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This edited collection re-examines the relationship between art and the sea, reflecting growing interest in the intersections between art and maritime history. Artists have always been fascinated by and drawn to the sea and this book considers some of the themes and approaches in art that have evolved as a result of this captivation. The chapters consider how an examination of art can provide new insights into existing knowledge of port and maritime history, and are representative of a 'cultural turn' in port and maritime studies, which is becoming increasingly visible. In Art and the Sea, multiple perspectives are offered as a result of the contributors' individual positions and methodologies: some museological, others art historical or maritime-historical. Each chapter proposes a new way of building upon available interpretations of port and maritime history: whether this be to reject, support or reconsider existing knowledge. The book as a whole is a timely addition, therefore, to the developing body of revisionist texts in port and maritime history. The interdisciplinary nature of the volume relates to a current trend for interdisciplinarity in art history and will appeal to those with an interest in art history, geography, sociology, history and transport / maritime studies.

This book accompanies the first exhibition entirely of Jamaican art to take place in the north-west of the UK. The exhibition, Jamaica Making: The Theresa Roberts Art Collection, is sited at the Victoria Gallery and Museum, Liverpool in 2022, and is a comprehensive presentation of the best of Jamaican art since the 1960s. The Theresa Roberts Art Collection is the private collection of Theresa Roberts, a Jamaican-born businesswoman and philanthropist, who has made the UK her home. This collection offers an important insight into the development of Jamaican art since the country gained independence in 1962. Indeed, the exhibition also acts to commemorate the 60th anniversary of Jamaican independence in 2022. Included in the book are the following: an official welcome from the Prime Minister of Jamaica; an essay by the collector, exhibition donor and philanthropist, Theresa Roberts; an introduction by eminent British-Jamaican art historian, Edward Lucie-Smith; essays by Emma Roberts, the exhibition curator (Liverpool John Moores University), Davinia Gregory-Kameka, writer, educator and researcher (Columbia University, USA) and Sireita Mullings, arts practitioner and visual sociologist (University of Bedfordshire). The final section of the book is the full visual catalogue of the Jamaica Making exhibition - a unique record of this historic exhibition. An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.

Travel back 400 years to visit rowdy theatres and royal palaces to understand what it was like to live in Shakespeare's Elizabethan England and the influence it had on his ground-breaking work. This book charts Shakespeare's phenomenal talent and peeks behind the curtain at his most famous plays, from tragedies such as Romeo and Juliet and Hamlet to comedies such as A Midsummer Night's Dream and Taming of the Shrew.

Emma Roberts' 1835 work, compiled from articles she published in the Asiatic Journal, was well received in India and England. Roberts lived in India from 1828 with her sister and her brother-in-law, who served in the 61st Bengal infantry. In 1830 she moved to Calcutta, where she edited and wrote for the Oriental Observer and contributed to periodicals and annuals. Returning to London in 1832, she threw herself into the literary world, publishing in several different fields. This book reveals her sympathetic attitude to the Indian people and her genuine interest in providing a thorough and honest report of their culture. Volume 1 begins with a description of Calcutta. It reflects the diversity of Roberts' interests, covering topics from marriages to murders, domestic arrangements to military operations, religion to shopping, and architecture to dancing. For more information on this author, see http: //orlando.cambridge.org/public/svPeople?person_id=robee

Emma Roberts' 1835 work, compiled from articles she published in the Asiatic Journal, was well received in India and England. Roberts lived in India from 1828 with her sister and her brother-in-law who served in the 61st Bengal infantry. In 1830 she moved to Calcutta, where she edited and wrote for the Oriental Observer and contributed to periodicals and annuals. Returning to London in 1832, she threw herself into the literary world, publishing in several different fields. This book reveals Roberts' sympathetic attitude to the Indian people and her genuine interest in providing a thorough and honest report of their culture. Volume 2 begins by describing Allahabad in northern India, and covers a wide variety of topics including diamonds, geology, climate, flora and fauna, superstition, litigation, children, tourism and sport. For more information on this author, see http: //orlando.cambridge.org/public/svPeople?person_id=robee

Emma Roberts' 1835 work, compiled from articles she published in the Asiatic Journal, was well received in India and England. Roberts lived in India from 1828 with her sister and her brother-in-law who served in the 61st Bengal infantry. In 1830 she moved to Calcutta, where she edited and wrote for the Oriental Observer and contributed to periodicals and annuals. Returning to London in 1832, she threw herself into the literary world, publishing in several different fields. This book reveals Roberts' sympathetic attitude to the Indian people and her genuine interest in providing a thorough and honest report of their culture. Volume 3 covers topics including the position of women, shopping, gardening, manners, education, missionaries, politics, Anglo-Indian relations and the military establishment, as well as expanding on subjects discussed in the earlier volumes. For more information on this author, see http: //orlando.cambridge.org/public/svPeople?person_id=robee

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.