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Honorable Mention for the DAAD/GSA Book Prize for the Best Book in Germanistik or Cultural Studies

Biological Modernism identifies an intellectual current in the Weimar Republic that drew on biology, organicism, vitalism, and other discourses associated with living nature in order to redefine the human being for a modern, technological age. Contrary to the assumption that any turn toward the organic indicated a reactionary flight from modernity or a longing for wholeness, Carl Gelderloos shows that biology and other discourses of living nature offered a nuanced way of theorizing modernity rather than fleeing from it. Organic life, instead of representing a stabilizing sense of wholeness, by the 1920s had become a scientific, philosophical, and disciplinary problem. In their work, figures such as Alfred Döblin, Ernst Jünger, Helmuth Plessner, and August Sander interrogated the relationships between technology, nature, and the human and radically reconsidered the relationship between the disciplines as well as the  epistemological and political consequences for defining the human being. Biological Modernism will be of interest to scholars of German literature and culture, literary modernism, photography, philosophical anthropology, twentieth-century intellectual history, the politics of culture, and the history of science.

How deeply into the structure of physical reality do the effects of our way of representing it reach? To what extent do constructivist accounts of scientific theorizing involve realist assumptions, and vice versa? This book provides a lucid and concise introduction to contemporary debates, taking as its theme the question of the relationship of representation and reality. It treats in an attractive and accessible way the historical, philosophical, and literary aspects of this question. In particular, it explores how the present relates to and configures claims to scientific knowledge from the past, taking as its main case study On the Nature of Things (De Rerum Natura), the poem on physics written by the Roman poet Lucretius in the 50s B.C.E.
The book engages in a sustained argument about realist assumptions in scientific and other discourses through detailed analysis and discussion of some of the most important recent contributions to this debate. Engaging sympathetically but not uncritically with constructivist accounts of scientific knowledge, the book takes up a sustained critique of recent contributions to that debate, including those of Ian Hacking, Evelyn Fox Keller, Bruno Latour, and Hans-Jörg Rheinberger. What are the implications of regarding such knowledge as "discovered" or "invented"? How is the rhetoric of such claims to be identified and the pretentions of those claims assessed?In what ways can realist and constructivist approaches be reconciled? How do these considerations affect the way we read scientific texts from the past and regard them historically?
What emerges is a fresh and challenging assessment of the role of time and temporal perspective in assessing claims to knowledge in scientific thought and of the importance of textuality to the history of knowledge. A wide variety of readers, from classicists and intellectual historians to epistemologists of science, will enjoy and learn from Rethinking Reality.
Duncan Kennedy is Reader in Latin Literature and the Theory of Criticism, University of Bristol. He is also the author of The Arts of Love: Five Studies in the Discourse of Roman Love Elegy.

In recent years, articles in major periodicals from the New York Times Magazine to the Times Literary Supplement have heralded the arrival of a new school of literary studies that promises-or threatens-to profoundly shift the current paradigm. This revolutionary approach, known as Darwinian literary studies, is based on a few simple premises: evolution has produced a universal landscape of the human mind that can be scientifically mapped; these universal tendencies are reflected in the composition, reception, and interpretation of literary works; and an understanding of the evolutionary foundations of human behavior, psychology, and culture will enable literary scholars to gain powerful new perspectives on the elements, form, and nature of storytelling.

The goal of this book is to overcome some of the widespread misunderstandings about the meaning of a Darwinian approach to the human mind generally, and literature specifically. The volume brings together scholars from the forefront of the new field of evolutionary literary analysis-both literary analysts who have made evolution their explanatory framework and evolutionist scientists who have taken a serious interest in literature-to show how the human propensity for literature and art can be properly framed as a true evolutionary problem. Their work is an important step toward the long-prophesied synthesis of the humanities and what Steven Pinker calls "the new sciences of human nature."

During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of view—scientific, philosophical, religious, and literary—they suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity’s powers and potentialities—a belief that continues to inform much posthumanist theory today.

Universes without Us explores a lesser-known countertradition in American literature. As Matthew A. Taylor’s incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither “other” nor “mirror.” Instead, humans are enmeshed with “alien” processes that are both constitutive and destructive of “us.” By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it.

Universes without Us demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman.