Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Defining cultural history, Peter Burke claims, "is rather like trying to catch a cloud in a butterfly net." In this volume, Anna Green provides a coherent and accessible introduction to the major theories within this most diverse of historical fields. "Cultural History" explores the conceptual, affective and imaginative worlds of human consciousness, as reflected in elite intellectual and aesthetic works as well as everyday social beliefs and practices.

The houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions. Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework. This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels. -- .

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.

The houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions. Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework. This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels. -- .

Wharton, Hemingway, and the Advent of Modernism is the first book to examine the connections linking two major American writers of the twentieth century, Edith Wharton and Ernest Hemingway. In twelve critical essays, accompanied by a foreword from Wharton scholar Laura Rattray and a critical introduction by volume editor Lisa Tyler, contributors reveal the writers' overlapping contexts, interests, and aesthetic techniques. Thematic sections highlight modernist trends found in each author's works. To begin, Peter Hays and Ellen Andrews Knodt argue for reading Wharton as a modernist writer, noting how her works feature characteristics that critics customarily credit to a younger generation of writers, including Hemingway. Since Wharton and Hemingway each volunteered for humanitarian medical service in World War I, then drew upon their experiences in subsequent literary works, Jennifer Haytock and Milena Radeva-Costello analyze their powerful perspectives on the cataclysmic conflict traditionally viewed as marking the advent of modernism in literature. In turn, Cecilia Macheski and Sirpa Salenius consider the authors' passionate representations of Italy, informed by personal sojourns there, in which they observed its beautiful landscapes and culture, its liberating contrast with the United States, and its period of fascist politics. Linda Wagner-Martin, Lisa Tyler, and Anna Green focus on the complicated gender politics embedded in the works of Wharton and Hemingway, as evidenced in their ideas about female agency, sexual liberation, architecture, and modes of transportation. In the collection's final section, Dustin Faulstick, Caroline Chamberlin Hellman, and Parley Ann Boswell address suggestive intertextualities between the two authors with respect to the biblical book of Ecclesiastes, their serialized publications in Scribner's Magazine, and their affinities with the literary and cinematic tradition of noir. Together, the essays in this engaging collection prove that comparative studies of Wharton and Hemingway open new avenues for understanding the pivotal aesthetic and cultural movements central to the development of American literary modernism.

This book is part of the TREDITION CLASSICS series. The creators of this series are united by passion for literature and driven by the intention of making all public domain books available in printed format again - worldwide. At tredition we believe that a great book never goes out of style. Several mostly non-profit literature projects provide content to tredition. To support their good work, tredition donates a portion of the proceeds from each sold copy. As a reader of a TREDITION CLASSICS book, you support our mission to save many of the amazing works of world literature from oblivion.

Title: Doctor Izard. A novel.]Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Green, Anna; 1894, etc.]. 8 . 012629.f.32.

Every piece of historical writing has a theoretical basis on which evidence is selected, filtered, and understood. This is as true of scientific empiricism as it is of poststructualism.

The Houses of History provides a comprehensive introduction to the twelve schools of thought which have had the greatest influence on the study of history in the twentieth century. Ranging from Empiricism to Postcolonialism, Marxism to the Ethnohistorians, each chapter begins with an introduction to the particular school, the main protagonists, the critics, and is followed by a useful section of further readings. From the classic, such as G. R. Elton's "England Under the Tudors" and E. P. Thompson's "The Making of the English Working Class," to the recent, such as Henrietta Whiteman's "White Buffalo Woman" and Judith Walkowitz's "City of Dreadful Delight," the diverse selections collected here bring together the leading historians and theorists of the century.

Comprehensive and accessible to undergraduates, The Houses of History is ideally suited to classroom use.

A resource for arts therapists and other clinicians on working with people who have committed sexual offences. There is a strong focus on the value of establishing a therapeutic relationship involving non-verbal media as a cornerstone, drawing upon current research and practice. Emphasis is placed on working with transference and counter-transference, being trauma-informed, and making use of effective supervision. This group of offenders can benefit hugely from the provision of arts therapies, and this book provides valuable experiences of working with people who have committed sexual offences.

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.