Moon And The Western Imagination

The Moon is at once a face with a thousand expressions and the archetypal planet. Throughout history it has been gazed upon by people of every culture in every walk of life. From early perceptions of the Moon as an abode of divine forces, humanity has in turn accepted the mathematized Moon of the Greeks, the naturalistic lunar portrait of Jan van Eyck, and the telescopic view of Galileo. Scott Montgomery has produced a richly detailed analysis of how the Moon has been visualized in Western culture through the ages, revealing the faces it has presented to philosophers, writers, artists, and scientists for nearly three millennia. To do this, he has drawn on a wide array of sources that illustrate mankind's changing concept of the nature and significance of heavenly bodies from classical antiquity to the dawn of modern science. Montgomery especially focuses on the seventeenth century, when the Moon was first mapped and its features named. From literary explorations such as Francis Godwin's Man in the Moone and Cyrano de Bergerac's L'autre monde to Michael Van Langren's textual lunar map and Giambattista Riccioli's Almagestum novum, he shows how Renaissance man was moved by the lunar orb, how he battled to claim its surface, and how he in turn elevated the Moon to a new level in human awareness. The effect on human imagination has been cumulative: our idea of the Moon, and therefore the planets, is multilayered and complex, having been enriched by associations played out in increasingly complicated harmonies over time. We have shifted the way we think about the lunar face from a "perfect" body to an earthlike one, with corresponding changes in verbal and visual expression. Ultimately, Montgomery suggests, our concept of the Moon has never wandered too far from the world we know best—the Earth itself. And when we finally establish lunar bases and take up some form of residence on the Moon's surface, we will not be conquering a New World, fresh and mostly unknown, but a much older one, ripe with history.

The Moon has presented a variety of faces to philosophers, writers, artists, and scientists for nearly three millennia. Scott Montgomery has drawn on a wide array of sources that illustrate mankind¿s changing concept of this heavenly body -- from classical antiquity to the dawn of modern science. Publishers Weekly says: ¿Montgomery stitches a story of religious allegory, scientific inquiry, and artistic insight . . . Beneath the easy-reading style lies a work of substance that is a narrow but penetrating contribution to cultural history.¿ Choice says: ¿A work of painstaking scholarship . . . . It is fascinating to see how each era viewed the moon in terms of the religious and philosophical climate of the period.¿ Over 100 illustrations.

This is a book for readers who are fascinated by the Moon and the earliest speculations about life on other worlds. It takes the reader on a journey from the earliest Greek poetry, philosophy and science, through Plutarch's mystical doctrines to the thrilling lunar adventures of Lucian of Samosata.

Using werewolves and Wernher von Braun, Stonehenge and the sex lives of sea corals, aboriginal myths, and an Anglican bishop in this new book, the author weaves variegated information into a glimpse of Earth's closest celestial neighbor, whose mere presence inspires us to wonder what might be out there. Going beyond the discoveries of contemporary science, he presents a cultural assessment of our complex relationship with Earth's lifeless, rocky satellite. As well as offering an engaging perspective on such age old questions as "What would Earth be like without the moon?" he surveys the moon's mythical and religious significance and provokes existential soul searching through a lunar lens, inquiring, "Forty years ago, the first man put his footprint on the moon. Will we continue to use it as the screen onto which we cast our hopes and fears?" Drawing on materials from different cultures and epochs, he walks readers down a moonlit path illuminated by more than seventy-five vintage photographs and illustrations. From scientific discussions of the moon's origins and its chronobiological effects on the mating and feeding habits of animals to an illuminating interpretation of Bishop Francis Godwin's 1638 novel The Man in the Moone, his interdisciplinary explorations recast a familiar object in an original light.

The reconfiguration and relinquishing of one's conviction in a world system long held to be finite required for many in the sixteenth and seventeenth centuries a compromise in one's beliefs and the biblical authority on which he or she had relied - and this did not come without serious and complex challenges. Advances in astronomy, such as the theories of Copernicus, the development of the telescope, and Galileo's discoveries and descriptions of the moon sparked intense debate in Early Modern literary discourse. The essays in this collection demonstrate that this discourse not only stimulated international discussion about lunar voyages and otherworldly habitation, but it also developed a political context in which these new discoveries and theories could correspond metaphorically to New World exploration and colonization, to socio-political unrest, and even to kingship and regicide.

The first popular book to explain the dramatic theory behind the Moon's genesis This lively science history relates one of the great recent breakthroughs in planetary astronomy-a successful theory of the birth of the Moon. Science journalist Dana Mackenzie traces the evolution of this theory, one little known outside the scientific community: a Mars-sized object collided with Earth some four billion years ago, and the remains of this colossal explosion-the Big Splat-came together to form the Moon. Beginning with notions of the Moon in ancient cosmologies, Mackenzie relates the fascinating history of lunar speculation, moving from Galileo and Kepler to George Darwin (son of Charles) and the Apollo astronauts, whose trips to the lunar surface helped solve one of the most enigmatic mysteries of the night sky: who hung the Moon? Dana Mackenzie (Santa Cruz, CA) is a freelance science journalist. His articles have appeared in such magazines as Science, Discover, American Scientist, The Sciences, and New Scientist.

This handbook illustrates the evolution of literature and science, in collaboration and contestation, across the twentieth and twenty-first centuries. The essays it gathers question the charged rhetoric that pits science against the humanities while also demonstrating the ways in which the convergence of literary and scientific approaches strengthens cultural analyses of colonialism, race, sex, labor, state formation, and environmental destruction. The broad scope of this collection explores the shifting relations between literature and science that have shaped our own cultural moment, sometimes in ways that create a problematic hierarchy of knowledge and other times in ways that encourage fruitful interdisciplinary investigations, innovative modes of knowledge production, and politically charged calls for social justice. Across units focused on epistemologies, techniques and methods, ethics and politics, and forms and genres, the chapters address problems ranging across epidemiology and global health, genomics and biotechnology, environmental and energy sciences, behaviorism and psychology, physics, and computational and surveillance technologies. Chapter 19 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

A Choice 2015 Outstanding Academic Title Throughout history, Muslim men have been depicted as monsters. The portrayal of humans as monsters helps a society delineate who belongs and who, or what, is excluded. Even when symbolic, as in post-9/11 zombie films, Muslim monsters still function to define Muslims as non-human entities. These are not depictions of Muslim men as malevolent human characters, but rather as creatures that occupy the imagination -- non-humans that exhibit their wickedness outwardly on the skin. They populate medieval tales, Renaissance paintings, Shakespearean dramas, Gothic horror novels, and Hollywood films. Through an exhaustive survey of medieval, early modern, and contemporary literature, art, and cinema, Muslims in the Western Imagination examines the dehumanizing ways in which Muslim men have been constructed and represented as monsters, and the impact such representations have on perceptions of Muslims today. The study is the first to present a genealogy of these creatures, from the demons and giants of the Middle Ages to the hunchbacks with filed teeth that are featured in the 2007 film 300, arguing that constructions of Muslim monsters constitute a recurring theme, first formulated in medieval Christian thought. Sophia Rose Arjana shows how Muslim monsters are often related to Jewish monsters, and more broadly to Christian anti-Semitism and anxieties surrounding African and other foreign bodies, which involves both religious bigotry and fears surrounding bodily difference. Arjana argues persuasively that these dehumanizing constructions are deeply embedded in Western consciousness, existing today as internalized beliefs and practices that contribute to the culture of violence--both rhetorical and physical--against Muslims.

In an exciting new approach to witchcraft studies, The Witch in the Western Imagination examines the visual representation of witches in early modern Europe. With vibrant and lucid prose, Lyndal Roper moves away from the typical witchcraft studies on trials, beliefs, and communal dynamics and instead considers the witch as a symbolic and malleable figure through a broad sweep of topics and time periods. Employing a wide selection of archival, literary, and visual materials, Roper presents a series of thematic studies that range from the role of emotions in Renaissance culture to demonology as entertainment, and from witchcraft as female embodiment to the clash of cultures on the brink of the Enlightenment. Rather than providing a vast synthesis or survey, this book is questioning and exploratory in nature and illuminates our understanding of the mental and psychic worlds of people in premodern Europe. Roper’s spectrum of theoretical interests will engage readers interested in cultural history, psychoanalytic theory, feminist theory, art history, and early modern European studies. These essays, three of which appear here for the first time in print, are complemented by more than forty images, from iconic paintings to marginal drawings on murals or picture frames. In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.

Imagining Outer Space makes a captivating advance into the cultural history of outer space and extraterrestrial life in the European imagination. How was outer space conceived and communicated? What promises of interplanetary expansion and cosmic colonization propelled the project of human spaceflight to the forefront of twentieth-century modernity? In what way has West-European astroculture been affected by the continuous exploration of outer space? Tracing the thriving interest in spatiality to early attempts at exploring imaginary worlds beyond our own, the book analyzes contact points between science and fiction from a transdisciplinary perspective and examines sites and situations where utopian images and futuristic technologies contributed to the omnipresence of fantasmatic thought. Bringing together state-of-the-art work in this emerging field of historical research, the volume breaks new ground in the historicization of the Space Age.