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Four vignettes, a preview of coming attractions. Note holy things, visions of God and community, and scaffolding, counterweights, and shoe leather: Wardiman Djojonegoro, trained engineer and Minister of Education and Culture under Indonesia's New Order, in Sumatra in 1994: articulating publicly a Muslim vision of the potentialities of technology for revealing the greatness of God, furthering God's divine order, and ameliorating human lives-and potentially world-significant. Rabbi Yitzchak Weisz, in Israel in the 1960s: analyzing elevator design and motions of car and counterweight to see how elevators fit into the vision of the Jewish Sabbath, as a holy respite and a shelter, a space in time free from work. Filippo Brunelleschi, Italian renaissance architect: building an ascension machine for Christian celebrations, using pulleys, cords, and scaffolding to bring God to earth and create a vision of God's immediate presence, in a spectacle of the resurrection of Christ. Jack Keiser, mechanical engineer and company education officer in Stocksbridge, England, early in 1950: wearing out his shoe leather hiking back and forth daily along Fox and Company's mile-long steel works, enacting his vision of how Christian industry should work, face-to-face with the apprentices under his care.
Four vignettes, a preview of coming attractions. Note holy things, visions of God and community, and scaffolding, counterweights, and shoe leather: Wardiman Djojonegoro, trained engineer and Minister of Education and Culture under Indonesia's New Order, in Sumatra in 1994: articulating publicly a Muslim vision of the potentialities of technology for revealing the greatness of God, furthering God's divine order, and ameliorating human lives-and potentially world-significant. Rabbi Yitzchak Weisz, in Israel in the 1960s: analyzing elevator design and motions of car and counterweight to see how elevators fit into the vision of the Jewish Sabbath, as a holy respite and a shelter, a space in time free from work. Filippo Brunelleschi, Italian renaissance architect: building an ascension machine for Christian celebrations, using pulleys, cords, and scaffolding to bring God to earth and create a vision of God's immediate presence, in a spectacle of the resurrection of Christ. Jack Keiser, mechanical engineer and company education officer in Stocksbridge, England, early in 1950: wearing out his shoe leather hiking back and forth daily along Fox and Company's mile-long steel works, enacting his vision of how Christian industry should work, face-to-face with the apprentices under his care.
My essay claims that Robert Southey uses Hinduism to fashion a poetics of Romantic-era technology in The Curse of Kehama (1810). In his neglected Sir Thomas More; or, Colloquies on the Progress and Prospects of Society (1829), Southey compares the manufacturing system to Indian theology and ritual, a metaphor that relativizes religion and technology while implying that the Industrial Revolution amounts to a new breed of religious network. Southey next likens the emergent world order made possible by such technologies to the cosmic ambitions of Kehama, his own Indian tyrant-cum-demigod. The Colloquies thus suggests an allegorical reading of The Curse of Kehama, whereby this tale of a king bent on cosmic rule simultaneously explores how technological and imperial networks intertwine. Accordingly, I draw from metaphor theory to read the earlier Kehama as a repository of veiled comparisons and displacements through which Southey glimpses the magnitude of the Industrial Revolution. Just as Indian wealth propels the techno-imperial enterprise described in the Colloquies, Kehama's paganism supplies the raw discursive material through which Southey fashions a poetics of manufacturing. Read alongside the Colloquies, Kehama aestheticizes the connection between imperial and technological systems, expresses the imaginative significance of twinned manufacturing novelties-the steam engine and coke smelting-and concretizes the opaque moral and poetic properties attaching to industrial power by depicting it in reference to the minutiae of Hindu religion so far as Southey understood it.
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