Romantic sensibility and political necessity led Humphry Davy, Britain's most prominent scientist in the first quarter of the nineteenth century, to pantheism: nature worship, involving for him a fervent belief in the immortality of the soul. Rapt with a vision of sublimity, from mountain tops or balloons, men of science in succeeding generations also found in pantheism a reason for their vocation and a way of making sense of their world. It should be seen as an alternative both to active (...) participation in church life (like Faraday's) and to a gritty agnosticism (like Huxley's), indicating again how subtle and complex relationships were between science and religion in the nineteenth century. (shrink)
This paper critically discusses D. Z. Phillips’ use of literary works as a resource for philosophical reflection on religion. Beginning by noting Phillips’ suggestion, made in relation to Waiting for Godot , that the possibilities of meaning that we see in a literary work can reveal something of our own religious sensibility, I then proceed to show what we learn about Phillips from his readings of certain works by Larkin, Tennyson, and Wharton. Through exploring alternative possible readings, I argue (...) that, although Phillips’ discussions are of considerable philosophical interest, they undermine his claim to be deploying a purely contemplative hermeneutical method. (shrink)
What is form? Why does form matter? In this imaginative and ambitious study, Angela Leighton assesses not only the legacy of Victorian aestheticism, and its richly resourceful keyword, 'form', but also the very nature of the literary. She shows how writers, for two centuries and more, have returned to the idea of form as something which contains the secret of art itself. She tracks the development of the word from the Romantics to contemporary poets, and offers close readings of, among (...) others, Tennyson, Pater, Woolf, Yeats, Stevens, and Plath, to show how form has provided the single most important way of accounting for the movements of literary language itself. She investigates, for instance, the old debate of form and content, of form as music or sound-shape, as the ghostly dynamic and dynamics of a text, as well as its long association with the aestheticist principle of being 'for nothing'. In a wide-ranging and inventive argument, she suggests that form is the key to the pleasure of the literary text, and that that pleasure is part of what literary criticism itself needs to answer and convey. (shrink)
Introduction, by H. J. Cargas.--St. Paul and Teilhard de Chardin, by J. H. Adams.--Teilhard and Dante, by M. Gable.--Tennyson and Teilhard, by E. R. August.--Teilhard, neo-Marxism, existentialism, by M. Barthelemy-Madaule.--Whitman, Teilhard, and Jung, by R. Benoit.--C. G. Jung and Teilhard de Chardin, by N. Braybrooke.--Camus and Teilhard, by P. Rosazza.--Bonhoeffer and Teilhard, by C. M. Hegarty.--Voices of convergence: Teilhard, McLuhan, and Brown, by D. J. Leary.
Owen Barfield: a conversation with Shirley Sugerman -- To Owen Barfield -- Cecil Harwood: Owen Barfield -- Norman O. Brown: on interpretation -- Howard Nemerov: exceptions and rules -- Studies in polarity -- David Bohm: imagination, fancy, insight, and reason in the process of thought -- R.H. Barfield: darwinism -- Richard A. Hocks: "novelty" in polarity to "the most admitted truths" : tradition and the individual talent in S.T. Coleridge and T.S. Eliot -- Robert O. Preyer: the burden of culture (...) and the dialectic of literature -- R.K. Meiners: on modern poetry, poetic consciousness, and the madness of poets -- Paul Piehler: Milton's iconoclasm -- Colin Hardie: two descents into the underworld -- Lionel Adey: enjoyment, contemplation, and hierarchy in Hamlet -- G.B. Tennyson: etymology and meaning -- R.J. Reilly: a note on Barfield, romanticism, and time -- Shirley Sugerman: an "essay" on Coleridge on imagination -- Clyde S. Kilby: the ugly and the evil -- Mary Caroline Richards: the vessel and the fire -- The works of Owen Barfield -- G.B. Tennyson: a bibliography of the works of Owen Barfield. (shrink)