Published in 1798, a two-volume political travelogue by the radical writer and poet Helen Maria Williams (1759-1827).

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The sublime evokes our awe, our terror, and our wonder. Applied first in ancient Greece to the heights of literary expression, in the 18th-century the sublime was extended to nature and to the sciences, enterprises that viewed the natural world as a manifestation of God's goodness, power, and wisdom. In The Scientific Sublime, Alan Gross reveals the modern-day sublime in popular science. He shows how the great popular scientists of our time--Richard Feynman, Stephen Hawking, Steven Weinberg, Brian Greene, Lisa Randall, Rachel Carson, Stephen Jay Gould, Steven Pinker, Richard Dawkins, and E. O. Wilson--evoke the sublime in response to fundamental questions: How did the universe begin? How did life? How did language? These authors maintain a tradition initiated by Joseph Addison, Edmund Burke, Immanuel Kant, and Adam Smith, towering 18th-century figures who adapted the literary sublime first to nature, then to science--though with one crucial difference: religion has been replaced wholly by science. In a final chapter, Gross explores science's attack on religion, an assault that attempts to sweep permanently under the rug two questions science cannot answer: What is the meaning of life? What is the meaning of the good life?

This is the first book to bring perspectives from the interdisciplinary field of Peace Studies to bear on the writing of the Romantic period. Particularly significant is that field's attention not only to the work of anti-war protest, but more purposefully to considerations of how peace can actively be fostered, established, and sustained. Bravely resisting discourses of military propaganda, writers such as Amelia Opie, Helen Maria Williams, William Wordsworth, William Cobbett, John Keats, and Jane Austen embarked on the challenging and urgent rhetorical work of imagining—and inspiring others to imagine—the possibility of peace. The writers formulate a peace imaginary in various registers. Sometimes this means identifying and eschewing traditional militaristic tropes in order to craft alternative images for a patriotism compatible with peace. Other times it means turning away from xenophobic discourse to write about relations with other nations in terms other than those of conflict. If historically informed literary criticism has illustrated the importance of writing about war during the Romantic period, this volume invites readers to redirect critical attention to move beyond discourses of war, and to recognize the era's complex and vibrant writing about and for peace.

An international team of specialists examine the dynamic relation between women and the public sphere.