Gregory Tate – författare

The Poet''s Mind is a major study of how Victorian poets thought and wrote about the human mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinise and analyse those processes. In this volume Gregory Tate considers why and how psychological analysis became anincreasingly important element of poetic theory and practice in the mid-nineteenth century, a time when the discipline of psychology was emerging alongside the growing recognition that the workings of the mind might be understood using the analytical methods of science. The writings of Victorian poets often showan awareness of this psychology, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as ''brain'', ''mind'', and ''soul'', voice an unresolved tension, felt throughout Victorian culture, between scientific theories of psychology and metaphysical or religious accounts of selfhood. The Poet''s Mind considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several majorVictorian poems, and presenting new evidence of their authors'' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories ofmind in Victorian Britain.

The Poet's Mind is a major study of how Victorian poets thought and wrote about the human mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinise and analyse those processes. In this volume Gregory Tate considers why and how psychological analysis became an increasingly important element of poetic theory and practice in the mid-nineteenth century, a time when the discipline of psychology was emerging alongside the growing recognition that the workings of the mind might be understood using the analytical methods of science. The writings of Victorian poets often show an awareness of this psychology, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as 'brain', 'mind', and 'soul', voice an unresolved tension, felt throughout Victorian culture, between scientific theories of psychology and metaphysical or religious accounts of selfhood. The Poet's Mind considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several major Victorian poems, and presenting new evidence of their authors' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories of mind in Victorian Britain.

An introduction to the most useful methods of preparation, characterization, and evaluation for new researchers in the field Written as an integral whole with a well-thought-out pedagogical structure, A Heterogeneous Catalysis Primer surveys the main methods of preparation, characterization, and evaluation in heterogeneous catalysis. It explores the latest scientific advances and those in characterization by powder x-ray diffraction and chemisorption. Each chapter contains instructive homework problems with solutions. The book explains how to: Control catalyst synthesis to yield highly dispersed metal and metal oxide nanoparticles Blend methods to characterize nanomaterials most efficiently at atomic scaleRectify characterization when different methods give apparently contradictory results Choose the characterization methods that give needed answers most effectivelyUnambiguously determine the intrinsic reactivity of supported catalystsThis book is an essential reference for advanced students taking courses on heterogeneous catalysis, reaction engineering, and process kinetics. It also helps professional researchers new to heterogeneous catalysis get off to a flying start.

Poetical Matter examines the two-way exchange of language and methods between nineteenth-century poetry and the physical sciences. The book argues that poets such as William Wordsworth, Mathilde Blind, and Thomas Hardy identified poetry as an experimental investigation of nature’s materiality. It also explores how science writers such as Humphry Davy, Mary Somerville, and John Tyndall used poetry to formulate their theories, to bestow cultural legitimacy on the emerging disciplines of chemistry and physics, and to communicate technical knowledge to non-specialist audiences. The book’s chapters show how poets and science writers relied on a set of shared terms (“form,” “experiment,” “rhythm,” “sound,” “measure”) and how the meaning of those terms was debated and reimagined in a range of different texts.“A stimulating analysis of nineteenth-century poetry and physics. In this groundbreakingstudy, Tate turns to sound to tease out fascinating continuities acrossscientific inquiry and verse. Reflecting that ‘the processes of the universe’ werethemselves ‘rhythmic,’ he shows that a wide range of poets and scientists werethinking through undulatory motion as a space where the material and the immaterialmet. ‘The motion of waves,’ Tate demonstrates, was ‘the exemplary form inthe physical sciences.’ Sound waves, light, energy, and poetic meter were eachcharacterized by a ‘process of undulation,’ that could be understood as both aphysical and a formal property. Drawing on work in new materialism and newformalism, Tate illuminates a nineteenth-century preoccupation with dynamic patterningthat characterizes the undulatory as (in John Herschel’s words) not ‘things,but forms.’”—Anna Henchman, Associate Professor of English at Boston University, USA“This impressive study consolidates and considerably advances the field of physicsand poetry studies. Moving easily and authoritatively between canonical and scientistpoets, Nineteenth-Century Poetry and the Physical Sciences draws scientificthought and poetic form into telling relation, disclosing how they were understoodvariously across the nineteenth century as both comparable and competingways of knowing the physical world. Clearly written and beautifully structured,Nineteenth-Century Poetry and the Physical Sciences is both scholarly and accessible,a fascinating and indispensable contribution to its field.”—Daniel Brown, Professor of English at the University of Southampton, UK“Essential reading for Victorianists. Tate’s study of nineteenth-century poetry andscience reconfi gures debate by insisting on the equivalence of accounts ofempirical fact and speculative theory rather than their antagonism. Theundulatory rhythms of the universe and of poetry, the language of science and ofverse, come into newrelations. Tate brilliantly re-reads Coleridge, Tennyson,Mathilde Blind and Hardy through their explorations of matter and ontologicalreality. He also addresses contemporary theory from Latour to Jane Bennett.” — Isobel Armstrong, Emeritus Professor of English at Birkbeck, University of London, UK

Poetical Matter examines the two-way exchange of language and methods between nineteenth-century poetry and the physical sciences. The book argues that poets such as William Wordsworth, Mathilde Blind, and Thomas Hardy identified poetry as an experimental investigation of nature’s materiality. It also explores how science writers such as Humphry Davy, Mary Somerville, and John Tyndall used poetry to formulate their theories, to bestow cultural legitimacy on the emerging disciplines of chemistry and physics, and to communicate technical knowledge to non-specialist audiences. The book’s chapters show how poets and science writers relied on a set of shared terms (“form,” “experiment,” “rhythm,” “sound,” “measure”) and how the meaning of those terms was debated and reimagined in a range of different texts.

“A stimulating analysis of nineteenth-century poetry and physics. In this groundbreaking

study, Tate turns to sound to tease out fascinating continuities across

scientific inquiry and verse. Reflecting that ‘the processes of the universe’ were

themselves ‘rhythmic,’ he shows that a wide range of poets and scientists were

thinking through undulatory motion as a space where the material and the immaterial

met. ‘The motion of waves,’ Tate demonstrates, was ‘the exemplary form in

the physical sciences.’ Sound waves, light, energy, and poetic meter were each

characterized by a ‘process of undulation,’ that could be understood as both a

physical and a formal property. Drawing on work in new materialism and new

formalism, Tate illuminates a nineteenth-century preoccupation with dynamic patterning

that characterizes the undulatory as (in John Herschel’s words) not ‘things,

but forms.’”

—Anna Henchman, Associate Professor of English at Boston University, USA

“This impressive study consolidates and considerably advances the field of physics

and poetry studies. Moving easily and authoritatively between canonical and scientist

poets, Nineteenth-Century Poetry and the Physical Sciences draws scientific

thought and poetic form into telling relation, disclosing how they were understood

variously across the nineteenth century as both comparable and competing

ways of knowing the physical world. Clearly written and beautifully structured,

Nineteenth-Century Poetry and the Physical Sciences is both scholarly and accessible,

a fascinating and indispensable contribution to its field.”

—Daniel Brown, Professor of English at the University of Southampton, UK

“Essential reading for Victorianists. Tate’s study of nineteenth-century poetry and

science reconfi gures debate by insisting on the equivalence of accounts of

empirical fact and speculative theory rather than their antagonism. The

undulatory rhythms of the universe and of poetry, the language of science and of

verse, come into newrelations. Tate brilliantly re-reads Coleridge, Tennyson,

Mathilde Blind and Hardy through their explorations of matter and ontological

reality. He also addresses contemporary theory from Latour to Jane Bennett.”

— Isobel Armstrong, Emeritus Professor of English at Birkbeck, University of London, UK

Poetical Matter examines the two-way exchange of language and methods between nineteenth-century poetry and the physical sciences. The book argues that poets such as William Wordsworth, Mathilde Blind, and Thomas Hardy identified poetry as an experimental investigation of nature’s materiality. It also explores how science writers such as Humphry Davy, Mary Somerville, and John Tyndall used poetry to formulate their theories, to bestow cultural legitimacy on the emerging disciplines of chemistry and physics, and to communicate technical knowledge to non-specialist audiences. The book’s chapters show how poets and science writers relied on a set of shared terms (“form,” “experiment,” “rhythm,” “sound,” “measure”) and how the meaning of those terms was debated and reimagined in a range of different texts.“A stimulating analysis of nineteenth-century poetry and physics. In this groundbreakingstudy, Tate turns to sound to tease out fascinating continuities acrossscientific inquiry and verse. Reflecting that ‘the processes of the universe’ werethemselves ‘rhythmic,’ he shows that a wide range of poets and scientists werethinking through undulatory motion as a space where the material and the immaterialmet. ‘The motion of waves,’ Tate demonstrates, was ‘the exemplary form inthe physical sciences.’ Sound waves, light, energy, and poetic meter were eachcharacterized by a ‘process of undulation,’ that could be understood as both aphysical and a formal property. Drawing on work in new materialism and newformalism, Tate illuminates a nineteenth-century preoccupation with dynamic patterningthat characterizes the undulatory as (in John Herschel’s words) not ‘things,but forms.’”—Anna Henchman, Associate Professor of English at Boston University, USA“This impressive study consolidates and considerably advances the field of physicsand poetry studies. Moving easily and authoritatively between canonical and scientistpoets, Nineteenth-Century Poetry and the Physical Sciences draws scientificthought and poetic form into telling relation, disclosing how they were understoodvariously across the nineteenth century as both comparable and competingways of knowing the physical world. Clearly written and beautifully structured,Nineteenth-Century Poetry and the Physical Sciences is both scholarly and accessible,a fascinating and indispensable contribution to its field.”—Daniel Brown, Professor of English at the University of Southampton, UK“Essential reading for Victorianists. Tate’s study of nineteenth-century poetry andscience reconfi gures debate by insisting on the equivalence of accounts ofempirical fact and speculative theory rather than their antagonism. Theundulatory rhythms of the universe and of poetry, the language of science and ofverse, come into newrelations. Tate brilliantly re-reads Coleridge, Tennyson,Mathilde Blind and Hardy through their explorations of matter and ontologicalreality. He also addresses contemporary theory from Latour to Jane Bennett.” — Isobel Armstrong, Emeritus Professor of English at Birkbeck, University of London, UK