Imagining England’s Past takes a long look at the country’s invented histories, from the glamorous to the disturbing, from the eighth century to the present day. England has long built its sense of self on visions of its past. What does it mean for medieval writers to summon King Arthur from the post-Roman fog; for William Morris to resurrect the skills of the medieval workshop and Julia Margaret Cameron to portray the Arthurian court with her Victorian camera; or for Yinka Shonibare in the final years of the twentieth century to visualize a Black Victorian dandy? By exploring the imaginations of successive generations, this book reveals how diverse notions of the past have inspired literature, art, music, architecture and fashion. It shines a light on subjects from myths to mock-Tudor houses, Stonehenge to steampunk, and asks how – and why – the past continues so powerfully to shape the present. Not a history of England, but a history of those who have written, painted and dreamed it into being, Imagining England's Past offers a lively, erudite account of the making and manipulation of the days of old. Praise for Imagining England's Past 'Susan Owens conjures our imagined past with such vivacity and lyricism that I can see the dawn mist rising over fabled fields and hear the tread of fictional histories on the worn stairs of yesteryear. Packed full of myths, stories, poems and paintings I found this book impossible to put down!' Charlotte Mullins, broadcaster, art critic and author of A Little History of Art

When we look at the landscape, what do we see? Do we experience the view over a valley or dappled sunlight on a path in the same way as those who were there before us? We have altered the countryside in innumerable ways over the last thousand years, and never more so than in the last hundred. How are these changes reflected in - and affected by - art and literature? Spirit of Place offers a panoramic view of the British landscape as seen through the eyes of writers and artists from Bede and the Gawain-poet to Gainsborough, Austen, W. G. Sebald and Barbara Hepworth. Shaped by these distinctive voices and evocative imagery, Susan Owens describes how the British landscape has been framed, reimagined and reshaped by each generation. Each account or work of art, whether illuminated in a manuscript, jotted down in a journal or constructed from sticks and stones, holds up a mirror to its maker and their world. With 80 illustrations

The first edition of this seminal book was written at a time of rapidly growing interest in the potential for land use planning to deliver sustainable development, and explored the connections between the two and implications for public policy. In the decade since the book was first conceived, environmental imperatives have risen still further up the policial agenda and land use conflicts have intensified, lending even greater importance to the authors' research. In a rigorous discussion of concepts, policy instruments and contemporary planning dilemmas, the authors challenge prevailing assumptions about planning for sustainability. After charting the remarkable growth in expectations of planning, they show how attempts to interpret sustainability must lead to fundamental moral and political choices.

In a new and critical analysis, this book explores the impact of an influential idea - sustainable development - on the institutions and practices governing use of land. It examines the paradox that in spite of increasing attention to sustainability, land use conflict is as ubiquitous and intense as ever.

The first edition of this seminal book was written at a time of rapidly growing interest in the potential for land use planning to deliver sustainable development, and explored the connections between the two and implications for public policy. In the decade since the book was first conceived, environmental imperatives have risen still further up the policial agenda and land use conflicts have intensified, lending even greater importance to the authors' research.

In a rigorous discussion of concepts, policy instruments and contemporary planning dilemmas, the authors challenge prevailing assumptions about planning for sustainability. After charting the remarkable growth in expectations of planning, they show how attempts to interpret sustainability must lead to fundamental moral and political choices.

In a new and critical analysis, this book explores the impact of an influential idea - sustainable development - on the institutions and practices governing use of land. It examines the paradox that in spite of increasing attention to sustainability, land use conflict is as ubiquitous and intense as ever.

The first art book to explore Rossetti's art and poetry together, including her own artworks, illustrations to her writing, and art inspired by her Christina Rossetti (1830-1894) is among the greatest of English Victorian poets. The intensity of her vision, her colloquial style, and the lyrical quality of her verse still speak powerfully to us today, while her striking imagery has always inspired artists. Rossetti lived in an exceptionally visual environment: her brother, Dante Gabriel Rossetti, was the leading member of the avant-garde Pre-Raphaelite Brotherhood, and she became a favorite model for the group. She sat for the face of Christ in William Holman Hunt's The Light of the World, while both John Everett Millais and Frederick Sandys illustrated her poetry. Later on, the pioneering photographer Julia Margaret Cameron and the great Belgian Symbolist Fernand Khnopff were inspired by Rossetti's enigmatic verses. This engaging book explores the full artistic context of Rossetti's life and poetry: her own complicated attitude to pictures; the many portraits of her by artists, including her brother, John Brett, and Lewis Carroll; her own intriguing and virtually unknown drawings; and the wealth of visual images inspired by her words. Published in association with Watts Gallery Exhibition Schedule: Watts Gallery, Guildford, Surrey (11/13/18-03/17/19)

Jonathan Richardson (1667-1745) was one of 18th-century England's most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period's greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all'antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication - which accompanies the first ever exhibition devoted to Richardson's self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld - tells the story of these remarkable works Jonathan Richardson (1667-1745) was one of 18th-century England's most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period's greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all'antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication - which accompanies the first ever exhibition devoted to Richardson's self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld - tells the story of these remarkable works and puts them into the context of his other activities at this period of his life - in particular the self-searching poems he wrote during the same years and often on the same days as he made the drawings. An introductory essay is followed by focused discussions of each work in the exhibition. This part of the book explores the materials and techniques Richardson used, whether working in chalks on a large scale or creating exquisitely refined drawings on vellum. It will also reveal how Richardson modeled some of his portraits on old master prints and drawings, including works in his own collection by Rembrandt and Bernini. The publication brings together the Courtauld Gallery's fine collection of Richardson's drawings with key works in the British Museum, the National Portrait Gallery and the Fitzwilliam Museum.

A gorgeously illustrated volume devoted to the natural history drawings and watercolors of Leonardo da Vinci and other outstanding artists of the Age of Discovery From the fifteenth century onwards, as European explorers sailed forth on grand voyages of discovery, their encounters with exotic plants and animals fanned intense scientific interest. Scholars began to examine nature with fresh eyes, and pioneering artists transformed the way nature was seen and understood. In Amazing Rare Things, renowned naturalist and documentary-maker David Attenborough joins with expert colleagues to explore how artists portrayed the natural world during this era of burgeoning scientific interest. The book focuses on an exquisite selection of natural history drawings and watercolors by Leonardo da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark Catesby, and from the collection of Cassiano dal Pozzo-works all held in the Royal Library at Windsor Castle. Attenborough and his coauthors offer lucid commentary on topics ranging from the 30,000-year history of human drawings of the natural world, to Leonardo's fascination with natural processes, to Catesby's groundbreaking studies that introduced Europeans to the plants and animals of North America. With 160 full color illustrations, this beautiful book will appeal to readers with interests that extend from art and science to history and nature.

"Five thousand years have now elapsed since the creation of the world, and still it is undecided whether or not there has even been an instance of the spirit of any person appearing after death. All argument is against it; but all belief is for it." --Samuel Johnson Ghosts are woven into the very fabric of life. In Britain, every town, village, and great house has a spectral resident, and their enduring popularity in literature, art, folklore, and film attests to their continuing power to fascinate, terrify, and inspire. Our conceptions of ghosts--the fears they provoke, the forms they take--are connected to the conventions and beliefs of each particular era, from the marauding undead of the Middle Ages to the psychologically charged presences of our own age. The ghost is no less than the mirror of the times. Organized chronologically, this new cultural history features a dazzling range of artists and writers, including William Hogarth, William Blake, Henry Fuseli, Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys, Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark, Hilary Mantel, and Sarah Waters.

The Art of Drawing is the first book in sixty years to cover the wider history of drawing in Britain exploring the crucial role drawing has played in British art. Featuring works by foremost British artists from the early seventeenth century right up to the present day, this book offers fresh insights into the wide range of ways in which these artists have used drawing to think on paper, build up ideas and make finished exhibition pieces. Taking examples from the greatest masters, including Isaac Oliver, Peter Lely, WIlliam Blake, Thomas Rowlandson, John Constable, Edwin Landseer, Dante Gabriel Rossetti, Edward Burne-Jones, Wyndham Lewis, Paul Nash, Lucian Freud, David Hockney, John Piper, Sian Bowen and Grayson Perry, Susan Owens discusses the art and craft of drawing, materials and techniques and why artists chose them.ory of drawing in Britain exploring the crucial role drawing has played in British art. Featuring works by foremost British artists from the early seventeenth century right up to the present day, this book offers fresh insights into the wide range of ways in which these artists have used drawing to think on paper, build up ideas and make finished exhibition pieces. Taking examples from the greatest masters, including Isaac Oliver, Peter Lely, WIlliam Blake, Thomas Rowlandson, John Constable, Edwin Landseer, Dante Gabriel Rossetti, Edward Burne-Jones, Wyndham Lewis, Paul Nash, Lucian Freud, David Hockney, John Piper, Sian Bowen and Grayson Perry, Susan Owens discusses the art and craft of drawing, materials and techniques and why artists chose them.

Increasing number of people go home extremely stressed at the end of the work day. And in today's information overloaded society, finding a quiet space in the day for some "me-time" can be virtually impossible. So the challenge that many of us have is to find a way to diffuse that stress so that it does not lead to other problems. But how do you start when it seems like every stress management technique out there requires you to spend time and money to get the most out of it? And you're so stressed you simply don't have the time "Everyday Stress Relief Techniques: Mastering Stress Management" provides an answer to these problems. It is a great tool that can be used to learn some great stress relief techniques, which work in everyday situations. Learn what causes stress. Discover how certain things can be done to avoid certain stressful situations or to deal with certain situations to prevent the onset of stress. This book highlights many different techniques and discusses ways to incorporate them into your everyday life, from someone who has done just that

High school is not easy, and don't Sarah know it. After moving back to her father's home town, Sarah finds that things are not as they seem. What do a centuries old curse and a silly ring have in common? Sarah soon will find out.

When Moon goes missing, the whole town is in an uproar, pointing fingers at each other. Who is to blame? Is it the stranded soldier she gave a ride to days before her disappearance? Was she in the wrong place at the wrong time, snatched by a stranger? Or was it one of her neighbors?

A collection of poetry. The short poetry is from the desk of Susan Owens.

Bad Girls examines representational practices of film and television stories beginning with post-Vietnam cinema and ending with post-feminisms and contemporary public disputes over women in the military. The book explores a diverse range of popular media texts, from the Alien saga to Ally McBeal and Sex and the City, from The Net and VR5 to Sportsnight and G.I.Jane. The research is framed as a study of intergenerational tensions in portrayals of women and public institutions - in careers, governmental service, and interactions with technology. Using iconic texts and their contexts as a primary focus, this book offers a rhetorical and cultural history of the tensions between remembering and forgetting in representations of the American feminist movement between 1979 and 2005. Looking forward, the book sets an agenda for discussion of gender issues over the next twenty-five years and articulates with authority the manner in which "transgression" itself has become a site of struggle.