In this book, Richard Hayman traces the different values and virtues people have seen in trees and forests over the course of history, reflecting the changing use of woodland and the effects of deforestation and urbanization. Tacitus, followed by Romantics and historians of liberty, located freedom in the German forests. Medieval forests were both protected hunting parks and the refuge of Robin Hood. Shakespeare contrasted the simplicity of life in the Forest of Arden with the artificial manners of the court. Since the 18th century, poets such as Wordsworth, Clare, and Hardy have drawn inspiration from trees. How we see trees today will dictate how trees are treated in the future.
From as early as 1420 a few intrepid explorers made their way to Greece and Turkey, to recover - from brambles or burial, lime-kilns or building sites - the precious relics of the Greeks' classical past. The glories of classical Greece are an essential part of our heritage and are echoed every day in the buildings and institutions we see around us. But who were the visitors from afar who first appreciated the riches of the archaeological past of Greece and the Greek lands; who opened up the culture and its ancient remains? In Land of Lost Gods, Richard Stoneman tells the riveting stories of Cyriac of Ancona's quest to record the appearance of the Parthenon; Jacques Spon's quarrel with Guillet de St-Georges about the topography of Athens; the painstaking expeditions of the Society of Dilettanti and the deluded forgeries of the Abbé Fourmont. He also examines in vivid detail the birth struggles of archaeology in the work of Charles Newton and Cnidus at Halicarnassus, J.T. Wood at Ephesus, Charles Fellows in Lycia, Carl Humann at Pergamon and Heinrich Schliemann at Troy. When the archaeologist succeeds the antiquary, the dilettante and the adventurer, the theme of this book draws to a close.
One of the finest architectural photographers in America, Robert W. Tebbs produced the first photographic survey of Louisiana's plantations in 1926. From those images, now housed in the Louisiana State Museum, and not widely available until now, 119 plates showcasing fifty-two homes are featured here. Richard Anthony Lewis explores Tebbs's life and career, situating his work along the line of plantation imagery from nineteenth-century woodcuts and paintings to later twentieth-century photographs by John Clarence Laughlin, among others. Providing the family lineage and construction history of each home, Lewis discusses photographic techniques Tebbs used in his alternating panoramic and detail views. A precise documentarian, Tebbs also reveals a poetic sensibility in the plantation photos. His frequent emphasis on aspects of decay, neglect, incompleteness, and loss lends a wistful aura to many of the images -- an effect compounded by the fact that many of the homes no longer exist. This noticeable vacillation between objectivity and sentiment, Lewis shows, suggests unfamiliarity and even discomfort with the legacy of slavery. Poised on the brink of social and political reforms, Louisiana in the mid-1920s had made significant strides away from the slave-based agricultural economy that the plantation house often symbolized. Tebbs's Louisiana plantation photographs capture a literal and cultural past, reflecting a burgeoning national awareness of historic preservation and presenting plantations to us anew. Select plantations included: Ashland/Belle Helene, Avery Island, Belle Chasse, Belmont, Butler-Greenwood, L'Hermitage, Oak Alley, Parlange, René Beauregard House, Rosedown, Seven Oaks, Shadows-on-the-Teche, The Shades, and Waverly.
With their broken lines and hasty brushwork, sketches acquired enormous ideological and aesthetic power during the Romantic period in England. Whether publicly displayed or serving as the basis of a written genre, these rough drawings played a central role in the cultural ferment of the age by persuading audiences that less is more. The Visual and Verbal Sketch in British Romanticism investigates the varied implications of sketching in late-eighteenth- and early-nineteenth-century culture. Calling on a wide range of literary and visual genres, Richard C. Sha examines the shifting economic and aesthetic value of the sketch in sources ranging from auction catalogs and sketching manuals to novels that employed scenes of sketching and courtship. He especially shows how sketching became a double-edged accomplishment for women when used to define "proper" femininity. Sha's work offers fresh readings of Austen, Gilpin, Wordsworth, and Byron, as well as less familiar writers, and provides sophisticated interpretations of visual sketches. As the first full-length work about sketching during the Romantic era, this volume is a rich interdisciplinary study of both representation and gender.
Architectural historian Etlin defines the main principles of progressive 19th-century architectural thought: the architectural system, the picturesque, philosophical eclecticism, and the spirit of the times. These principles are explored in detail in relation to 19th- and 20th-century architecture, and also to demonstrate their importance to the work of Wright and Le Corbusier. Illustrated with drawings and photos. Distributed by St. Martin's Press. Annotation copyrighted by Book News, Inc., Portland, OR
If psychoanalysis is the return of repressed antiquity, distorted to be sure by modern desire, yet still bearing the telltale traces of the ancient archive, then would not our growing distance from the archive of antiquity also imply that we are in the process of losing our grip on psychoanalysis itself, as Freud conceived it?"—from Chapter 1As he developed his striking new science of the mind, Sigmund Freud had frequent recourse to ancient culture and the historical disciplines that draw on it. A Compulsion for Antiquity fully explores how Freud appropriated figures and themes from classical mythology and how the theory and practice of psychoanalysis paralleled contemporary developments in historiography, archaeology, philology, and the history of religions. Drawing extensively from Freud's private correspondence and other notes and documents, Richard H. Armstrong touches on Freud's indebtedness to Sophocles and the Oedipus complex, his interest in Moses and the Jewish religion, and his travels to Athens and Rome.Armstrong shows how Freud turned to the ancient world to deal with the challenges posed by his own scientific ambitions and how these lessons influenced the way he handled psychic "evidence" and formulated the universal application of what were initially isolated clinical truths. Freud's narrative reconstructions of the past also related to his sense of Jewishness, linking the historical trajectory of psychoanalysis with contemporary central European Jewish culture. Ranging across the breadth of Freud's work, A Compulsion for Antiquity offers fresh insights into the roots of psychoanalysis and fin de siècle European culture, and makes an important contribution to the burgeoning discipline of mnemohistory.
This handbook provides the student, practising architect or interested layman with a well-illustrated and readable comparative guide to proportion systems in architecture.
When Richard Dobson toured the border county of Herefordshire in 2005, following in the footsteps of Victorian artist Henry Thornhill Timmins, he recorded the experience in his subsequent book In My Own Time. Join him in his latest tour as he describes, in their words, what earlier writers discovered as they travelled through the Welsh Marches, even before the word 'tourism' was first used.
A selection of Anti-Jacobin novels reprinted in full with annotations. The set includes works by male and female writers holding a range of political positions within the Anti-Jacobin camp, and represents the French Revolution, American Revolution, Irish Rebellion and political unrest in Scotland.
This is the first volume of a projected six-volume Commentary on Homer's Iliad, under the General Editorship of professor G.S. Kirk. Professor Kirk himself is the editor of the present volume, which covers the first four Books of Iliad. It consists of four introductory chapters, dealing in particular with rhythm and formular techniques, followed by the detailed commentary which aims at helping serious readers by attempting to identify and deal with most of the difficulties which might stand in the way of a sensitive and informed response to the poem. The Catalogues in Book 2 recieve especially full treatment. The book does not include a Greek text - important matters pertaining to the text are discussed in the commentary. It is hoped that the volume as a whole will lead scholars to a better understanding of the epic style as well as of many well-known thematic problems on a larger scale. This Commentary will be an essential reference work for all students of Greek literature. Archaeologists and historians will also find that it contains matters of relevance to them.
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