Dramatic Experiments offers a comprehensive study of Denis Diderot, one of the key figures of European modernity. Diderot was a French Enlightenment philosopher, dramatist, art critic, and editor of the first major modern encyclopedia. He is known for having made lasting contributions to a number of fields, but his body of work is considered too dispersed and multiform to be unified. Eyal Peretz locates the unity of Diderot's thinking in his complication of two concepts in modern philosophy: drama and the image. Diderot's philosophical theater challenged the work of Plato and Aristotle, inaugurating a line of drama theorists that culminated in the twentieth century with Bertolt Brecht and Antonin Artaud. His interest in the artistic image turned him into the first great modern theorist of painting and perhaps the most influential art critic of modernity. With these innovations, Diderot provokes a rethinking of major philosophical problems relating to life, the senses, history, and appearance and reality, and more broadly a rethinking of the relation between philosophy and the arts. Peretz shows Diderot to be a radical thinker well ahead of his time, whose philosophical effort bears comparison to projects such as Gilles Deleuze's transcendental empiricism, Martin Heidegger's fundamental ontology, Jacques Derrida's deconstruction, and Jacques Lacan's psychoanalysis.

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.

This volume, originally published in 1979, sponsored by the Psychonomic Society (the North American association of research psychologists), commemorates the centennial of experimental psychology as a separate discipline – dated from the opening of Wilhelm Wundt’s laboratory at Leipzig in 1879. Each major research area is surveyed by distinguished experts, and the chapters treat historical background and progress, experimental findings and methods, critical theoretical issues, evaluations of the current state of the art, future prospects, and even practical and social relevance of the work. Writing in a lively style suitable for non-specialists, the authors provide a general introduction to the history of experimental psychology. Illustrated by many photographs of leading historical figures, this book blends history with methodology, findings with theory, and discussion of specific topics with integrated assessments of what has truly been accomplished in the first hundred years of experimental psychology.

The present volume attempts a systematic explanation of various dimensions of Romantic drama by foregrounding both the theoretical and practical questions bearing on Romantic drama in its historical situation. In this effort, the volume intentionally gravitates toward discussion of lesser-known works of the period, rather than such major dramas as Manfred or Prometheus Unbound. This is because the poetic dramas by Byron and Shelley have already been the subject of many useful historicist investigations, and also because lesser-known works - for instance, the dramas of Scott, Wordsworth's Borderers, and the many revolutionary and counter-revolutionary dramas of the period - provide avenues into historical and ideological issues that cannot be adequately addressed by exclusive attention to dramas long recognized as canonical.

This study focuses on Eugene O'Neill, Thornton Wilder, Arthur Miller, and Tennessee Williams, who, within the overall framework of formal realism, reshaped dramatic form to depict a past that interacts with the present in complex and often surprising ways. Fairleigh Dickinson University Press Award in Modern Drama.

American playwrights have made enormous contributions to world drama during the last century, and their works are widely read and performed. This reference conveniently introduces 10 of the most important modern American plays read by students. An introductory essay concisely overviews modern American drama, and each of the chapters that follow examines a particular play. Among the plays discussed are Thornton Wilder's Our Town, Arthur Miller's Death of a Salesman, Lorraine Hansberry's A Raisin in the Sun, and August Wilson's The Piano Lesson. Each chapter includes a biography, a plot summary, an analysis of the play's themes, characters, and dramatic art, and a review of its historical background and reception. Chapters list works for further reading, and the volume closes with a selected, general bibliography.

Science journalist Sally Adee breaks open the field of bioelectricity—the electric currents that run through our bodies and every living thing—its misunderstood history, and why new discoveries will lead to new ways around antibiotic resistance, cleared arteries, and new ways to combat cancer. You may be familiar with the idea of our body's biome: the bacterial fauna that populate our gut and can so profoundly affect our health. In We Are Electric we cross into new scientific understanding: discovering your body's electrome. Every cell in our bodies—bones, skin, nerves, muscle—has a voltage, like a tiny battery. It is the reason our brain can send signals to the rest of our body, how we develop in the womb, and why our body knows to heal itself from injury. When bioelectricity goes awry, illness, deformity, and cancer can result. But if we can control or correct this bioelectricity, the implications for our health are remarkable: an undo switch for cancer that could flip malignant cells back into healthy ones; the ability to regenerate cells, organs, even limbs; to slow aging and so much more. The next scientific frontier might be decrypting the bioelectric code, much the way we did the genetic code. Yet the field is still emerging from two centuries of skepticism and entanglement with medical quackery, all stemming from an 18th-century scientific war about the nature of electricity between Luigi Galvani (father of bioelectricity, famous for shocking frogs) and Alessandro Volta (inventor of the battery). In We Are Electric, award-winning science writer Sally Adee takes readers through the thrilling history of bioelectricity and into the future: from the Victorian medical charlatans claiming to use electricity to cure everything from paralysis to diarrhea, to the advances helped along by the giant axons of squids, and finally to the brain implants and electric drugs that await us—and the moral implications therein. The bioelectric revolution starts here.

Renowned scholars in history, sociology, philosophy and anthropology consider seventeenth and twentieth century weapon testing, particle physics, biology and other topics in an account of important and often famous experiments.

Summary: A lively accessible survey of contemporary exploratory music in Australia. Complemented by iamges and an audio CD, it offers a fascinating glimpse into the vibrant world of sound art and the role of experimentation in contemporary Australian culture.

Exploring the relationship between dramatic language and its theatrical aspects, Reading Modern Drama provides an accessible entry point for general readers and academics into the world of contemporary theatre scholarship. This collection promotes the use of diverse perspectives and critical methods to explore the common theme of language as well as the continued relevance of modern drama in our lives. Reading Modern Drama offers provocative close readings of both canonical and lesser-known plays, from Hedda Gabler to e.e. cummings' Him. Taken together, these essays enter into an ongoing, fruitful debate about the terms 'modern' and 'drama' and build a much-needed bridge between literary studies and performance studies.