3. Toward Culture(s) of Sustainability, Step Two: From the ‘Big Picture’ to the Culture of Complexity

Portraits But No Big Picture

Contemporary Psychology ◽

10.1037/003960 ◽

1995 ◽

Vol 40 (9) ◽

pp. 870-871

Author(s):

Valerian J. Derlega

Keyword(s):

Big Picture

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The big picture: Big class size with a small class feel

PsycEXTRA Dataset ◽

10.1037/e545662013-182 ◽

2013 ◽

Author(s):

Janet Peters ◽

Karla Gingerich

Keyword(s):

Class Size ◽

Small Class ◽

Big Picture

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Remember the big picture: Crafting and continuously honing your career plans can help make your dreams a reality

PsycEXTRA Dataset ◽

10.1037/e669902010-005 ◽

2011 ◽

Author(s):

Rebecca A. Clay

Keyword(s):

Career Plans ◽

Big Picture

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Looking Upstream and into the Watershed for the Big Picture of Stream Health

World Environmental and Water Resources Congress 2009 ◽

10.1061/41036(342)133 ◽

2009 ◽

Author(s):

Christina Y. S. Siu ◽

Shirley E. Clark ◽

Ruth A. Sitler ◽

Katherine H. Baker

Keyword(s):

Stream Health ◽

Big Picture

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Epic and Novel

Nineteenth-Century Literature ◽

10.1525/ncl.2013.68.3.396 ◽

2013 ◽

Vol 68 (3) ◽

pp. 396-422 ◽

Cited By ~ 1

Author(s):

Natasha Moore

Keyword(s):

Nineteenth Century ◽

Everyday Life ◽

Economic Life ◽

Modern World ◽

The Novel ◽

Aurora Leigh ◽

Big Picture

This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditional epic with those of the newly ascendant novel, poets hoped to appropriate for the novelistic complexity of modern, everyday life the dignifying and totalizing tendencies of the epic. The essay reevaluates the generic hybridity of Elizabeth Barrett Browning’s Aurora Leigh (1856) as an attempt to unite two distinct kinds of length—the microscopic, cumulative detail of the novel and the big-picture sweep of the epic—in order to capture the miscellaneousness of the age and, at the same time, to restore order and meaning to the disjointed experience of modernity.

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