Varieties of Geological Experience: Religion, Body, and Spirit in Tennyson's In Memoriam and Lyell's Principles of Geology

Tomko, Michael

doi:10.1353/vp.2004.0044

Cited by 11 publications

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“…46 This passage has been read by Michael Tomko as allegorising the demise of Christianity: the 'ruined ecclesiastical institution verging on collapse, whose foundation has eroded and whose 'unshaken' strength and immovability is, ironically, its tragic flaw, a blinding and ultimately damning inflexibility'. 47 It is a good reading: in the third volume of Principles Lyell pits his account of gradual geological change against what was dismissively referred to as 'Mosaic' geology, geology based on and constrained by biblical earth history, such as the account of the great deluge of Genesis or the conjectural age of the earth based on biblical genealogies. Lyell's geology was widely regarded as a corrective to the catastrophist account of geology.…”

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Charles Lyell’s Principles of Geology, the Geological Sublime, and the Romantic Theatre

Harley¹

2018

Nineteenth Century Theatre and Film

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Across the three volumes of his influential Principles of Geology (1830–33), Charles Lyell demonstrates that the scale of earth history is out of all proportion to human temporality. Lyell makes the case that geologists should assume a viewing position outside the drama of geological action. He repeatedly represents this distance through the figure of the theatre, invoking Romantic critiques of theatrical naturalism that aligned with developments in natural philosophy. At the same time, Lyell deployed technologies from the contemporary stage in his public lectures, and in personal correspondence, he reveals promiscuous tastes across genres, forms and sites of performance. Ultimately, I argue, these apparent inconsistencies point to the role of his subjectivity in a project that is deeply ambivalent about human points of view.

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confidence: 99%

Charles Lyell’s Principles of Geology, the Geological Sublime, and the Romantic Theatre

Harley¹

2018

Nineteenth Century Theatre and Film

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From Lotos-Eaters to Lotus-Eaters: Tennyson’s And Rossetti’s Mediated Addiction

Colman

2019

Drugs and the Addiction Aesthetic in Nineteenth-Century Literature

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READING MAUD'S REMAINS: TENNYSON, GEOLOGICAL PROCESSES, AND PALAEONTOLOGICAL RECONSTRUCTIONS

Geric

2014

Victorian Literature and Culture

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This journal article has been accepted for publication and will appear in a revised form, subsequent to peer review and/or editorial input by Cambridge University Press in Victorian Literature and Culture. © Cambridge University Press, 2014The final definitive version in the online edition of the journal article at Cambridge Journals Online is available at: https://dx.doi.org/10.1017/S1060150313000260The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners.Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/).

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Varieties of Geological Experience: Religion, Body, and Spirit in Tennyson's In Memoriam and Lyell's Principles of Geology

Cited by 11 publications

References 10 publications

Charles Lyell’s Principles of Geology, the Geological Sublime, and the Romantic Theatre

Charles Lyell’s Principles of Geology, the Geological Sublime, and the Romantic Theatre

From Lotos-Eaters to Lotus-Eaters: Tennyson’s And Rossetti’s Mediated Addiction

READING MAUD'S REMAINS: TENNYSON, GEOLOGICAL PROCESSES, AND PALAEONTOLOGICAL RECONSTRUCTIONS

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