Dahlia Porter

TL;DR: The Broadview edition of Lyrical Ballads as mentioned in this paper is the first to reprint both the 1798 and the 1800 editions in their entirety, including reviews, correspondence, and a selection of contemporary verse and prose.

TL;DR: Porter traces the history of induction as a writerly practice -as a procedure for manipulating textual evidence by selective quotation - from its roots in Francis Bacon's experimental philosophy to its pervasiveness across Enlightenment moral philosophy, aesthetics, literary criticism, and literature itself as discussed by the authors.

TL;DR: The authors argue that the disjunctive format and formal components of Darwin's poem Loves of the Plants (1789) are calculated to forestall the collapse of scientific analogy into its literary counterparts of metaphor and simile.

TL;DR: In this paper, Southey's formal choices involve him in a standing debate over the role of analogy in empirical inquiry: the pleasures of analogy might deceive an inquirer into taking poetical expressions for philosophical truth, and this tension between rhetoric and fact becomes visible when the cultural analogy between ancient Britain and Muslim East straddles the typographical boundary between verse and note.

TL;DR: The authors argue that the full-page intaglio prints of plants in Darwin's book function as "epistemic images" by propounding a visual argument about organic life, and suggest that the epistemic values embedded in the images of plants are the result of artists' engraving techniques deployed in the service of eighteenth-century aesthetic conventions.