Among the revolutions of the last century, none was more important or potentially more lasting than the one in the arts called "Modernism". Among the giants of that movement were writers who changed our conceptions of poetry and prose forever. Now, well into the new century, we can look back to admire and reflect on figures from that period. Last year saw biographies of two monumental poets of Modernism: Robert Crawford's first volume on T. S. Eliot, and David Moody's concluding third volume on the life of Ezra Pound. We are excited to announce the first full–length critical biography of the third member, too often overlooked, of that extraordinary group. The beautifully illustrated David Jones: Engraver, Soldier, Painter, Poet by Thomas Dilworth will stand for generations as the great biography this wonderful artist deserves. Jones (1895–1974) was a painter, a wood– and copper–engraver and maker of painted inscriptions, but it was as a poet that he left his most lasting mark. Eliot called him "one of the most distinguished writers of my generation" and Dylan Thomas said he "would like to have done anything as good as David Jones has done." Auden praised his poem In Parenthesis as "the greatest book [ever] about the Great War", and The Anathemata as one of the "truly great poems in Western Literature." His work, the whole of it, enables him to stand alongside Eliot, Pound, and James Joyce as an incomparable figure in literary Modernism.
Based upon the famous Draper Collection at the Wisconsin Historical Society, this transcription of original sources was conceived as a sequel to the Society's volume on Lord Dunmore's War of 1774. The documents selected by Thwaites and Kellogg pick up the story in March 1775 and continue through May 1777, essentially the first two years of the American Revolution. The sources shed light on the principal incidents and personalities of importance along the broad frontier that extended from the Greenbrier region of Virginia to Kittanning on the Upper Allegheny. The volume closes with the transfer of the command of Fort Pitt to General Hand signifying a milestone in American military history and in the history of westward expansion.
Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
This book is the first substantial study of the presence and relationship with the concepts of apocalypse, eschatology, and millennium in modern British art from 1914 to 1945, addressing how and why practitioners in both religious and secular spheres turned to the subjects. The volume examines British art and visual culture’s relationship with the then-contemporary anxieties and hopes regarding the orientation of society and culture, arguing that there is an acute relationship to the particular forms of cultural discourse of eschatology, apocalypse, and millennium. Chapters identify the continued relevance of religion and religious themes in British art during the period, and demonstrate that eschatology, apocalypse, and millennium were thriving and surprisingly mainstream concepts in the period that remained vital in early to mid-twentieth-century society and culture. This book is a research monograph aimed at an audience of scholars and graduate students already familiar with the core focus of modern British art and cultural histories, especially those working on the late nineteenth and early twentieth centuries, or the concepts of apocalypse, eschatology, and millennium in Theology, Sociology, or other disciplinary settings. It will also be of interest to scholars and students working on war and visual culture, or histories of imperialism. It will benefit scholars of early twentieth-century British art, demonstrating the intersection of art and religion in the modern era, and critically qualifies the standard secular canon and narrative of modern British art, and the general neglect of religion in existing art-historical literature.
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