This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The St. Martin's Custom Reader enables instructors to create their own readers -- readers that truly reflect the content and goals of their courses and the interests and needs of their students. Based on the most exhaustive study ever conducted of the reading selections that have actually been taught in freshman composition (Lynn Z. Bloom's "Essay Canon" research, College English, March 1999) -- The St. Martin's Custom Reader makes available the essays that have proven most teachable for first-year writing courses. With a database of approximately 240 classic and contemporary essays, The St. Martin's Custom Reader can be created easily online at the Bedford/St. Martin's Web site, www.customreader.bedfordstmartins.com.
Based on the most exhaustive study ever conducted of the reading selections that have actually been taught in freshman composition, The Arlington Reader is uniquely built on research into what essays -- and what kinds of essays -- work best for college writing classes. Lynn Bloom's research into the essay canon has identified not only the most enduringly popular essays but also the qualities that make them enduringly popular. Therefore, in addition to offering familiar selections that have long proven themselves in the classroom, The Arlington Reader includes an extensive selection of essays that have approached canonical status in the past five years, plus an abundance of new selections that exhibit the qualities that are likely to render them canonical in the future. Each of the ten thematic chapters includes a canonical "magnet essay" that is followed by about ten pages of contextual material, allowing students to get a sense of the original context from which these canonical essays sprung.
Because textbooks tend to uproot readings from the conversations that prompted them, students are often left without much of the original context that would help them understand and interpret a text. Those additional voices are important, particularly when students are working with complex material. The Arlington Reader, Second Edition, offers class-proven readings and fresh and exciting new selections along with many of those voices brought back into the conversation. Each of the 9 thematic chapters includes essays plus related material such as reviews, response essays, quotations, photographs, and interviews. For instance, N. Scott Momaday's "The Way to Rainy Mountain" is followed by photos of Momaday and Rainy Mountain, excerpts from Momaday's other writings, and a piece by Paula Gunn Allen. This allows students to get a sense of the context from which these essays sprung and to make thematic connections of their own. It also brings fresh perspectives to instructors. In addition, each chapter includes linked readings in order to show students the importance of learning to distinguish and relate ideas, all at a very affordable low price.
In this first substantial study of Emily Dickinson's devotion to flowers and gardening, Judith Farr seeks to join both poet and gardener in one creative personality. She casts new light on Dickinson's temperament, her aesthetic sensibility, and her vision of the relationship between art and nature, revealing that the successful gardener's intimate understanding of horticulture helped shape the poet's choice of metaphors for every experience: love and hate, wickedness and virtue, death and immortality. Gardening, Farr demonstrates, was Dickinson's other vocation, more public than the making of poems but analogous and closely related to it. Over a third of Dickinson's poems and nearly half of her letters allude with passionate intensity to her favorite wildflowers, to traditional blooms like the daisy or gentian, and to the exotic gardenias and jasmines of her conservatory. Each flower was assigned specific connotations by the nineteenth century floral dictionaries she knew; thus, Dickinson's association of various flowers with friends, family, and lovers, like the tropes and scenarios presented in her poems, establishes her participation in the literary and painterly culture of her day. A chapter, "Gardening with Emily Dickinson" by Louise Carter, cites family letters and memoirs to conjecture the kinds of flowers contained in the poet's indoor and outdoor gardens. Carter hypothesizes Dickinson's methods of gardening, explaining how one might grow her flowers today. Beautifully illustrated and written with verve, The Gardens of Emily Dickinson will provide pleasure and insight to a wide audience of scholars, admirers of Dickinson's poetry, and garden lovers everywhere. Table of Contents: Introduction 1. Gardening in Eden 2. The Woodland Garden 3. The Enclosed Garden 4. The "Garden in the Brain" 5. Gardening with Emily Dickinson Louise Carter Epilogue: The Gardener in Her Seasons Appendix: Flowers and Plants Grown by Emily Dickinson Abbreviations Notes Acknowledgments Index of Poems Cited Index Reviews of this book: In this first major study of our beloved poet Dickinson's devotion to gardening, Farr shows us that like poetry, gardening was her daily passion, her spiritual sustenance, and her literary inspiration...Rather than speaking generally about Dickinson's gardening habits, as other articles on the subject have done, Farr immerses the reader in a stimulating and detailed discussion of the flowers Dickinson grew, collected, and eulogized...The result is an intimate study of Dickinson that invites readers to imagine the floral landscapes that she saw, both in and out of doors, and to re-create those landscapes by growing the same flowers (the final chapter is chock-full of practical gardening tips). --Maria Kochis, Library Journal Reviews of this book: This is a beautiful book on heavy white paper with rich reproductions of Emily Dickinson's favorite flowers, including sheets from the herbarium she kept as a young girl. But which came first, the flowers or the poems? So intertwined are Dickinson's verses with her life in flowers that they seem to be the lens through which she saw the world. In her day (1830-86), many people spoke 'the language of flowers.' Judith Farr shows how closely the poet linked certain flowers with her few and beloved friends: jasmine with editor Samuel Bowles, Crown Imperial with Susan Gilbert, heliotrope with Judge Otis Lord and day lilies with her image of herself. The Belle of Amherst, Mass., spent most of her life on 14 acres behind her father's house on Main Street. Her gardens were full of scented flowers and blossoming trees. She sent notes with nosegays and bouquets to neighbors instead of appearing in the flesh. Flowers were her messengers. Resisting digressions into the world of Dickinson scholarship, Farr stays true to her purpose, even offering a guide to the flowers the poet grew and how to replicate her gardens. --Susan Salter Reynolds, Los Angeles Times Cuttings from the book: "The pansy, like the anemone, was a favorite of Emily Dickinson because it came up early, announcing the longed-for spring, and, as a type of bravery, could withstand cold and even an April snow flurry or two in her Amherst garden. In her poem the pansy announces itself boldly, telling her it has been 'resoluter' than the 'Coward Bumble Bee' that loiters by a warm hearth waiting for May." "She spoke of the written word as a flower, telling Emily Fowler Ford, for example, 'thank you for writing me, one precious little "forget-me-not" to bloom along my way.' She often spoke of a flower when she meant herself: 'You failed to keep your appointment with the apple-blossoms,' she reproached her friend Maria Whitney in June 1883, meaning that Maria had not visited her . . . Sometimes she marked the day or season by alluding to flowers that had or had not bloomed: 'I said I should send some flowers this week . . . [but] my Vale Lily asked me to wait for her.'" "People were also associated with flowers . . . Thus, her loyal, brisk, homemaking sister Lavinia is mentioned in Dickinson's letters in concert with sweet apple blossoms and sturdy chrysanthemums . . . Emily's vivid, ambitious sister-in-law Susan Dickinson is mentioned in the company of cardinal flowers and of that grand member of the fritillaria family, the Crown Imperial.
This 1915 work by Louise Shelton provides the experienced gardener with a comprehensive scheme for continuous bloom, as well as abbreviated plans for those gardeners who would specialize in spring and autumn flower displays.
James Joyce’s evocations of his characters’ thoughts are often inserted within a commonplace that regards the mind as an interior space, referred to as the ‘inward turn’ in literary scholarship since the mid-twentieth century. Emma-Louise Silva reassesses this vantage point by exploring Joyce’s modernist fiction through the prism of 4E – or embodied, embedded, extended, and enactive – cognition. By merging the 4E framework with cognitive-genetic narratology, an innovative form of inquiry that brings together the study of the dynamics of writing processes and the study of cognition in relation to narratives, Modernist Minds: Materialities of the Mental in the Works of James Joyce delves into the material stylistic choices through which Joyce’s approaches to mind depiction evolved.
This bestselling manual is the definitive guide to olive production in California. This 180-page manual is fully illustrated with 40 tables, 19 line drawings, and 36 charts, and 100 color and black and white photos. The most notable additions to this edition include a new chapter on deficit irrigation, a greatly expanded chapter on olive oil production, and coverage of four new pests, including the olive fly. Includes production techniques for commercial growers worldwide - from orchard planning and maintenance to harvesting and postharvest processing. Contains information on pollination, pruning for shaker and vertical rotating comb harvest, mechanical pruning, deficit irrigation, mechanical harvesting methods including trunk-shaking and canopy contact harvesters, postharvest handling and processing methods, and olive oil production. Also includes information on new pests including olive fly, oleander scale, olive mite, and black vine weevil.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.