Chaos Or Cosmos

In Chaos and Cosmos, Heidi Scott integrates literary readings with contemporary ecological methods to investigate two essential and contrasting paradigms of nature that scientific ecology continues to debate: chaos and balance. Ecological literature of the Romantic and Victorian eras uses environmental chaos and the figure of the balanced microcosm as tropes essential to understanding natural patterns, and these eras were the first to reflect upon the ecological degradations of the Industrial Revolution. Chaos and Cosmos contends that the seed of imagination that would enable a scientist to study a lake as a microcosmic world at the formal, empirical level was sown by Romantic and Victorian poets who consciously drew a sphere around their perceptions in order to make sense of spots of time and place amid the globalizing modern world. This study’s interest goes beyond likening literary tropes to scientific aesthetics; it aims to theorize the interdisciplinary history of the concepts that underlie our scientific understanding of modern nature. Paradigmatic ecological ideas such as ecosystems, succession dynamics, punctuated equilibrium, and climate change are shown to have a literary foundation that preceded their status as theories in science. This book represents an elevation of the prospects of ecocriticism toward fully developed interdisciplinary potentials of literary ecology.

All over the world people look forward to a perfect future, when the forces of good will be finally victorious over the forces of evil. Once this was a radically new way of imagining the destiny of the world and of mankind. How did it originate, and what kind of world-view preceded it? In this engrossing book, the author of the classic work The Pursuit of the Millennium takes us on a journey of exploration, through the world-views of ancient Egypt, Mesopotamia, and India, through the innovations of Iranian and Jewish prophets and sages, to the earliest Christian imaginings of heaven on earth. Until around 1500 B.C., it was generally believed that once the world had been set in order by the gods, it was in essence immutable. However, it was always a troubled world. By means of flood and drought, famine and plague, defeat in war, and death itself, demonic forces threatened and impaired it. Various combat myths told how a divine warrior kept the forces of chaos at bay and enabled the world to survive. Sometime between 1500 and 1200 B.C., the Iranian prophet Zoroaster broke from that static yet anxious world-view, reinterpreting the Iranian version of the combat myth. For Zoroaster, the world was moving, through incessant conflict, toward a conflictless state--"cosmos without chaos." The time would come when, in a prodigious battle, the supreme god would utterly defeat the forces of chaos and their human allies and eliminate them forever, and so bring an absolutely good world into being. Cohn reveals how this vision of the future was taken over by certain Jewish groups, notably the Jesus sect, with incalculable consequences. Deeply informed yet highly readable, this magisterial book illumines a major turning-point in the history of human consciousness. It will be mandatory reading for all who appreciated The Pursuit of the Millennium.

Writing in 1940, the prominent German art historian Erwin Panofsky asked, "How, then, is it possible to build up art history as a respectable scholarly discipline, if its objects come into being by an irrational and subjective process?" In Chaos and Cosmos, Karen Lang addresses the power of art to resist the pressures of the transcendental vantage point-history. Uncovering the intellectual and cultural richness of the early years of academic art history in Germany--the period from the 1880s to 1940--she explores various attempts within art history to transform aesthetic phenomena--chaos--into the cosmos of a systematic, unified field of inquiry.Lang starts by examining Panofsky's approach to aesthetic phenomena in his early theoretical essays alongside Ernst Cassirer's contemporaneous publications on the substance and function of scientific concepts (and on Einstein's theory of relativity). She then turns to the subject of aesthetic judgment through a rereading of Kantian subjectivity and Kant's uneasy legacy in art history. From here, Lang considers the different organizing theories of symbolic form proposed by Aby Warburg and Cassirer, as well as Goethe's inspiration for both; Alois Riegl's notion of age value and Walter Benjamin's conceptions of the aura; concluding with an extended examination of objectivity and the figure of the art connoisseur.Extensively illustrated with works of art from the Enlightenment to the present day, this venturesome book illuminates an intellectual legacy that has profoundly shaped the study of the history of art in ways that have, until now, been largely unacknowledged. Addressing the interplay of chaos and cosmos in terms of history, art history, philosophy, and epistemology, Lang traces shifts in point of view in art history and the way these shifts change aesthetic objects into historical objects, and even objects of knowledge.

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'he year was 1889. The French physicist-mathematician Henry T Poincare could not believe his eyes. He had worked for months on one of the most famous problems in science-the problem of three bodies moving around one another under mutual gravita tional attraction-and what he was seeing dismayed and trou bled him. Since Newton's time it had been assumed that the problem was solvable. All that was needed was a little ingenuity and considerable perseverance, but Poincare saw that this was not the case. Strange, unexplainable things happened when he delved into the problem; it was not solvable after all. Poincare was shocked and dismayed by the result-so disheartened he left the problem and went on to other things. What Poincare was seeing was the first glimpse of a phe nomenon we now call chaos. With his discovery the area lay dormant for almost 90 years. Not a single book was written about the phenomenon, and only a trickle of papers appeared. Then, about 1980 a resurgence of interest began, and thousands of papers appeared along with dozens of books. The new science of chaos was born and has attracted as much attention in recent years as breakthroughs in superconductivity and superstring theory.

Excerpt from Chaos or Cosmos? Is the world in which we live a chaos, a welter of blind forces and brutish passions? Or is it a cooperative enterprise, through which Man and God are slowly working out an order of justice and brotherhood? That is the question men are asking, with an importunity no previous age has known. We are coming to distrust Materialism. As a philosophy of life, it has been stifling moral and religious forces that are essential to progress. It offers no hope for the future. Selfishness spells exploitation and class struggle. The idea of the survival of the strong brought our generation to the World War and its terrible aftermath. We have been passing through a period of intellectual panic. Many current theories of the world have gone into bankruptcy. What is to take their place? The relation of man to the Universe must be approached today in the attitude of the scientist. For the modern mind, knowledge is not something fixed and final, but a series of approximations. Some men still take their opinions on authority. Abstract philosophers continue to treat ideas as if they were the only realities. In this book we shall make inductions from the concrete facts given us by science and human experience. Though not a biologist, my studies have compelled me to take the biological point of view. Man is an organism; his life, physical and mental, is a process of adaptation. To reverse Descartes' dictum: I think, therefore Something is, to which my mind is seeking to adjust itself. And that Something is the vast external Universe, which forms my environment. It is of little importance to know the exact source of our ideas. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.