By Hub Zwart
This summons essentially resonates with the “archetypical photograph” linked to water as a uncomplicated point, mentioned in bankruptcy 2, water because the section of freedom, of mobility, of widening one’s horizon. even if Nietzsche himself shunned doing what he summoned others to do, scientists like Darwin and novelists like Melville truly went to sea. Darwin, even supposing appeared through Nietzsche as an arid 6 and mediocre brain, uncovered himself to the adventure of a long term trans-oceanic voyage during which he did realize new worlds, new justifications, new ethical watchwords even (“struggle for life”) that have been to have a major impression on technological know-how, philosophy or even tradition at huge. different views are found in Moby-Dick besides, resembling the theologian’s one, depicting the whale because the biblical Leviathan and the sea as that a part of the area the place the good flood by no means abated. certainly, the translation of marine p- nomena in Biblical phrases is kind of omnipresent within the novel and in addition resounds within the perspectives and language of the philosophical sailor and story-teller Ishmael. yet what in regards to the novelist’s whale? truly, there isn't one novelist’s whale. Ishmael-the-narrator unmistakably facets with the whaler’s viewpoint, yet Melville-the-author is attracted to, and attempts to do justice to, a plurality of voices.
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Extra resources for Understanding Nature: Case Studies in Comparative Epistemology
9 What makes Mary Shelley’s novel so highly interesting is that all the views involved (the poetic, the alchemistic and the scientific view) are worked out in a convincing way. They are represented as fascinating in their own right, but at the same time as problematic. The poetic view is fascinating because of its enchanting visions, but problematic because it lacks the precision and objectivity of modern science; the alchemistic view is fascinating because of its grand ambitions to uncover the primal but secret tendencies that are at work in nature itself, but it is problematic because it hinders the individual from really entering and identifying himself with the newly emerging scientific mode of thought; the scientific view certainly has its strengths (the reliability and replicability of its knowledge claims), but is problematic because it estranges the scientist from the sublimities and dignities of nature.
I had acquired a dislike for the room which had previously been my laboratory. (p. 328) Frankenstein gives up his research and desperately tries to resume the poetic and romantic way of life of his more youthful days; centred around reading poetry and wandering through sublime landscapes. But he is no longer able to appreciate and enjoy the romantic aspects of nature any more. It is as if the scientific view has irreversibly infected him. The poetic atmosphere is dead to him and does not come to life again, not even in these sublime surroundings.
Chapter 1) and painters, rather than by natural scientists. In order for this experience of nature to be possible, however, in order for nature to emerge as sublime nature, certain conditions have to be fulfilled. Notably, it is only possible to experience nature in this manner if we feel sufficiently safe. In a purely natural world, a wilderness, nature will rather be experienced as frightening and threatening. A certain level of technological and cultural development has to be realised in order for the experience of sublime nature to emerge – I will come back to this issue in Chapter 7.