A catalogue of one of the finest collections of Etruscan artifacts outside of Italy, that of Wold Museum, Liverpool. This publication is highly illustrated with over 100 plates in full colour.
The Archaeology Hotspots series offers reader-friendly and engaging narratives of the archaeology in particular countries. Written by archaeological experts with a general reader in mind, each book in the series focuses on what has been found and by whom, what the controversies and scandals have been, ongoing projects, and how it all fits into a broader view of the history of the country. In Archaeology Hotspot France, Georgina Muskett provides insight into the vibrant and varied collection of archaeological sites and monuments in France. From the presence of the first humans to the royal dynasty of the Merovingians, this book takes readers into the histories, mysteries, and scandals of these illustrious sites, as well as covering the latest discoveries, early pioneers, and the innovations for which French archaeology is famous. The stunning cave art of Lascaux, the engineering excellence of the Pont-du-Gard and the amphora-laden shipwreck at Madrague de Giens are among the wealth of archaeological sites to be discovered.
A catalogue of one of the finest collections of Etruscan artifacts outside of Italy, that of Wold Museum, Liverpool. This publication is highly illustrated with over 100 plates in full colour.
The Archaeology Hotspots series offers reader-friendly and engaging narratives of the archaeology in particular countries. Written by archaeological experts with a general reader in mind, each book in the series focuses on what has been found and by whom, what the controversies and scandals have been, ongoing projects, and how it all fits into a broader view of the history of the country. In Archaeology Hotspot France, Georgina Muskett provides insight into the vibrant and varied collection of archaeological sites and monuments in France. From the presence of the first humans to the royal dynasty of the Merovingians, this book takes readers into the histories, mysteries, and scandals of these illustrious sites, as well as covering the latest discoveries, early pioneers, and the innovations for which French archaeology is famous. The stunning cave art of Lascaux, the engineering excellence of the Pont-du-Gard and the amphora-laden shipwreck at Madrague de Giens are among the wealth of archaeological sites to be discovered.
James Joyce and Photography is the first book to explore in-depth James Joyce's personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce's work, from his narrator's furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded 'Tulloch-Turnbull girl with her coldblood kodak' in Finnegans Wake (1939). Through an exploration of Joyce's manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce's intention in Dubliners (1914) to 'betray the soul of that hemiplegia or paralysis which many consider a city' as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.
Some of the experiences which I have to record are of so unusual a character that I think it will help to a better understanding on the part of my readers if I briefly outline the drift of my existence before I became aware of the women’s movement, and in touch with that section of it known as the “Militant Suffragettes.” My father had been dead fifteen years and I was thirty-nine years old in 1906, when my narrative begins. I lived with my mother in the country. Two sisters and two brothers had left the home when they were young—the sisters to marry, the brothers to train for and enter their professions. I assumed, as did all my friends and relations, that, being past the age when marriage was likely, I should always remain at home. In my early girlhood I had a yearning to take up music professionally; again, after father’s death, when unexpected financial misfortunes caused my mother great anxiety, I had longed to try my hand at journalism; and once more, a few years later, I had the same ambition. But these wishes, finding no favour, had in each case eventually to be repressed, and in 1906 I had neither equipment, training nor inclination for an independent life. I had been more or less of a chronic invalid through the greater part of my youth. An overmastering laziness and a fatalistic submission to events as they befell were guiding factors in my existence. I was passionately fond of animals and of children, music was a great delight to me; otherwise I was not given to intellectual pursuits. So far as I know, I was an average ordinary human being, except perhaps for an exaggerated dislike of society and of publicity in any form. I had many intimate friends, both men and women, and also children. Such mental training as I have known was chiefly due to intercourse with them. I owed to them, as well as to my mother and many members of my family, a happy life, in spite of considerable physical suffering.
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