Search results for ""Author Mary Kemperink""

The idea that the world, not only of man but also of nature, was subject to a continuous process of change has taken strong root since the beginning of the nineteenth century. In 1859, Charles Darwin demonstrated that these changes were the result of immutable, eternal laws - although everything was subject to change, it was only in accordance with these laws. from the second half of the nineteenth century down to the First World War, this vision of change and determination was interpreted in many different ways, both pessimistically and optimistically. It is striking that a fear of degeneration often went hand in hand with a belief in an upward evolutionary process and was not confined to any particular political spectrum. This volume, number XIV in the series, contains the papers presented at a workshop on the reception and interpretation of the theory of evolution, organised by the editors in April 2003. It covers the many, often irreconcilable faces, of the theory of evolution concerning not only the concrete substantive interpretation but also the many different fields of late nineteenth century thought by concentrating on cultural life in the broadest sense - political, social, scientific and artistic, both literature and the visual arts. This volume illustrates the versatility of the concept of evolution, and of degeneration as well, with the emphasis on the Netherlands. It not only presents the contradictions and many-sidedness of the post-Darwinian world, but also the continuity with the world before 1860. Moreover, it reveals one clear co-ordinating theme, namely that the theory of evolution was used as justification for many different ideologies and practices.

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This volume contains the essays presented at the workshop 'Visualizing Utopia' held in May 2005, organized by Mary Kemperink and Willemien Roenhorst. The essays presented here discuss utopian thinking from 1890 until 1930. From the end of the eighteenth century, this utopian thinking developed from what can be called 'classic' utopianism into 'modern' utopianism. Utopianism unmarked by temporality made way for a tale situated in time - future time. Thus what was first regarded as merely a thought experiment gradually assumed the character of a real political programme. In their view of the new world and new people, writers, artists, architects, social reformers, cultural critics, politicians, etc., would often draw on representations already present in the culture. These could be biblical representations, such as those of the Apocalypse, Christ the Saviour and earthly paradise, or ancient myths, such as those of the Age of Gold, Arcadia, the sun-drenched world of Gnosticism and the Wagnerian mythological universe. The workshop concentrated on the following two aspects: the way in which the future Utopia and the path that would lead to its realization was given shape in the artistic field as well as in the non-artistic field, and the question to which culturally rooted concepts these representations were related. This double line of approach created the opportunity for specialized researchers from different disciplines - history, cultural history, art history, history of architecture, literary history - to discuss utopianism as it manifested itself in Europe and the United States at the end of the nineteenth and the beginning of the twentieth century.

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