Literary Works and Collaborations
Macfarlane's work on modernity acknowledges his Enlightenment roots. His Riddle of the Modern World (2000) and Making of the Modern World (2001) are contributions to the field of history of ideas, addressing the work of Montesquieu, Adam Smith, Alexis de Tocqueville, Ernest Gellner, Yukichi Fukuzawa and Frederic Maitland.
Another strand in his work addresses the role of particular inventions in transforming history. The Glass Bathyscaphe: How Glass Changed the World (2002), co-authored with Gerry Martin, discusses how the invention and use of glass facilitated European dominion overseas. Macfarlane and his mother Iris co-wrote Green Gold: The Empire of Tea (2003), presenting the thesis that tea contributed to English prosperity, preventing epidemics by requiring the boiling of water and by promoting antibiotic effects.
2005's Letters to Lily distils Macfarlane's reflections on a life of research, as addressed to his granddaughter Lily Bee. As a non-academic work it brought Macfarlane to the attention of a wider, non-scholarly audience.
Macfarlane’s work has been widely read and referenced by his contemporaries. Critics have challenged the role he ascribes to English institutions in the establishment of modernity, and his moral relativism as a champion of modernity who nonetheless affirms the validity of non-Western institutions.
Together with Mark Turin, Macfarlane established the Digital Himalaya Project in December 2000 and now serves as Chairman of the Executive Board of the World Oral Literature Project.
Read more about this topic: Alan Macfarlane
Famous quotes containing the words literary works, literary and/or works:
“Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.”
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“Whenever the literary German dives into a sentence, that is the last you are going to see of him till he emerges on the other side of his Atlantic with his verb in his mouth.”
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“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 1893–1993)