Crossing Boundaries: celebrating 20 years of environmental research in Cagayan Valley and Sierra Madre.

bookFSW - Global Connections --- Ou

The Sierra Madre Mountain Range: Global Relevance, Local Realities

bookEnvironment and Developmen

Topographies of suffering : encountering the Holocaust in landscape, literature and memory

As the Holocaust passes out of living memory, this thesis re-evaluates the potential of commemorative landscapes to engender meaningful and textualised encounters with a past which, all too often, seems distant and untouchable. As the concentration camps and mass graves that shape our experiential access to this past are integrated into tourist itineraries, associated discourse is increasingly delimited by a pervasive sense of memorial fatigue which is itself compounded by the notion that the experiences of the Holocaust are beyond representation; that they deny, evade or transcend communication and comprehension. Harnessing recent developments across memory studies, cultural geography and ecocritical literary theory, this thesis contends that memory is always in production and never produced; always a journey and never a destination. In refusing the notion of an ineffable past, I turn to the texts and topographies that structure contemporary encounters with the Holocaust and consider their potential to create an ethically grounded and reflexive past-present engagement. Topographies of Suffering explores three case studies: the Buchenwald Concentration Camp Memorial, Weimar, Germany; the mass grave at Babi Yar, Kiev, Ukraine; and the razed village of Lidice, Czech Republic. These landscapes are revealed as evolving palimpsests; multi-layered, multi-dimensional and texturised spaces always subject to ongoing processes of mediation and remediation. I examine memory’s locatedness in landscape alongside the ways it may travel according to diverse literary and spatial de-territorializations. The thesis overall brings three disparate sites together as places in which the past can be encounterable, immersive and affective. In doing so, it looks to a future in which the others of the past can be faced, and in which the alibi of ineffability can be consigned to historyEThOS - Electronic Theses Online ServiceGBUnited Kingdo

Export fluctuations growth and policy, causes of export fluctuations, consequences for underdeveloped countries and appropriate economic policies

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The prints of David Hockney : their cultural, autobiographical and artistic contexts

David Hockney is a leading figure in contemporary printmaking. Since 1954 making prints has been an integral part of Hockney's art practice. It is a field of art in which he is truly gifted and, over five decades, he has created a significant body of prints. He has constantly pushed the boundaries of printmaking in terms of style, subject matter and technique. This is almost without parallel in recent art history. Printmaking has also provided Hockney with a diversion when other forms of his art, notably painting, were in a stylistic and iconographic cul de sac. The history of Hockney's involvement in making prints has formed a critical path in his overall artistic development in all its variety of forms. For much of his life as an artist, David Hockney has been freer, more experimental and less inhibited in his approach to creating art, when making prints than when painting. A successful career in painting often eluded him during much of his early career particularly after he adopted the use of acrylic paint and Hockney would often find himself in an artistic dead end in his painting style. In contrast, making prints often provided a way forward for Hockney. This modus operandi continued for much of his artistic life until his more recent embrace of digital processes in art using an iPhone or iPad. Hockney's development from an emerging artist to a mature and successful one lay in his constant searching for new ways of depiction, other than those belonging to new modernist canons. He was constantly posing pictorial problems and then trying to solve them. To this end, Hockney developed a hybrid art in his printmaking, one of wide ranging eclecticism. He then turned to naturalism, only to find he needed to explore further choices. As a mature artist Hockney achieved a fusion of the abstract and formal elements in his work and to tackle age-old issues - how to portray someone, how to depict a landscape and a season, a time of day and under certain weather conditions and how to indicate space and time in two-dimensional art form. For Hockney, printmaking has been an integral part of this search and discovery. Now entering the second decade of the 21st century, Hockney has finally achieved his ambition to become a landscape painter of consequence and now the focus for Hockney lies there. The significant purpose and role that prints played in his artistic career in the twentieth century have ceased to exist - at least for the present. -- provided by Candidate

Winona Daily News

https://openriver.winona.edu/winonadailynews/1517/thumbnail.jp

Men of Letters in Colonial Maryland

https://trace.tennessee.edu/utk_early-american/1008/thumbnail.jp

The idea of evolution in eighteenth and nineteenth century poetry

Some form of evolutionary theory has been current since the mid-eighteenth century, grafting a progressive element, probably taken, from the- emerging concept of human progress, onto an existing belief that forms of life exhibit a fixed, hierarchical order. But not until the mid-nineteenth century was a satisfactory mechanism, namely natural selection, suggested to account for the progressive nature of biological change. This enabled some to think of all forms of life as having developed by chance from the simplest beginnings. Others, such as Bergson, while rejecting a divinely ordained plan or purpose, attributed a kind of blind purposefulness to the process of development itself. Eighteenth century poetry can display, almost side by side, ideas which are favourable or inimical to that of evolution. It was a subject for speculation, not conviction, which is perhaps why the Romantics tended' to ignore it. But with the Victorians it became emotionally charged. Prior to 1859, Browning's innate optimism led him to welcome biological, and all other forms of progress; just as Meredith and Swinburne were able, after 1859, to accept the harsher aspects of natural, selection, as incidental to its predominantly progressive implications. Tennyson on the other hand, even before 1859, was by temperament inclined to dwell on the harshness revealed by the new geology and biology; just as Hardy found confirmation of his pessimism in the severities of' Darwinism. After 1859, however, both Tennyson and Browning were repelled by the materialistic implications of Darwinism. Similarly, though Swinburne, Meredith and Hardy accepted these implications, they found it impossible to function as poets within a strictly non-anthropomorphic, non-teleological, materialistically determinist framework of cosmic thought. All three persistently personified the forces of nature in one or more ways, thus vitiating their overt adherence elsewhere to a materialism at which Bergson had likewise baulked