Chapter 22 introduces the concept of morphology, the study of form which attends to both the uniqueness of individual manifestations of life and the invariable laws which underpin them. Rather than forming a single theory, Goethe’s extensive reflections on morphology emerged in different contexts and run throughout his oeuvre. The chapter examines the most significant stages in Goethe’s engagement with morphology, from his search for the Urpflanze (primeval plant) in Sicily to his development of Anschauung (intuition) as a method, and positions him in relation to other thinkers, above all Wolff and Kant.

This chapter examines the ways in which pre-war drama explored growing fears over major international conflict. Works considered include Du Maurier’s An Englishman’s Home (1909), Zangwill’s The War God (1911) and a number of less well-known plays and comic skits. The chapter contextualises these works in relation to the fraught geopolitical landscape in which they were produced and the wider cultural phenomenon of ‘invasion fiction’. Both critical and public reactions to these productions are also examined. The chapter concludes by exploring how the pre-war plays established the play-book for propagandistic war-time drama as theatre mobilised for the war effort.

This chapter emphasises the key role that comic revues and music hall acts played in ensuring the British army had a continuous stream of recruits throughout the First World War. Through examining the songs, sketches and characters through which this was achieved, the chapter demonstrates the varied strategies used and the ways they drew on earlier modes of performance such as nineteenth-century melodrama. Particular emphasis is placed on the gendered ideology that was implicit in the performances examined, for example in looking at the dramatization of atrocity stories which were circulating in the press and the treatment of women in these plays and wider narratives. The chapter also focusses on music hall songs and performances by male impersonators such as Marie Lloyd. It encourages us to question the simple alignment of propaganda and popular entertainment and offers a more nuanced understanding of these performances through the lens of satire. By doing so, it demonstrates how satirising and parodying wartime experiences provided a release from anxiety. Stage satire and comedy, it concludes, offer a unique perspective on how modern total war saturated public life.

As Darwin recollects and writes his experience of teeming variety in the Brazilian rainforest, he conflates the roles of descrying natural historian and person of aesthetic sensibility. Thinking and feeling under the influence of eighteenth-century theories of the sublime and beautiful, Darwin writes his way into a dynamic that confounds object and subject and destabilizes the chronology of looking. Beginning with Darwin’s pretheoretical working through of the temporality of aesthetic experience, particularly the aesthetic experience of variety, this chapter illuminates the ways that Darwin’s theorization of variation, as a scene of distributed agency, was entangled with the processes of experiencing, reading and writing about variety—and impacted by the anticipation and reality of being read. The temporality of this multifaceted experience anticipates Darwin’s later conclusions about the place of anticipation itself in evolutionary processes that hinge on aesthetic phenomenology.

Sex. We walk the reader through why it matters to generate variation in a species. The mixing of genes from two sexes will be familiar to most readers as the reason for the uniqueness of each of us, right from the moment of conception. But we give insight on the other, less widely understood, ways that the differences between us come about. This leads to explanation of the early ‘conversations’ between the mother and her embryo that take place, and why they matter. We give some current and long-standing examples of mankind’s attempts to control conception or to encourage it, including the eugenic sterilisation agenda, artificial insemination and pregnancy termination after fetal sex determination. We explore one of the most hotly debated areas of medicine, assisted reproductive technologies, to which many people will relate. We encourage the reader to challenge the way they think about the preconception period, and consider why the responsibility seems to fall on girls and women, with its consequences for gender equality. This leads to the next chapter.

Focusing on the big data elements of cybersecurity, this chapter looks at the landscape of the big data technologies and the complexities of the different types of data, including spatial and graph data. It outlines examples in these complex data types and how they can be evaluated using data analytics.

This book explores how English sentences are constructed. In this introduction, we explain our approach. We describe the current status of English as a global language, why it holds this status, and why it might not be the best choice. We characterize Standard English as a large dialect cluster, mentioning the British and American subvarieties, along with other dialects, while deploring dialect prejudice. Differences between spoken & written English, formal & informal style, and the grammarian’s purposes of describing & advising are addressed.

In the book, we introduce and define many technical terms for grammatical concepts, and here we justify some of our terminological decisions, noting that even familiar terms like noun and verb will be clearly defined, though often in ways new to the reader. We provide examples to show why.

Though many think language is about words, we focus on sentences and the discoverable constraints about how English sentences can and can’t be structured, constraints that every English speaker recognizes. The most interesting thing about grammar is that these constraints aren’t stipulated rules. They can be discovered through investigation.

The transatlantic circulation of circus acts during the late-nineteenth and early-twentieth centuries created opportunities for circus’s somatically spectacular acts to appear on pantomime and variety theatre stages. This chapter assesses a neglected aspect of circus scholarship: understanding how and why circus acts appeared in other popular entertainment forms. Circus, pantomime, and variety cultivated unity through their reliance on novelty. By tracing the performance engagements of a major circus-style act, Lockhart’s Elephants, in iconic variety venues in London, Paris, and New York City, I demonstrate the deep interrelatedness of modern circus and music hall/vaudeville. Performers frequently established and sustained their reputations in these economically powerful cosmopolitan centres, where heightened competition in the leisure marketplace increased circulation of circus performers. Nineteenth-century industrialisation and changing theatre regulations had transformed genres, allowing audiences more opportunity for leisure activities and theatres more opportunity to blur spoken drama and spectacle. The somatic spectacularity of circus acts provided essential counterpoints to pantomime and variety’s dominant performance modes. This dynamic relationship complicates our understanding of circus, pantomime, and variety as distinct genres, pressing scholars to reconsider the relative stability with which we deploy the terms and write their histories.

Built around two visits to Westminster Abbey, this short coda compares early eighteenth-century attitudes to theatrical transitions to William Hazlitt's and Charles Lamb's writing about actors. Both Lamb and Hazlitt emerge as hostile to what I have called the art of transition, as they each denigrate the performance of a character in favour of the study of that figure’s psychological constitution.

Variety was the hallmark of miscellanism, and Clement draws attention to his participation in this miscellanistic aesthetic in programmatic passages on the literary form of his work. He privileges the vocabulary of poikilia,which not only captured the miscellanistic aesthetic of variety but was also a key term in reflection on the problems and possibilities of variety in aesthetic, ethical, theological and pedagogical spheres. Plato and Philo had also given it prominence in their own engagement with ethical and theological problems of variety. Clement addresses the challenge of variety in shaping his project: his three works, Protrepticus, Paedagogus and Stromateis,organise a pattern of Christian formation that cultivates ethical simplicity with a view ultimately to discerning God’s poikilic wisdom and even in the poikilia of Clement’s own text. Whereas previous studies of Clement have wrestled with the philosophical problem of the ‘many and the one’, this chapter shows that that problem also had a significant literary, aesthetic and ethical dimension, better captured by the terminology of poikilia.

‘Miscellany’ is not an ancient genre name. When scholars use the term, they are often vague about the definition and boundaries of the genre, and rely on well-known ‘examples’ that are treated as paradigmatic. Two scholars have sought to define the ‘miscellany’ more closely: Teresa Morgan gave a broad, inclusive definition grounded in the history of educational praxis; William Fitzgerald gave a narrower definition, focusing on the rhetorical characteristics of an elite, literary strand of miscellany-making. Fitzgerald's approach shall be our starting point as we investigate how and why Clement artfully deployed rhetorical tropes, imagery and metatextual observations to thematise his intentional participation in a wider discourse of learned literary miscellanism. But we must also situate his work in relation to particular examples of early imperial prose miscellanies, otherwise we risk lapsing into generalities about an irreducibly diverse group of texts. Plutarch’s Table Talk; Pliny’s Natural History; Gellius’ Attic Nights and Athenaeus’ Deipnosophists are introduced alongside Clement’s Stromateis,as appropriate for comparative study.