@article{
 title = {Epistemic Images and Vital Nature: Darwin's Botanic Garden as Image Text Book},
 type = {article},
 year = {2018},
 pages = {295-308},
 volume = {29},
 id = {7379b86c-4781-30d9-9ee8-ebeac3453855},
 created = {2021-04-02T00:02:29.156Z},
 file_attached = {false},
 profile_id = {222a8927-bfaf-311a-a599-8618b10ce9b9},
 group_id = {13fd89de-a5a1-39e8-9a56-55cf0978428e},
 last_modified = {2021-04-02T00:02:29.156Z},
 read = {false},
 starred = {false},
 authored = {false},
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 abstract = {This essay considers the function of images in Erasmus Darwin’sBotanic  Garden (1789, 1791) by drawing on recent work in the history of science. I 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. The epistemic values embedded in the images of  plants—specifically,  the appearance of life and motion—are the result of artists’ engraving techniques deployed in the service of eighteenth-century aesthetic conventions. These conventions allow the images to align theknowledge claims of Darwin’s allegorical verse with those put forward in the prose notes. In conclusion, I suggest this method of unearthing the epistemic values of images could be productively extended to literary texts less obviously engaged with scientific debates of the time.},
 bibtype = {article},
 author = {Porter, Dahlia},
 doi = {https://doi.org/10.1080/10509585.2018.1465717},
 journal = {European Romantic Review},
 number = {3}
}

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