Botanical and scientific illustration share many common themes - the meticulous observation, the crucial composition, the precision of rendering and the accuracy of colour are all intrinsic to this niche genre of art. In this beautiful book, Sarah Jane Humphrey explains the techniques of the botanical artist but also introduces ideas for scientific illustration, so that the illustrator has a fuller understanding when rendering the natural world. Detailed instruction on all aspects of illustration is given, from application and materials to research and field trips. There is practical advice on using monochrome and colour theory to bring your illustration to life. Illustrated with over 200 of the author's exquisite illustrations, it is an invaluable companion for both beginners and experienced artists, as well as a source of inspiration and joy. Beautifully illustrated with 429 colour illustrations including 200 of the author's own illustrations.
Botanical and scientific illustration share many common themes - the meticulous observation, the crucial composition, the precision of rendering and the accuracy of colour are all intrinsic to this niche genre of art. In this beautiful book, Sarah Jane Humphrey explains the techniques of the botanical artist but also introduces ideas for scientific illustration, so that the illustrator has a fuller understanding when rendering the natural world. Detailed instruction on all aspects of illustration is given, from application and materials to research and field trips. There is practical advice on using monochrome and colour theory to bring your illustration to life. Illustrated with over 200 of the author's exquisite illustrations, it is an invaluable companion for both beginners and experienced artists, as well as a source of inspiration and joy. Beautifully illustrated with 429 colour illustrations including 200 of the author's own illustrations.
Part of the "Lives of Victorian Literary Figures" series, this set collects contemporary memoirs, biographies and ephemera relating to Oscar Wilde, Henry James and Edith Wharton. Editorial apparatus includes a general introduction, headnotes, endnotes and a general index.
Examines Welsh writing in English in the context of critical debates concerning the rise of cultural nationalism and the ‘invention’ of Great Britain as a nation in the eighteenth century. This study investigates the ways in which Anglophone literature from and about Wales imagines the nation and its culture in a range of genres.
This book recovers a major nineteenth-century literary figure, the American Claimant. For over a century, claimants offered a compelling way to understand cultural difference across the Anglophone Atlantic, especially between Britain and the United States. They also formed a political talisman, invoked against slavery and segregation, or privileges of gender and class. Later, claimants were exported to South Africa, becoming the fictional form for explaining black students who acquired American degrees. American Claimants traces the figure back to lost-heir romance, and explores its uses. These encompassed real, imagined, and textual ideas of inheritance, for writers and editors, and also for missionaries, artists, and students. The claimant dramatized tensions between tradition and change, or questions of exclusion and power: it offered ways of seeing activism, education, sculpture, and dress. The premise for dozens of novels and plays, a trope, a joke, even the basis for real claims: claimants matter in theatre history and periodical studies, they touch on literary marketing and reprinting, and they illuminate some unexpected texts. These range from Our American Cousin to Bleak House, Little Lord Fauntleroy to Frederick Douglass' Paper; writers discussed include Frances Trollope, Julia Griffiths, Alexander Crummell, John Dube, James McCune Smith, Nathaniel Hawthorne, and Mark Twain. The focus on claimants yields remarkable finds: new faces, fresh angles, a lost column, and a forgotten theatrical genre. It reveals the pervasiveness of this form, and its centrality in imagining cultural contact and exchange.
Wilkes County, Georgia, created in the year 1777, is the parent of Elbert, Oglethorpe, and Lincoln counties and parts of the counties of Greene, Hart, Madison, Taliaferro, and Warren. It comprised one-third of the population of the state in 1790. The records in this excellent little book are supplementary to Mrs. Grace G. Davidson's "Early Records of Georgia: Wilkes County" (1932, 1933) and are designed to assist the researcher in making a detailed survey of the oldest records in the Ordinary's office, once known as the Inferior Court office. The records--principally wills and settlements of estates, but also deeds of gift, inheritances, and marriage bonds--have more than ordinary genealogical significance, as they name not only principals but also beneficiaries (showing relationships), as well as witnesses and executors. The material is mostly of the period dating from the late 18th to the early 19th centuries and identifies nearly 5,000 early Georgians.
Whether you're an armchair enthusiast for all things "ancient," a dyed-in-the-wool Anglophile, or are simply looking for a new way to experience London, this light-hearted book will delight you.
Audrey Jones wants to be friends with the new girl at school, Mailee, but she can't tell if Mailee feels the same about her. So she decides to starts a slam book to get the scoop. Slam books are against school rules, but with pages to write about everyone in the sixth grade, and a code to see who wrote what, Audrey can find out what Mailee really thinks about her. The book is a huge hit--everyone is excited to write (and read!) about everyone else. But does Audrey really want to know the truth?"--P. [4] of cover.
This fascinating book studies the life and times of Mary Tudor and Charles Brandon, Henry VIII's dearest sister and his closest companion. Charles rose from being Henry's childhood friend to becoming the Duke of Suffolk; a consummate courtier and diplomat. Mary was always royalty. At first married to the King of France, Mary quickly wed Charles after Louis XII's death in 1515, against her brother's wishes. Their actions could have been construed as treason yet Henry chose to spare their lives. They returned to court and despite their ongoing disagreements throughout the years, especially over the king's marriage to Anne Boleyn, the Tudor Brandons remained Henry's most loyal subjects and perhaps more importantly, his beloved family.
This book examines the complexities of reformed religion in early-modern England, through an examination of the experiences of Edwin Sandys, a prominent member of the Elizabethan Church hierarchy. Sandys was an ardent evangelical in the Edwardian era forced into exile under Mary I, but on his return to England he became a leader of the Elizabethan Church. He was Bishop of Worcester and London and finally Archbishop of York. His transformation from Edwardian radical to a defender of the Elizabethan status quo illustrated the changing role of the Protestant hierarchy. His fight against Catholicism dominated much of his actions, but his irascible personality also saw him embroiled in numerous conflicts and left him needing to defend his own status.
With a scarlet fever epidemic raging throughout London, a rogue baron on the loose, a new baby keeping him up at night, and a kingdom to run, the last thing David has time for is a trip to the twenty-first century. But as he should know by now, time waits for no man, not even the King of England … Complete series reading order: Daughter of Time, Footsteps in Time, Winds of Time, Prince of Time, Crossroads in Time, Children of Time, Exiles in Time, Castaways in Time, Ashes of Time, Warden of Time, Guardians of Time, Masters of Time, Outpost in Time, Shades of Time, Champions of Time, Refuge in Time, Outcasts in Time, Hidden in Time, Legacy of Time. Also, This Small Corner of Time: The After Cilmeri Series Companion.
Part of the "Lives of Victorian Literary Figures" series, this set collects contemporary memoirs, biographies and ephemera relating to Oscar Wilde, Henry James and Edith Wharton. Editorial apparatus includes a general introduction, headnotes, endnotes and a general index.
Investigates how patriarchy operated in the lives of the women of Cuba, from elite women to slaves Scholars have long recognized the importance of gender and hierarchy in the slave societies of the New World, yet gendered analysis of Cuba has lagged behind study of other regions. Cuban elites recognized that creating and maintaining the Cuban slave society required a rigid social hierarchy based on race, gender, and legal status. Given the dramatic changes that came to Cuba in the wake of the Haitian Revolution and the growth of the enslaved population, the maintenance of order required a patriarchy that placed both women and slaves among the lower ranks. Based on a variety of archival and printed primary sources, this book examines how patriarchy functioned outside the confines of the family unit by scrutinizing the foundation on which nineteenth-century Cuban patriarchy rested. This book investigates how patriarchy operated in the lives of the women of Cuba, from elite women to slaves. Through chapters on motherhood, marriage, education, public charity, and the sale of slaves, insight is gained into the role of patriarchy both as a guiding ideology and lived history in the Caribbean's longest lasting slave society. Sarah L. Franklin is assistant professor of history at the University of North Alabama.
Elizabeth Woodville, queen to Edward IV and mother of the Princes in the Tower. Elizabeth of York, daughter of Elizabeth Woodville and the first Tudor queen of England. Elizabeth Grey, granddaughter of Elizabeth Woodville and Countess of Kildare, whose life both in England and across the Irish sea was closely entwined with the Tudor Court. This is the tale of three generations of women, linked by their name, Elizabeth, and by their family relationship. The story begins in the reign of the great Plantagenet Kings with the life of Elizabeth Woodville and ends in the reign of perhaps England’s most famous dynasty, that of the Tudor kings and queens. Through the life of Elizabeth of York, the first Tudor queen and Elizabeth Grey, cousin to Henry VIII and Mary Tudor, we explore the Tudor court and its dealings with the Earls of Kildare. From the birth of our first Elizabeth to the death of our last, these three women lived through wars and coronations, births and deaths, celebration and tragedy and between them they experienced some of the most exciting and troubled times in English history. Mother, daughter and granddaughter: individually they each have their own fascinating story to tell; together their combined stories take us on a journey through a century of English life.
A groundbreaking examination of polygamy showing that monogamy was not the only form marriage took in early America Today we tend to think of polygamy as an unnatural marital arrangement characteristic of fringe sects or uncivilized peoples. Historian Sarah Pearsall shows us that polygamy's surprising history encompasses numerous colonies, indigenous communities, and segments of the American nation. Polygamy--as well as the fight against it--illuminates many touchstones of American history: the Pueblo Revolt and other uprisings against the Spanish; Catholic missions in New France; New England settlements and King Philip's War; the entrenchment of African slavery in the Chesapeake; the Atlantic Enlightenment; the American Revolution; missions and settlement in the West; and the rise of Mormonism. Pearsall expertly opens up broader questions about monogamy's emergence as the only marital option, tracing the impact of colonial events on property, theology, feminism, imperialism, and the regulation of sexuality. She shows that heterosexual monogamy was never the only model of marriage in North America.
This fascinating new look at the artistic legacy of the Tudors reveals the dynasty’s enduring influence on the arts of Renaissance England and beyond. Ruling successively from 1485 through 1603, the five Tudor monarchs brought seismic changes to England that reverberated throughout Europe. They used the arts to legitimize and glorify their tumultuous rule, from Henry VII’s bloody rise to power, through Henry VIII’s breach with the Roman Catholic Church, to the reign of the “Virgin Queen” Elizabeth I. With incisive scholarship and sumptuous new photography, this book explores the extreme politics and outsize personalities of the Tudors, and how they used art in their diplomacy at home and abroad. Tudor courts were truly cosmopolitan, attracting top artists and artisans from across Europe. At the same time, the Tudors nurtured local talent and gave rise to a distinctly English aesthetic, one that is forever connected to the myth and visual legacy of their dynasty. The Tudors reveals the true history behind a family that has long captured the public imagination, bringing to life their extravagant and politically precarious world through the exquisite paintings, lush textiles, gleaming metalwork, and countless luxury objects that adorned their spectacular courts.
With films as diverse as Bhaji on the Beach, The Dam Busters, Trainspotting, The Draughtsman's Contract, Prick Up Your Ears, Ratcatcher, This Is England and Atonement, British cinema has produced wide-ranging notions of British culture, identity and nationhood. British National Cinema is a comprehensive introduction to the British film industry within an economic, political and social context. British National Cinema analyzes the politics of film and establishes the difficult context within which British producers and directors have worked. Sarah Street questions why British film-making, production and distribution have always been subject to government apathy and financial stringency. In a comparison of Britain and Hollywood, the author asks to what extent was there a 'star system' in Britain and what was its real historical and social function. An examination of genres associated with British film, such as Ealing comedies, Hammer horror, 'heritage' films and hybrid forms, confirms the eclectic nature of British cinema. In a final evaluation of British film, she examines the existence of 'other cinemas': film-making which challenges the traditional concept of cinema and operates outside mainstream structures in order to deconstruct and replace classical styles and conventions. Illustrated with over thirty stills from classic British films, British National Cinema provides an accessible and comprehensive exploration of the fascinating development of British cinema.
In early eighteenth-century texts, the gypsy is frequently figured as an amusing rogue; by the Victorian period, it has begun to take on a nostalgic, romanticized form, abandoning sublimity in favour of the bucolic fantasy propagated by George Borrow and the founding members of the Gypsy Lore Society. Representations of the Gypsy in the Romantic Period argues that, in the gap between these two situations, the figure of the gypsy is exploited by Romantic-period writers and artists, often in unexpected ways. Drawing attention to prominent writers (including Wordsworth, Austen, Clare, Cowper and Brontë) as well as those less well-known, Sarah Houghton-Walker examines representations of gypsies in literature and art from 1780-1830, alongside the contemporary socio-historical events and cultural processes which put pressure on those representations. She argues that, raising troubling questions by its repeated escape from the categories of enlightenment discourses which might seek to 'know' or 'understand' in empirical ways, the gypsy exists both within and outside of conventional English society. The figure of the gypsy is thus available to writers and artists to facilitate the articulation of dilemmas and anxieties taking various forms, and especially as a lens through which questions of knowledge and identity (which is often mutable, and troubling) might be focussed. .
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