Innovative and accessibly written, Picturing Scotland examines the genesis and production of the first author-approved illustrations for Sir Walter' Scott's Waverley novels in Scotland. Consulting numerous neglected primary sources, Richard J. Hill demonstrates that Scott, usually seen as disinterested in the mechanics of publishing, actually was at the forefront of one of the most innovative publishing and printing trends, the illustrated novel. Hill examines the historical precedents, influences, and innovations behind the creation of the illustrated editions, tracking Scott's personal interaction with the mechanics of the printing and illustration process, as well as Scott's opinions on visual representations of literary scenes. Of particular interest is Scott's relationships with William Allan and Alexander Nasmyth, two important early nineteenth-century Scottish artists. As the first illustrators of the Waverley novels, their work provided a template for one of the more lucrative publishing phenomena. Informed by meticulous close readings of Scott's novels and augmented by a bibliographic catalogue of illustrations, Picturing Scotland is an important contribution to Scott studies, the development of the illustrated novel, and publishing history.
In Caesar's Civil War: Historical Reality and Fabrication, Westall combines literary analysis of Caesar’s Bellum Civile with a concern for the socio-economic history of the Roman empire. The Bellum Gallicum and the Shakespearean play are better known, but Caesar’s partisan account of the Roman civil war culminating in the battle of Pharsalus offers a historical text of perennial interest and relevance. Two introductory chapters contextualize this book and offer a traditional narrative of political and military history for 49-48 BCE. There follow seven chapters that are dedicated to each of the geographical theatres of civil war. These chapters show how Caesar’s testimony sheds important light upon the nature of Roman rule in the Mediterranean, but also explore the problems to be encountered in using potentially tendentious testimony.
This book offers a brilliant treatment of many facets of its subject, but it also ends up being, for the reader, one of the finest general histories to be found, of these crucial years in Russian history. The source material is unbelievably detailed, and clearly cited on each page. Not only that, the writing is, at many points, the boldest, clearest I've almost ever found in the Academy. The author's opinions, summaries, insights easily spill out of the historical constructions. The presence of the author's psyche (he never hides behind his quotes) means the material is contoured. The reader gets, not only huge amounts of information, but an authorial presence, as company, that is often daring, bold, insightful, revelatory. And one stylistic point made me especially happy: when Stites uses metaphors to explain history, these are revelatory, and their internal implications are followed through in the prose." -- from www.goodreads.com (Feb. 2, 2011.)
In the 1860s, the brothers Richard and Samuel Redgrave sat down to write the book that was, in effect, the first popular account of British painting. With remarkable industry, they examined and sifted through the earlier studies and documentary sources while also contributing a great deal of firsthand knowledge. Many of the artists of the time were personal friends or acquaintances, and Richard Redgrave was a member of the Royal Academy.
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