BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news186@dslw.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190911T130257 DTSTART;TZID=Europe/Zurich:20190924T130000 SUMMARY:Anthropocene Temporalities and British Romantic Poetry DESCRIPTION:As Dipesh Chakrabarty has observed\, the reality of anthropogen ic global warming not only renders meaningless the traditional separation of human and natural histories\, but also throws into doubt the basic assu mption on which our conception of history has traditionally rested: “tha t our past\, present\, and future are connected by a certain continuity of human experience.” \\r\\nIn the Romantic era\, this sense of human temp oral continuity as both predicated on and guaranteed by  the natural worl d’s durability is perhaps best expressed by William Wordsworth’s well- known lines: “My heart leaps up when I behold/ A rainbow in the sky: So was it when my life began\;/ So is it now I am a man\; So be it when I sha ll grow old\,/ Or let me die!” Yet even as this Wordsworthian attitude b ecame the norm\, Britain’s industrial revolution was beginning to create the modern conditions of the Anthropocene. Combined with new knowledge pr oduced by emerging disciplines like geology and biology\, as well as the g eopolitical disturbances of the Napoleonic Wars\, the Romantic era thus ev entually gave birth to a series of more skeptical perspectives concerning humanity and history:  “deep time” (e.g.\, in Shelley’s “Ozymandi as”)\; “slow time” (e.g.\, in Keats’ “Ode on a Grecian Urn”)\; “revolutionary time” (e.g.\, in Shelley’s “England in 1819”)\; and\, perhaps most provocatively\, “hyper-chaos” (e.g.\, in Byron’s “Darkness”). These alternatives\, I will argue\, retroactively appear as harbingers of the “deep contradiction and confusion” (Chakrabarty) that the Anthropocene has introduced into our contemporary historical situ ation. X-ALT-DESC:As Dipesh Chakrabarty has observed\, the reality of anthropogeni c global warming not only renders meaningless the traditional separation o f human and natural histories\, but also throws into doubt the basic assum ption on which our conception of history has traditionally rested: “that our past\, present\, and future are connected by a certain continuity of human experience.” \nIn the Romantic era\, this sense of human temporal continuity as both predicated on and guaranteed by \; the natural worl d’s durability is perhaps best expressed by William Wordsworth’s well- known lines: “My heart leaps up when I behold/ A rainbow in the sky: So was it when my life began\;/ So is it now I am a man\; So be it when I sha ll grow old\,/ Or let me die!” Yet even as this Wordsworthian attitude b ecame the norm\, Britain’s industrial revolution was beginning to create the modern conditions of the Anthropocene. Combined with new knowledge pr oduced by emerging disciplines like geology and biology\, as well as the g eopolitical disturbances of the Napoleonic Wars\, the Romantic era thus ev entually gave birth to a series of more skeptical perspectives concerning humanity and history: \; “deep time” (e.g.\, in Shelley’s “Ozy mandias”)\; “slow time” (e.g.\, in Keats’ “Ode on a Grecian Urn ”)\; “revolutionary time” (e.g.\, in Shelley’s “England in 1819 ”)\; and\, perhaps most provocatively\, “hyper-chaos” (e.g.\, in Byr on’s “Darkness”). These alternatives\, I will argue\, retroactively appear as harbingers of the “deep contradiction and confusion” (Chakra barty) that the Anthropocene has introduced into our contemporary historic al situation. DTEND;TZID=Europe/Zurich:20190924T140000 END:VEVENT END:VCALENDAR