True stories of an English fishing community and its families, from street games and superstitions to the dangers of shipwrecks and war—includes photos. Survivors of a wrecked trawler stagger ashore in Iceland during the bitter winter of 1910 in a hair-raising tale based upon Skipper Brewer’s handwritten log. Another skipper, “Mad” Rilatt, outwits German U-boats in the First World War. A suicide mission to war-torn Norway is undertaken in 1940 aboard a former Hull trawler. Amy Johnston, who flew to Australia single-handed, is revealed as a Hessle Road girl. And “Cowboys of the Arctic Circle” shows how Hollywood influenced the young trawler lads. The fishing community of Hessle Road in Hull represents a unique breed of people who endured hardship from the elements in times of peace—and danger from the enemy in times of war. Within the world of the fishing families of Hull is a whole universe of humanity. Based upon interviews and three decades of research, a range of colorful tales are presented in Hull’s Fishing Heritage.
Historically, naturalists who proposed theories of evolution, including Darwin and Wallace, did so in order to explain the apparent relationship of natural classification. This book begins by exploring the intimate historical relationship between patterns of classification and patterns of phylogeny. However, it is a circular argument to use the data for classification. Alec Panchen presents other evidence for evolution in the form of a historically based but rigorously logical argument. This is followed by a history of methods of classification and phylogeny reconstruction including current mathematical and molecular techniques. The author makes the important claim that if the hierarchical pattern of classification is a real phenomenon, then biology is unique as a science in making taxonomic statements. This conclusion is reached by way of historical reviews of theories of evolutionary mechanism and the philosophy of science as applied to biology. The book is addressed to biologists, particularly taxonomists, concerned with the history and philosophy of their subject, and to philosophers of science concerned with biology. It is also an important source book on methods of classification and the logic of evolutionary theory for students, professional biologists, and paleontologists.
Marsh locates Pound and Williams firmly in the Jeffersonian tradition and examines their epic poems as manifestations of a Jeffersonian ideology in modernist terms. The modernist poets William Carlos Williams and Ezra Pound were latter-day Jeffersonians whose politics and poetry were strongly marked by the populism of the late 19th century. They were sharply aware of the social contradictions of modernization and were committed to a highly politicized, often polemical poetry that criticized finance capitalism and its institutions--notably banks--in the strongest terms. Providing a history of the aesthetics of Jeffersonianism and its collision with modernism in the works of Pound and Williams, Alec Marsh traces "the money question" from the republican period through the 1940s. Marsh can thus read two modernist epics--Pound's Cantos and Williams's Paterson--as the poets hoped they would be read, as attempts to break the hold of "false" financial values on the American imagination. Marsh argues that Pound's and Williams's similar Jeffersonian outlooks were the direct result of the political battles of the 1890s concerning the meaning of money. Although Pound's interest in money and economics is well known, few people are aware that both poets were active in the Social Credit monetary-reform movement of the 1930s and 1940s, a movement shown by Marsh to have direct links to Jeffersonianism via American populism. Ultimately, the two poets took divergent paths, with Pound swerving toward Italian fascism (as exemplified in his Jefferson and/or Mussolini) and Williams becoming deeply influenced by the American pragmatism of John Dewey. Thus, Marsh concludes, Pound embraced the fascist version of state-capitalism whereas his old friend proclaimed a pragmatic openness to the new selves engendered by corporate capitalism. Money and Modernity exemplifies the best of recent literary criticism in its incorporation of American studies and cultural studies approaches to bring new insight to modern masterworks.
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