Gerard Manley Hopkins initially planned to become a poet-artist. For five years he trained his eye, learned about contemporary art and architecture, and made friends in the Pre-Raphaelite circle. In her fascinating and beautifully illustrated book, Catherine Phillips, whose knowledge of Hopkins's poems is second to none, uses letters, new archival material, and contemporary publications to reconstruct the visual world Hopkins knew between 1862 and 1889, and especially in the 1860s, with its illustrated journals, art exhibitions, Gothic architecture, photographic shows, and changing art criticism.
Phillips identifies three artistic contexts for the Hopkins's life: his childhood circle of artistic relatives who were important in shaping his early vision; his friends at university and the criticism he absorbed while there that inflected his view as a young man; and the mature religious beliefs which came to govern his understanding of a visual world interconnected with an eternal one.
With chapters devoted to Hopkins own drawings, and to visual theories of the time, Phillips is able to suggests fresh links between this visual world and the startling originality of Hopkins's mature writing that will impact radically on our understanding of Hopkins's practice as a poet.

Contains writings about John Donne from 1873 to 1923, including Henry Morley, Edmund Gosse, W.F. Collier, Rudyard Kipling, Charles Eliot Norton, Henry Augustin Beers, Thomas Hardy, W.B. Yeats, Ezra Pound, T.S. Eliot, and many others.
Together these works present a record of how, from the nineteenth century onwards, critics viewed Donne, and how he became part of today's literary canon.

eBook available with sample pages: 0203416929

Hopkins's letters are his secular confessional, and if we wish to understand the man and his poetry, this is material we cannot ignore. This is where his mind allowed itself its most expansive and unfettered expression.
This edition adds 43 letters to the total printed by Claude Colleer Abbott in his three-volume major edition of the mid-twentieth century. It further improves on the earlier editions in four ways: in its accuracy, in its order, in its inclusiveness, and in the thoroughness of its annotation. It is a completely new presentation of the letters, set out on radically different lines from earlier editions. It includes all the letters from Hopkins, but adds all the extant letters which were written to him. It is set out in a single chronological sequence, placing all the replies and queries at their appropriate place within the correspondence, thus providing as far as can be achieved, a narrative sequence. This acts in many ways as an informal intellectual biography of Hopkins, tracking his early ideas, his anxieties, his conversion, his friendships, his priesthood, his disappointments, and his ideas on literature and life. The transcriptions not only revise a large number of readings, but include all legible deletions and corrections, allowing the reader to follow the hesitancies and adjustments of Hopkins's mind.
Like most nineteenth-century poets, Hopkins never published a theoretical account of his work and his thoughts on poetry, but what he had to say can be found in these letters, and their extensive use by critics and poets indicates their richness as a source of ideas on Hopkins's poetry and on poetry and poetics in general.

Contains writings about John Donne from 1873 to 1923, including Henry Morley, Edmund Gosse, W.F. Collier, Rudyard Kipling, Charles Eliot Norton, Henry Augustin Beers, Thomas Hardy, W.B. Yeats, Ezra Pound, T.S. Eliot, and many others.
Together these works present a record of how, from the nineteenth century onwards, critics viewed Donne, and how he became part of today's literary canon.

Saving More Than Seeds advances understandings of seed-people relations, with particular focus on seed saving. The practice of reusing and exchanging seeds provides foundation for food production and allows humans and seed to adapt together in dynamic socionatural conditions. But the practice and its practitioners are easily taken for granted, even as they are threatened by neoliberalisation. Combining original ethnographic research with investigation of an evolving corporate seed order, this book reveals seed saving not only as it occurs in fields and gardens but also as it associates with genebanking, genetic engineering, intellectual property rights, and agrifood regulations. Drawing on diverse social sciences literatures, Phillips illustrates ongoing practices of thinking, feeling, and acting with seeds, raising questions about what seed-people relations should accomplish and how different ways of relating might be pursued to change collective futures.

Cultural geography has a long and proud tradition of research into human-plant relations. However, until recently, that tradition has been somewhat disconnected from conceptual advances in the social sciences, even those to which cultural geographers have made significant contributions. With a number of important exceptions, plant studies have been less explicitly part of more-than-human geographies than have animal studies. This book aims to redress this gap, recognising plants and their multiple engagements with and beyond humans. Plants are not only fundamental to human survival, they play a key role in many of the most important environmental political issues of the century, including biofuels, carbon economies and food security. This innovative collection explores themes of belonging, practices and places. Together, the chapters suggest new kinds of 'vegetal politics', documenting both collaborative and conflictual relations between humans, plants and others. They open up new spaces of political action and subjectivity, challenging political frames that are confined to humans. The book also raises methodological questions and challenges for future research. This book was published as a special issue of Social and Economic Geography.

Saving More Than Seeds advances understandings of seed-people relations, with particular focus on seed saving. The practice of reusing and exchanging seeds provides foundation for food production and allows humans and seed to adapt together in dynamic socionatural conditions. But the practice and its practitioners are easily taken for granted, even as they are threatened by neoliberalisation. Combining original ethnographic research with investigation of an evolving corporate seed order, this book reveals seed saving not only as it occurs in fields and gardens but also as it associates with genebanking, genetic engineering, intellectual property rights, and agrifood regulations. Drawing on diverse social sciences literatures, Phillips illustrates ongoing practices of thinking, feeling, and acting with seeds, raising questions about what seed-people relations should accomplish and how different ways of relating might be pursued to change collective futures.

Cultural geography has a long and proud tradition of research into human-plant relations. However, until recently, that tradition has been somewhat disconnected from conceptual advances in the social sciences, even those to which cultural geographers have made significant contributions. With a number of important exceptions, plant studies have been less explicitly part of more-than-human geographies than have animal studies. This book aims to redress this gap, recognising plants and their multiple engagements with and beyond humans. Plants are not only fundamental to human survival, they play a key role in many of the most important environmental political issues of the century, including biofuels, carbon economies and food security. This innovative collection explores themes of belonging, practices and places. Together, the chapters suggest new kinds of 'vegetal politics', documenting both collaborative and conflictual relations between humans, plants and others. They open up new spaces of political action and subjectivity, challenging political frames that are confined to humans. The book also raises methodological questions and challenges for future research. This book was published as a special issue of Social and Economic Geography.

Gerard Manley Hopkins (1844-89) is now recognized as a major poet of striking originality. He is widely admired for his particularly vivid expression of feeling, from the religious ecstasy of `he Blessed Virgin' to the torments of his loneliness and despair in `No Worst', and for conveying with wonderful freshness his sense of natural beauty in such poems as `The Windhover' and `Pied Beauty'. This selection, chosen from the award-winning Oxford Authors critical edition, includes all his major English poems and most of the larger fragments. The poems are supported with extensive notes and a useful introduction to Hopkins's life and poetry. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Hermitage Museum in St Petersburg has one of the world's great collections of Greek vases. In addition to the numerous vases and fragments found on Russian territory, it includes those found in Italy and acquired directly or purchased from other collectors, most notably the Marquis Campana, Antonio Giuseppe Pizzati and Countess Laval. The history of this part of the Hermitage collection of vases has never before been told in full. Taking Ludolf Stephani's catalogue of 1869, Die Vasensammlung der Kaiserlichen Ermitage, as a starting point and studying a vast body of previously ignored archive documents, the authors (two of them curators of Greek vases in the Hermitage Museum) follow the formation of the collection up to 1869, establishing its sources and identifying a number of previously under-estimated or ignored Russian collectors of antiquities. The Hermitage collection is set not only within the Russian cultural context but within the wider picture of a pan-European interest in antiquities and their display. Since Stephani's catalogue is still the main source for scholars of vases and vase collections, the book includes a valuable list of addenda and corrigenda to the provenances he provides for vases from private collections (those found during excavations on Russian territory are largely correct).

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

The German gem-engraver, medallist, and amateur scholar Lorenz Natter (1705-1763), was so impressed by the size and quality of the collections of ancient and later engraved gems which he found in Britain that he proposed the publication of an extraordinarily ambitious catalogue - Museum Britannicum - which would present engravings and descriptions of the most important pieces. He made considerable progress to this end, producing several hundred drawings, but in time he decided to abandon the near completed project in the light of the apparent lack of interest shown in Britain. Only one of the intended plates in its final form ever appeared, in a catalogue which he published separately for Lord Bessborough's collection. On Natter's death the single copy of his magnum opus vanished mysteriously, presumed lost forever. All hope of recovering Natter's unpublished papers seemed vain, and their very existence had come to be doubted. Yet they were to be found more than two hundred years after his death, in Spring 1975, when the classical scholar and renowned expert in gems, Oleg Neverov, chanced upon them at the bottom of a pile of papers in the archives of the State Hermitage Museum in St Petersburg. Neverov and his colleague Julia Kagan carried out the initial research on the Hermitage manuscripts and produced the first published account of this archival treasure. The present volume builds upon their earlier work to produce the first comprehensive publication of Museum Britannicum, offering full discussion in English and presenting Natter's drawings and comments alongside modern information on the gems that can be identified and located through fresh research. This book is the result of a ten-year collaboration between scholars on the Beazley Archive gems research programme at Oxford's Classical Art Research Centre and the State Hermitage Museum. It fulfills Natter's vision for the Museum Britannicum - albeit two and a half centuries late - to the benefit of art historians, cultural historians, curators, and gem-lovers of today.

Based on a folktale called "The Priest's Soul," which Yeats first encountered in 1888, The Hour-Glass was written as both a play in prose and a drama in verse over the course of more than thirty years. This volume brings together all extant manuscripts of The Hour-Glass, from a handwritten three-page fragment of the 1902 prose version to Yeats's typescripts of the 1922 verse rendition.

In 1840, French novelist Theophile Gautier was hired by the journal "La Presse" to write regular installments of a travelogue of his journey to and around Spain. Gautier recorded his experiences and impressions and the result was the 1845 book "Voyage en Espagne" - later translated into English as "A Romantic in Spain". For Gautier, Spain promised the allure of an exotic and passionate culture; it was a revelation, he said later, like discovering his true home, the native land of his spirit. Gautier covered the olive groves of Andalucia, the vibrant street life of Madrid, the central plains of La Mancha, and the Moorish buildings of Seville and Cordoba. Gautier, travelling by mule, carriage, or wagon, came into contact with a rich panoply of people and places. Gautier reveals a Spain in transition, emerging from civil war and a feudal past into the modern world.