In the grand invocation at the beginning of Book VII of his epic Paradise Lost, John Milton selects as his muse Urania, who is traditionally the Muse of Astronomy in classical texts. He immediately excludes that possible identification, however, when he writes that she is "Nor of the Muses nine." By calling on her "meaning" rather than her "Name," Milton relies on a multitude of precedents and traditions, repackaged for his own times and his own idiosyncratic purposes, that critics have consistently failed to recognize or investigate sufficiently. This dissertation looks diachronically at various occurrences of Uranian discourse in literature, historically both before and after Milton, to locate thematic similarities to his works and to help define his Urania accordingly. In spite of her explicit exclusion, the search begins with Urania as Muse of Astronomy because from her mythopoetic genesis in Ancient Greece, other myths are engrafted onto her, most notably Plato's Uranian Aphrodite as defined in his Symposium. This transformed Urania appears in ancient and medieval cosmic journey and dream narratives and evolves by the Renaissance into an oddly Christianized muse. She becomes a vehicle for heavenly, divine truths that each devout Christian rightly senses in his conscience. In this capacity she promotes friendship and chastity, while she also opposes licentiousness, particularly the lusts of tyrants. In early myths, the Muses are victims of tyranny; but in later appearances, they often sell their patronage of the arts unscrupulously to wicked kings and the flattering poets who are paid by them. Urania's patronage manages to distance itself from her sisters' misallocations of inspiration, and parts of the Book VII invocation are clearly an indictment of royal excess. In conclusion, a small group of late-Victorian English poets, mainly from Oxford, call themselves the "Uranians." Although they too draw from the same traditions as Milton and from Milton himself, they appropriate Urania to satisfy their own political and sexual agendas in a conscious and deliberate revision.

In Hellenistic Astronomy: The Science in Its Contexts, renowned scholars address questions about what the ancient science of the heavens was and the numerous contexts in which it was pursued.

A Miscellany of Muses? There are nine of them altogether and they all make an appearance in this volume. Many readers will remember Erato and Calliope from their previous appearances in Conversations with a Muse. Here they are again, accompanied by their sisters: Melpomene the moaner, Polyhymnia the professional, unhappy Clio, dancing Terpsichore, astral Urania, Thalia the comic and Euterpe the flautist. The verses are designed to be read as one continuous story, although many of the poems stand on their own. If you have ever wondered how a famous Swedish furnishings company came by its name, why magnets never wear out, or how stardust is formed, then look no further. Answers, of a sort, to these and other questions, are to be found here. One does not need to have read the previous volume to enjoy this book. However, those who know Conversations with a Muse will meet old friends in new situations. Hopefully the reacquaintance will be a happy one!

Every night, a pageant of Greek mythology circles overhead. Perseus flies to the rescue of Andromeda, Orion faces the charge of the snorting Bull, and the ship of the Argonauts sails in search of the Golden Fleece. Constellations are the invention of human imagination, not of nature. They are an expression of the human desire to impress its own order upon the apparent chaos of the night sky. Modern science tells us that these twinkling points of light are glowing balls of gas, but the ancient Greeks, to whom we owe many of our constellations, knew nothing of this. Ian Ridpath, award-winning astronomy writer and popularizer, has been intrigued by the myths of the stars for many years. Star Tales is the first modern guide to combine all the fascinating myths in one book, illustrated with the beautiful and evocative engravings from two of the leading star atlases: Johann Bode’s Uranographia of 1801 and John Flamsteed’s Atlas Coelestis of 1729. This classic book, now in a revised and expanded edition, presents additional information on the constellations with new and enchanting illustrations. For anyone interested in the stars and classical mythology, for anyone who is an armchair astronomer, this is the perfect gift.

The long running podbean-based podcast called 'Home Planetarium Association' featured among various topics related to building planetariums at home, plus periodic visits from 'the Muse of Astronomy'. In this brief sampling, her character is revealed to be confident though a bit bossy, and always in control of any situation! Providing a bit of comic relief and a backstory, using a pen name called Kindler Starr, she banters with the Narrator Gare as he is called. Referenced Episode numbers are provided to give readers the ability to hear the famous Muse of Astronomy in action!

In this expanded version of the original News from the Muse (Volume 3 of the author's 5 book series on Home Planetariums), sample episodes illustrating Urania, the Muse of Astronomy's style are joined by four narrative essays detailing the end of the massive HOME PLANETARIUMS Podcast, featuring over 2400 Episodes. Email the Narrator at [email protected] for details and current podcast status!

Mark Peterson makes an extraordinary claim in this fascinating book focused around the life and thought of Galileo: it was the mathematics of Renaissance arts, not Renaissance sciences, that became modern science. Galileo's Muse argues that painters, poets, musicians, and architects brought about a scientific revolution that eluded the philosopher-scientists of the day, steeped as they were in a medieval cosmos and its underlying philosophy. According to Peterson, the recovery of classical science owes much to the Renaissance artists who first turned to Greek sources for inspiration and instruction. Chapters devoted to their insights into mathematics, ranging from perspective in painting to tuning in music, are interspersed with chapters about Galileo's own life and work. Himself an artist turned scientist and an avid student of Hellenistic culture, Galileo pulled together the many threads of his artistic and classical education in designing unprecedented experiments to unlock the secrets of nature. In the last chapter, Peterson draws our attention to the Oratio de Mathematicae laudibus of 1627, delivered by one of Galileo's students. This document, Peterson argues, was penned in part by Galileo himself, as an expression of his understanding of the universality of mathematics in art and nature. It is "entirely Galilean in so many details that even if it is derivative, it must represent his thought," Peterson writes. An intellectual adventure, Galileo’s Muse offers surprising ideas that will capture the imagination of anyone—scientist, mathematician, history buff, lover of literature, or artist—who cares about the humanistic roots of modern science.