208 - Mais s'il est un état où l'ame trouve une assiette assez solide pour s'y reposer tout entière , et rassembler là tout son être , sans avoir besoin de rappeler le passé ni d'enjamber sur l'avenir, où le temps ne soit rien pour elle , où le présent dure toujours, sans néanmoins marquer sa durée et sans aucune trace de succession...
Page 299 - I sift the snow on the mountains below, And their great pines groan aghast ; And all the night 'tis my pillow white, While I sleep in the arms of the blast.
Page 105 - Were all like workings of one mind, the features Of the same face, blossoms upon one tree ; Characters of the great Apocalypse, The types and symbols of Eternity, Of first, and last, and midst, and without end.