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This year marks the th anniversary of the publication of Charles Darwin's On the Origin of Species by Means of Natural Selection, or the Preservation of.
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The idea in question, of course, was evolution by natural selection. My account of Darwin's life focuses on the conception, development, and announcement of that idea, and on the personal tribulations that he experienced while incubating it. Why did Darwin delay publication for twenty-one years?
Why did he draft an early sketch of his theory and then file that away, with a note to his wife in case he died? Why did he digress for eight years into barnacle taxonomy? Why did he vomit so often?
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Why was his great book, On the Origin of Species , written in a hurry after two decades of procrastination? There were reasons, and the exploration of those reasons was my way of trying to capture the essence of him and his work. In the early weeks of , Charles Darwin was a busy young man living in London. Ambitious, intellectually awakened from a drowsy postadolescence, excited by opportunity, he was newly defining his life.
He didn't yet recognize the awful scope of the idea that was growing inside him. On February 12, he turned twenty-eight. Darwin , p. It was written in response to an invitation from James Atlas, the founder of that series, who persuaded me that a radically concise and somewhat opinionated portrait of Charles Darwin, who had already been much biographied, could offer unique value to readers.
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You might ask: "Is this 'Darwin for Dummies'? This illustrated edition was published in by Sterling Publishing Company, and had been conceived there by Carlo DeVito, who asked me to become involved. What brought me to agree was my conviction that On the Origin of Species is, like Shakespeare and Mozart and the Second Law of Thermodynamics, a fundamental pillar of human culture, to which every literate person should be directly exposed. You can page through article after article about evolution, you can watch programs on the Discovery Channel until your eyelids melt, but you don't really know what Charles Darwin thought about evolution until you've read what he wrote.
If illustrations and other editorial sugaring help bring people to the text itself, I thought, so be it. Other Darwiniana.
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The Bradley Lectures were intended to explore classic texts of the Western intellectual tradition, of which On the Origin of Species is clearly one. My lecture, titled " The Origin of Species : Descent of a Text, with Modification," was soon afterward published as a chapbook by the Library of Congress. It may or may not still be available in some corner of the Web.
My other scribblings on Mr.
- Mou Sets The Orphans’ Pilgimage.
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Darwin go back twenty-five years. In the exhibition, this changing view is reflected in the shift from paintings that evoke biblical notions of a universal flood to those focusing on landscapes shaped by the action of dynamic natural forces such as glaciers, geysers and erosion. Artists, like the public at large, soon reacted to the disturbing implications of this theory.
Satirical caricatures abounded, but imaginative images of prehistoric life by academic painters and illustrators also proliferated, as well as visions of human ancestry that were more fantastic and introspective. Elsewhere, artists explored the idea that humankind could regress as well as progress. The exhibition will also explore what Darwin found beautiful in the natural world, especially the courtship behavior of birds and its analogy to sexual attraction in humans.
It features loans from more than institutions, including Tate Britain; the British Museum; the J. A notable feature of the exhibition will be the juxtaposition of artworks and scientific material, from maps of geological stratification and botanical teaching diagrams to colored ornithological specimens and an array of minerals. The exhibition has been curated by Diana Donald, independent scholar and former professor of art history and head of the Department of History of Art and Design at Manchester Metropolitan University, and Jane Munro, curator of paintings, drawings and prints at The Fitzwilliam Museum.
The organizing curator at the Yale Center for British Art is Elisabeth Fairman, senior curator of rare books and manuscripts.
The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Tuesday-Saturday and noon-5 p.