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"Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid-nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity. Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D.H. Lawrence, and T.S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author's personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science, and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology"-- "Christina Walter brings the next offering to the Hopkins Studies in Modernism series. Her work looks at the influence of the modern science of visual perception a variety of modernist writers. Walter focuses in particular on the way in which writers like H.D., Virgina Woolf, Walter Pater, and T.S. Eliot developed an alternative conception of the self in light of the developing neuro-scientific account of our inner workings. Critics have long seen modernist writers as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of an author's subjective personality. Walter argues that the charge of impersonality has been overblown and that the modernists did not want to entirely evacuate the self from writing. Rather, she argues, modernist writers embraced the kind of material and embodied notion of the self that resulted from the then-emerging physiological sciences. This work will appeal to scholars and advanced students of modernist literature, as well as scholars interested in the influence of science on literature"--

LITERARY CRITICISM / Semiotics & Theory. --- Optics in literature. --- Modernism (Literature) --- Crepuscolarismo --- Literary movements --- Optics in literature

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Light and darkness in literature. --- Optics in literature. --- Vision in literature.

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In this book the author express more completely than in her earlier studies what were the implications for the poet of a great advance in scientific thought.Originally published in 1966.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Literature and science. --- English poetry --- Poetry and science --- Science and literature --- Science and poetry --- Science and the humanities --- History and criticism. --- Newton, Isaac, --- English poetry. --- Optics in literature.

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Esoteric sciences --- Fiction --- Optics. Quantum optics --- Comparative literature --- Psychological study of literature --- Thematology --- Optica in de literatuur --- Optics in literature --- Optique dans la littérature --- Fantasy fiction --- Roman fantastique --- History and criticism --- Histoire et critique --- -Fantastic fiction --- Heroic fantasy (Fiction) --- Fantasy literature --- Optics in literature. --- History and criticism. --- -History and criticism --- Optique dans la littérature --- 82 --- CDL --- Fantasy fiction - History and criticism

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Les prédicateurs et les poètes du XVIIe siècle portent un intérêt marqué aux discours savants sur la vision et aux jeux d'optique. Ils y voient en réalité la clé des mystères chrétiens. Avant 1630, ils louent Dieu par le biais de similitudes rhétoriques avec le soleil, puis l'évolution du goût et de la science substitue au thème de la lumière un cabinet d'optique curieuse : miroirs magiques et anamorphoses représentent alors la difficile connaissance du Dieu caché. Après 1630, le socratisme chrétien cherche à le voir au miroir de l'homme. Finalement, l'augustinisme, la crise de l'analogie, et la sensibilité galante fragilisent cette rhétorique de l'optique, au profit de métaphores évoquant les clairs-obscurs de la foi.

French literature --- Literary rhetorics --- anno 1600-1699 --- Optique --- Littérature chrétienne --- Christianisme et sciences --- Dans la littérature --- Thèmes, motifs --- Christian literature --- Optics in literature --- Religion and science --- History and criticism. --- History and criticism --- Thèmes, motifs. --- Dans la littérature. --- Christian literature - History and criticism. --- French literature - 17th century - History and criticism