In this fascinating study, Samantha George explores the cultivation of the female mind and the feminised discourse of botanical literature in eighteenth-century Britain. In particular, she discusses British women’s engagement with the Swedish botanist, Carl Linnaeus, and his unsettling discovery of plant sexuality. Previously ignored primary texts of an extraordinary nature are rescued from obscurity and assigned a proper place in the histories of science, eighteenth-century literature, and women’s writing. The result is groundbreaking: the author explores nationality and sexuality debates in relation to botany and charts the appearance of a new literary stereotype, the sexually precocious female botanist. She uncovers an anonymous poem on Linnaean botany, handwritten in the eighteenth century, and subsequently traces the development of a new genre of women’s writing — the botanical poem with scientific notes. The book is indispensable reading for all scholars of the eighteenth century, especially those interested in Romantic women’s writing, or the relationship between literature and science.

"The Cavendishes flourished during the high tide of British aristocracy following the revolution of 1688-89, and the case can be made that this aristocracy knew its finest hour when Henry Cavendish gently laid his delicate weights in the pan of his incomparable precision balance. For this it took two generations and two kinds of invention, one in social forms and the other in scientific technique. This biography tells how it came to pass."--BOOK JACKET.

The birth of modern science was linked to the rise in Western Europe of a new sensibility, that of the scientific intellectual. Such a person was no more technician, looking at science as just a job to be done, but one for whom the scientific stand-point is a philosophy in the fullest sense. In The Scientific Intellectual, Lewis S. Feuer traces the evolution of this new human type, seeking to define what ethic inspired him and the underlying emotions that created him.Under the influence of Max Weber, the rise of the scientific spirit has been viewed by sociologists as an offspring of the Protestant revolution, with its asceticism and sense of guilt acting as causative agents in the rise of capitalism and the growth of the scientific movement. Feuer takes strong issue with this view, pointing out how it is at odds with what we know of the psychological conditions of modern societies making for human curiosity and its expression in the observation of and experiment with nature.Feuer shows that wherever a scientific movement has begun, it has been based on emotions that issue in what might be called a hedonist-libertarian ethic. The scientific intellectual was a person for whom science was a 'new philosophy,' a third force rising above religious and political hatreds, seeking in the world of nature liberated vision, a intending to use and enjoy its knowledge. In his new introduction to this brilliantly readable volume, Professor Feuer reviews the book's critical reception and expands the scope of the original edition to include fascinating discussions of Francis Bacon, Thomas Edison, Charles Darwin, Thomas Hardy, and others. The Scientific Intellectual will be of interest to scientists and intellectual historians.

Scottish theologian, educator, astronomer and popularizer of science, Thomas Dick (1774-1857) promoted a Christianized form of science to inhibit secularization, to win converts to Christianity, and to persuade evangelicals that science was sacred. His devotional theology of nature made radical claims for cultural authority. This book presents the first detailed analysis of his life and works. After an extended biographical introduction, Dick's theology of nature is examined within the context of natural theology, and also his views on the plurality of worlds, the nebular hypothesis and geology. Other chapters deal with Dick's use of aesthetics to shape social behaviour for millennial purposes, and with the publishing history of his works, their availability and their reception. In the final part, the author explores Dick's influence in America. His pacifism won him Northern evangelical supporters, while his writings dominated the burgeoning field of popular science, powerfully shaping science's cultural meaning and its uses.

The first book-length study of the relationship between science and theater during the long eighteenth century in Britain, The Theater of Experiment explores the crucial role of spectacle in the establishment of modern science by analyzing how eighteenth-century science was "staged" in a double sense. On the one hand, this study analyzes science in performance: the way that science and scientists were made a public spectacle in comedies, farces, and pantomimes for purposes that could range from the satiric to the pedagogic to the hagiographic. But this book also considers the way in which these plays laid bare science as performance: that is, the way that eighteenth-century science was itself a kind of performing art, subject to regimes of stagecraft that traversed the laboratory, the lecture hall, the anatomy theater, and the public stage. Not only did the representation of natural philosophy in eighteenth-century plays like Thomas Shadwell's Virtuoso, Aphra Behn's The Emperor of the Moon, Susanna Centlivre's The Basset Table, and John Rich's Necromancer, or Harelequin Doctor Faustus, influence contemporary debates over the role that experimental science was to play public life, the theater shaped the very form that science itself was to take. By disciplining, and ultimately helping to legitimate, experimental philosophy, the eighteenth-century stage helped to naturalize an epistemology based on self-evident, decontextualized facts that might speak for themselves. In this, the stage and the lab jointly fostered an Enlightenment culture of spectacle that transformed the conditions necessary for the production and dissemination of scientific knowledge. Precisely because Enlightenment public science initiatives, taking their cue from the public stages, came to embrace the stagecraft and spectacle that Restoration natural philosophy sought to repress from the scene of experimental knowledge production, eighteenth-century science organized itself around not the sober, masculine "modest witness" of experiment but the sentimental, feminized, eager observer of scientific performance.

Perception and analogy explores ways of seeing scientifically in the eighteenth century. The book examines how sensory experience is conceptualised during the period, drawing novel connections between treatments of perception as an embodied phenomenon and the creative methods employed by natural philosophers. Covering a wealth of literary, theological, and pedagogical texts that engage with astronomy, optics, ophthalmology, and the body, it argues for the significance of analogies for conceptualising and explaining new scientific ideas. As well as identifying their use in religious and topographical poetry, the book addresses how analogies are visible in material culture through objects such as orreries, camera obscuras, and aeolian harps. It makes the vital claim that scientific concepts become intertwined with Christian discourse through reinterpretations of origins and signs, the scope of the created universe, and the limits of embodied knowledge.