Reading portraiture as a national rhetoric during the romantic period, Imagining the Gallery reveals a pervasive cultural discourse that reflects and propels sociopolitical shifts taking place in late eighteenth- and early nineteenth-century Britain.
Reading portraiture as a national rhetoric during the romantic period, Imagining the Gallery reveals a pervasive cultural discourse that reflects and propels sociopolitical shifts taking place in late eighteenth- and early nineteenth-century Britain.
This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
Substantially revised to take account of the 1996 Arbitration Act, this book provides a practical guide for arbitrators (primarily non-lawyers) and parties to arbitration.
New Critical Nostalgia weighs the future of literary study by reassessing its past. It tracks today's impassioned debates about method back to the discipline’s early professional era, when an unprecedented makeover of American higher education with far-reaching social consequences resulted in what we might call our first crisis of academic life. Rovee probes literary study’s nostalgic attachments to this past, by recasting an essential episode in the historiography of English—the vigorous rejection of romanticism by American New Critics—in the new light of the American university’s tectonic growth. In the process, he demonstrates literary study’s profound investment in romanticism and reveals the romantic lyric’s special affect, nostalgia, as having been part of English’s professional identity all along. New Critical Nostalgia meticulously shows what is lost in reducing mid-century American criticism and the intense, quirky, and unpredictable writings of central figures, such as Cleanth Brooks, Josephine Miles, and W. K. Wimsatt, to a glib monolith of New Critical anti-romanticism. In Rovee’s historically rich account, grounded in analysis of critical texts and enlivened by archival study, readers discover John Crowe Ransom’s and William Wordsworth’s shared existential nostalgia, witness the demolition of the “immature” Percy Shelley in the revolutionary textbook Understanding Poetry, explore the classroom give-and-take prompted by the close reading of John Keats, consider the strange ambivalence toward Lord Byron on the part of formalist critics and romantic scholars alike, and encounter the strikingly contemporary quantitative studies by one of the mid-century’s preeminent poetry scholars, Josephine Miles. These complex and enthralling engagements with the romantic lyric introduce the reader to a dynamic intellectual milieu, in which professionals with varying methodological commitments (from New Critics to computationalists), working in radically different academic locales (from Nashville and New Haven to Baton Rouge and Berkeley), wrangled over what it means to read, with nothing less than the future of the discipline at stake.
For centuries philosophers have attempted to derive concepts from perceptual representations but have failed to explain how the mind generates the building blocks of thought. Gauker addresses this problem in a new account of imagistic cognition. He shows that much of cognition occurs by means of mental imagery, without the help of concepts.
We all love to be beside the seaside! Be it the crunch of the sand beneath your feet, or the promise of an unexplored rock pool that draws you to the sea, prepare to be whisked away by bestselling author Christopher Winn as you delve into the charming tales of England's coastline. Divided into eighteen chapters – one for each of the coastal counties in the UK – this book will entertain and illuminate, by casting new light on the many points of intrigue to be explored along 3000 miles of spectacularly diverse and historically rich English coast. Illustrated with beautiful black-and-white line drawings, by Mai Osawa, this book makes the perfect companion for any seaside outing. You’ll find yourself exclaiming again and again – I never knew that!
In Coast, natural history journalist Christopher Somerville takes you on a grand tour of the outer limits of Great Britain and Northern Ireland. Beautiful photography, clear maps, and evocative essays all illuminate the majesty and variety to be found where Britain meets the sea. This is, after all, the longest coastline in Europe. From the dramatic cliffs of Eastbourne's Beachy Head to the spare beauty of the Norfolk salt marshes; from the storm-wracked Cape Wrath at the edge of the Scottish Highlands to the peaceful wooded creeks of Cornwall's Helford river--whatever kind of coastal area you're drawn to, you'll find it here. For those who want to see it firsthand, Coast also features a detailed gazetteer--a region-by-region reference of places, people, activities, natural history, and historic events.
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