A study of British novelist Greene's (b. 1904) use of the thriller and the detective story. Interprets narrative strategies, thematic elements, and philosophical or theological meanings in his fiction
Captain James Cook’s three voyages of exploration to the Pacific between 1768 and 1780 were the first of the great European voyages of discovery to carry professional artists. The Art of Captain Cook’
Sir Raymond Firth is one of the most distinguished British anthropologists, and one internationally acclaimed. His work here forms part of one of the fullest and most professional ethnographic accounts by any anthropologist of a non-industrial people, an account which extends over many years. This book is about the songs of a Western Pacific people, the Tikopia, who not so long ago lived entirely on a small remote island of the Solomons. Their songs vary from lively dance chants to mournful funeral laments. All are novel to western ears. The book provides about 100 examples, in text and translation. It also discusses the relation of the songs to the social life of the people, and it includes an analysis of the structure of their music, by Mervyn McLean, a noted musicologist.
An in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art i
A comprehensive and authoritative history that explores the significance of one of the most famous buildings and institutions in England Westminster Abbey was one of the most powerful churches in Cath
Modern-day London abounds with a multitude of gardens, enclosed by railings and surrounded by houses, which attest to the English love of nature. These green enclaves, known as squares, are among the
Sir Austen Henry Layard (1817–1894) was one of the leading British archaeologists of the nineteenth century. His excavations provided important evidence about ancient Mesopotamia, particularly about the Assyrian civilisation, and his books - part travel writing, part specialised archaeological studies - are beautifully evocative. First published in 1853, this two-volume study follows the earlier Nineveh and its Remains (1849). It describes Layard's second expedition to the Near East, in 1845, which led to the identification of Kouyunjik as the great Assyrian capital Nineveh. In this richly illustrated book, Layard focuses on the description and interpretation of ruins, as he tells of the discovery of the lost palace of the Assyrian king Sennacherib (eighth century BCE) in northern Iraq. Volume 1 is an account of the excavations at Kouyunjik, and also describes a journey along the Khabur river in Syria, where Layard assesses the influence of Assyrian art on the region.
Molineux (history, Vanderbilt U.) examines pictorial representations of African slaves and servants in British art as a basis for her analysis of white British attitudes towards black and other non-wh
Analysing the material remains left by Maryland's colonists in the eighteenth century in conjunction with historical records and works of art, archaeologists have reconstructed the daily life of the aristocratic British family of the governor of Maryland. In this large household people from different cultures interacted, and English and West African lifestyles merged. Using this fascinating case-study, Anne Yentsch illustrates the way in which historical archaeology draws on different disciplines to interpret the past.
This book confronts a significant paradox in the development of literary realism: the very novels that present themselves as purveyors and celebrants of direct, ordinary human experience also manifest an obsession with art that threatens to sabotage their Realist claims. Unlike previous studies of the role of visual art, or music, or theatre in Victorian literature, Realism, Representation, and the Arts in Nineteenth-Century Literature examines the juxtaposition of all of these arts in the works of Charlotte Brontë, William Thackeray, George Eliot, Thomas Hardy, and others. Alison Byerly combines close textual analysis with discussion of relevant ancillary topics to illuminate the place of different arts within nineteenth-century British culture. Her book, which also contains sixteen illustrations, represents an effort to bridge the growing gap between aesthetics and cultural studies.
The late nineteenth century saw a re-examination of artistic creativity in response to questions surrounding the relation between human beings and automata. These questions arose from findings in the 'new psychology', physiological research that diminished the primacy of mind and viewed human action as neurological and systemic. Concentrating on British and continental culture from 1870 to 1911, this unique study explores ways in which the idea of automatism helped shape ballet, art photography, literature, and professional writing. Drawing on documents including novels and travel essays, Linda M. Austin finds a link between efforts to establish standards of artistic practice and challenges to the idea of human exceptionalism. Austin presents each artistic discipline as an example of the same process: creation that should be intended, but involving actions that evade mental control. This study considers how late nineteenth-century literature and arts tackled the scientific question, 'A
The late nineteenth century saw a re-examination of artistic creativity in response to questions surrounding the relation between human beings and automata. These questions arose from findings in the 'new psychology', physiological research that diminished the primacy of mind and viewed human action as neurological and systemic. Concentrating on British and continental culture from 1870 to 1911, this unique study explores ways in which the idea of automatism helped shape ballet, art photography, literature, and professional writing. Drawing on documents including novels and travel essays, Linda M. Austin finds a link between efforts to establish standards of artistic practice and challenges to the idea of human exceptionalism. Austin presents each artistic discipline as an example of the same process: creation that should be intended, but involving actions that evade mental control. This study considers how late nineteenth-century literature and arts tackled the scientific question, 'A
