Isobel Reid offers a concise account of the origins, establishment, and some internal dynamics of the Livingstonia Mission, in particular those impacting missionary families as seen through the eyes of a young missionary couple at its Bandawe station. This study not only demonstrates a general awareness of the roie and initiative of the people of Northern Malawi, among whom and with whom the Scottish missionaries lived and worked, but also of the specific importance of interpersonal relationships between Scottish and Malawian women - as in the case of Marie Martin and her Tonga women friends. Race as the primary dividing line was thus subverted by mutual gender awareness. From 1978 Isobel Reid, a qualified nurse/midwife, with her doctor husband and young family lived for 18 months on Ekwendeni CCPA Mission Station before transferring to Mzuzu where Dr. Reid was in charge of St John's Roman Catholic Mission Hospital for four further years. A consequent academic interest in mission history resulted in an MTh (Edinburgh 1999) which provided the basis for this book.
In 1944, Glasgow received one of the greatest gifts ever made to any city in the world: a collection of over 6,000 artworks of many types spanning centuries and civilisations. The benefactors were Glasgow-born shipping magnate Sir William Burrell and Constance, Lady Burrell. Burrell's business success him to amass an extraordinary collection, which he housed in the family home at Hutton Castle in the Scottish borders. When he decided to leave the collection to the nation, he considered donating it to London-based galleries before deciding on Glasgow Corporation, together with the residue of his estate to provide a suitable building. It was many years before the right location was found, and The Burrell Collection finally opened in 1983. This new biography is based on recent research, full access to the Burrell archive and in-depth knowledge of the collection. Sir William was a complicated and private man who shunned publicity, adored his wife, but had a tumultuous relationship with his daughter. In politics Conservative, he campaigned for better housing conditions as long as this didn't cause further expense to the taxpayer. The authors take a candid and considered view of who William Burrell the man was, what sparked his passion for collecting, and what his gift continues to mean to the city.
In a work that is uniquely comprehensive and theoretically astute, Isobel Armstrong rescues Victorian poetry from its longstanding sepia image as `a moralised form of romantic verse', and unearths its often subversive critique of nineteenth-century culture and politics.
In the years covered by this volume high Victorian poetry reached it's prolific peak and stimulated a corresponding abundance of critical comment. As poets turned to new themes and new modes of presenting them, critics sought to redifine the function of poetry in their time and nowhere with greater immediacy and sense of the cultural issues at stake than in the periodicals. Two occasions when discussion was particularly lively - in relation to Tennyson's early poems and Arnold's 1853 Preface - are here used by Dr. Armstrong as focal points and with them in mind she has selected and annotated 13 substantial reviews, principally devoted to the poetry of Tennyson, Browning, Arnold and Clough. Dr. Armstrong's own long Introduction serves equally as an indispensable preliminary guide to the fundamentals of Victorian criticism and as an authoritative summing-up of the debate on poetics conducted at large in the body of the book by the Victorians themselves. Detailed bibliographies for further reading are provided at the end of each main section.
In this study, Isobel Hurst brings together two lines of enquiry in recent criticism: the Romantic and Victorian reception of ancient Greece and Rome, and women as writers and readers in the nineteenth century."--BOOK JACKET.
An integrated framework for water resources management It has been said that "water is the next oil." A strong global consensus has begun to develop that effective water management must start at the watershed level, and that water management actions must be taken in the context of watersheds, and the human communities in them. Integrated Watershed Management: Principles and Practice, Second Edition presents a flexible, integrated framework for watershed management that addresses the biophysical, social, and economic issues affecting water resources and their use. Comprehensive in scope and multidisciplinary in approach, it equips readers with the necessary tools and techniques to develop sound watershed management policy and practice—from problem definition and goal setting to selecting management strategies and procedures for monitoring implementation. Ten years of practice have demonstrated that the core concepts presented in the first edition of this book remain true and important. This Second Edition is fully updated to reflect current practice and recent experience in watershed management, including: New coverage of strategies for the selection and evaluation of public engagement processes Sampling, data management, and computer simulation technologies Recent legislative changes International watershed issues Many new case studies Water resources planning and management is not just a technical challenge; it is also a social challenge, and an opportunity. It is, ultimately, a framework for human societies to shape, protect, and improve the environment in which they live. Providing a rational framework for the development of water resources management strategies, Integrated Watershed Management, Second Edition is a one-stop resource for upper-level students and professionals in environmental science, natural resource management, and environmental engineering.
The founding of a zoo in Georgian London is a story of jaw-dropping audacity in the Age of Empire. It is the story of diplomats, traders, scientists and aristocratic amateur naturalists charged by Sir Stamford Raffles with collecting amazing creatures from all four corners of the globe.It is the story of the first zoo in history, a weird and wonderful oasis in the heart of the filthy, swirling city of Dickensian London, and of the incredible characters, both human and animal, that populated it—from Charles Darwin and Queen Victoria to Obaysch the celebrity hippo, the first that anyone in Britain had ever seen. This is a story of Victorian grandeur, of science and empire, and of adventurers and charlatans.And it is the story of a dizzying age of Empire and industrialization, a time of change unmatched before or since.This is the extraordinary story of London Zoo.
In 1848 Europe was in turmoil. People were starving, work was scarce. Hubert Herkomer’s father, a Bavarian woodcarver, emigrated to the United States with his wife, a musician, and their two-year-old son. But the settled future they hoped for did not materialize – after struggling for six years, the family borrowed money and settled in Southampton. They were almost penniless. With his father’s encouragement, he picked up the paintbrush. At 13 he could paint in oils. Though art school was a disastrous experience, he sold his first painting at 19. His creative mind would end up contributing to multiple fields from photography to car racing. But fame is a roller coaster. Hubert’s loyalty to Germany (and Britain) during the lead up to World War 1 resulted in personal and artistic unpopularity. He died just before the war. However, his vivid and evocative work regained its value in the second half of the twentieth century, restoring his reputation as an artistic paragon and visual chronicler of the Victorian and Edwardian age. This is the story of an artist and his art-filled life.
Isobel Armstrong's startlingly original and beautifully illustrated book tells the stories that spring from the mass-production of glass in nineteenth-century England. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions. First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known. A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.
In the first critical study wholly devoted to Joseph Conrad's use of techniques associated with the literary tradition of romance, the author argues that Conrad's engagement with the genre invigorated his work throughout his career. Exploring the ways in which Conrad borrows from, alludes to, and subverts the tropes of romance, the author suggests that Conrad's ambivalent relationship with popular forms like the adventure novel is revealed in the way he uses romance conventions to disrupt narrative expectations and make visible ethical problems with Europe's colonial project. The author examines not only familiar novels like Lord Jim but also less-studied works such as Romance and The Rover, using Robert Miles's model of the 'philosophical romance' to show that for Conrad, romance is also philosophically engaged with issues of ideology. Her study enables a new appreciation of the ways in which Conrad continued to experiment, even in his later fiction, and of the ethical import of that aesthetic experimentation.
This book is the first to look at Lady Mary Wortley Montagu's achievement as a vital figure in the women's literary tradition. Robert Halsband's book on her life, the sixth this century and published in 1956, was the first to apply scholarly techniques to establishing the facts. The inaccurateaccounts given before Halsband testify to Lady Mary's compelling interest as a woman who wrote, travelled, campaigned publicly for medical advance, gossiped, and was involved in high-profile literary quarrels. Knowledge of her life has made considerable gains since Halsband, as understanding of theissues involved in trying to move between the roles of proper lady and woman writer has increased enormously. This life fruitfully exploits the tension between literary history and feminist reading. Isobel Grundy highlights Montagu's adolescent longing for literary fame, her growing understandingof the implications of this for gender and class imperatives, the frustrations and concessions involved in her collaborations with male writers, the punitive responses of society, the gaps at every stage of her life between her ascertainable circumstances and her construction of herself in lettersand other writings. The book situates those writings in relation to her own theorizing and her very wide reading in women's texts as well as men's. Finally, it looks at a range of contemporary and near-contemporary responses.
Essays, short stories and poems by eminent creative writers, critics and scholars from three continents celebrate the literary achievements of Barbara Hardy, the foremost exponent of close critical reading in the latter half of the twentieth century and today. Her work, as the essays in the volume bear witness, encompasses 19th and 20th century British fiction, poetry, and Shakespeare. In addition to an introduction outlining and assessing Hardy's career and writing, there is an extensive bibliography of her work. Comparatively short, concise essays, stories and poems by twenty distinguished hands express the eclectic nature of Barbara Hardy's work and themselves form a many-faceted critical/creative gathering. Form and Feeling moves away from the traditional festschrift to create an innovative critical genre that reflects the variety and nature of its subject's work. In addition to Barbara Hardy's own writing, authors and subjects treated include Anglo-Welsh poetry, nineteenth century fiction, Margaret Atwood, Wilkie Collins, Ivy Compton Burnet, Charles Dickens, George Eliot, Elizabeth Gaskell, G. M. Hopkins, Wyndham Lewis, George Meredith, Alice Meynell, Harriet Beecher Stowe, Shakespeare, and W. B. Yeats, amongst others.
Conrad's fiction is characterized by an enduring recourse to the performing arts for metaphor, allegory, symbol, and subject matter; however, this aspect of Conrad's non-dramatic works has only recently begun to come into its own among literary critics. In response to this seminal moment, Joseph Conrad and the Performing Arts offers an exciting, interdisciplinary forum for one of the most interesting and nascent areas of Conrad studies. Adopting a variety of theoretical approaches, the contributors examine major and neglected works within the context of the performing arts: cultural performance in Conrad's Malay fiction; Conrad's use and parody of popular traditions such as melodrama, Grand-Guignol, and commedia dell'arte; Conrad's engagement with the visual culture of early cinema; Conrad's interest in the motifs of shadowgraphy (shadow plays); Conrad's relationship to Shakespeare; and the enduring influence of opera on his work. Taken together, the essays provide, through solid scholarship and richly provocative speculation, new insight into Conrad's oeuvre, and invite future dialogue in the burgeoning field of Conrad and the performing arts.
This book focuses on case studies of vocabulary strategy use and presents an in-depth account of the vocabulary learning experiences of Chinese students in the UK. It challenges the view that vocabulary strategies result only from learners’ cognitive choices, and provides insightful analysis of the interplay between learner characteristics, agency and context in the process of strategic learning. The author makes a strong case for using qualitative methodologies to examine the dynamic, complex and contextually situated nature of strategic vocabulary learning. Drawing on multiple data sources, the book discusses issues that are central to the continuing development of vocabulary strategy research and offers theoretical, research-based and practical suggestions for future exploration. This book will appeal to students and scholars of second language acquisition, vocabulary and applied linguistics.
Novel Politics aims to change the current consensus of thinking about the nineteenth-century novel. This assumes that the novel is structured by bourgeois ideology and morality, so that its default position is conservative and hegemonic. Such critique comes alike from Marxists, readers of nineteenth-century liberalism, and critics making claims for the working-class novel, and systematically under-reads democratic imaginations and social questioning in novels of the period. To undo such readings means evolving a new praxis of critical writing. Rather than addressing the explicitly political and deeply limited accounts of the machinery of franchise and ballot in texts, it is important to create a poetics of the novel that opens up its radical aspects. This can be done partly by taking a new look at some classic nineteenth-century political texts (Mill, De Tocqueville, Hegel), but centrally by exploring four claims: the novel is an open Inquiry (compare philosophical Inquiries of the Enlightenment contemporary with the novel's genesis), a lived interrogation, not a pre-formed political document; radical thinking requires radical formal experiment, creating generic and ideological disruption simultaneously and putting the so-called realist novel and its values under pressure; the poetics of social and phenomenological space reveals an analysis of the dispossessed subject, not the bildung of success or overcoming; the presence of the aesthetic and art works in the novel is a constant source of social questioning. Among texts discussed, six novels of illegitimacy, from Jane Austen to Scott to George Eliot and George Moore, stand out because illegitimacy, with its challenge to social norms, is a test case for the novelist, and a growing point of the democratic imagination.
Isobel Field, the stepdaughter of Robert Louis Stevenson, was a wonderful storyteller, and a writer of great wit and acuity. She was with her mother, Fanny, when they met Stevenson in Grez, France, in 1876; when Fanny and Louis married in 1880 in San Francisco and at the Silverado sojourn; with the Stevensons in Hawaii in the late 1880s; and finally with them in Samoa from 1890 until Stevenson's death in 1894.
Describes the lives and political careers of eleven women who have served in the Congress: Jeannette Rankin, Margaret Chase Smith, Helen Gahagan Douglas, Shirley Chisholm, Barbara Jordan, Nancy Landon Kassebaum, Barbara Mikulski, Dianne Feinstein, Barbara Boxer, Patty Murray, and Carol Moseley Braun.
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