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Dagomar Degroot offers the first detailed analysis of how a society thrived amid the Little Ice Age, a period of climatic cooling that reached its chilliest point between the sixteenth and eighteenth centuries. The precocious economy, unusual environment, and dynamic intellectual culture of the Dutch Republic in its seventeenth-century Golden Age allowed it to thrive as neighboring societies unraveled in the face of extremes in temperature and precipitation. By tracing the occasionally counterintuitive manifestations of climate change from global to local scales, Degroot finds that the Little Ice Age presented not only challenges for Dutch citizens but also opportunities that they aggressively exploited in conducting commerce, waging war, and creating culture. The overall success of their Republic in coping with climate change offers lessons that we would be wise to heed today, as we confront the growing crisis of global warming.
Philip Vogt reassesses specific aspects of Lockean rhetoric: the theory and use of analogy, the characteristic tropes, the topoi that connected Locke with his original and later audiences.
All but forgotten now, the Great Storm of 26/27 November 1703 was the worst storm experienced in recorded history in the British Isles. Over 8000 people died and the losses of property and shipping were immense. Martin Brayne tells in vivid detail the story of this tragic and catastrophic event. While almost everyone knows something about those two classic disaster scenarios of the Stuart age, the Great Fire of 1666 and the Great Plague of the year before, hardly anyone knows the story of the Great Storm of 1703, the worst that has occurred in the British Isles. Winds and rain lashed the entire country and floods were reported almost everywhere. Famously, Henry Winstanley had the misfortune to be in the wooden lighthouse which he had designed on Eddystone Rocks of Plymouth on 26 November 1703. The lighthouse was destroyed and Winstanley died.
Gales, cyclones, blizzards, tornados, and hurricanes—few things demonstrate the awesome power of nature like a good storm. Devastating, diverse, and sometimes appearing completely out of nowhere, storms are also a source of both scientific and aesthetic wonder. In this book, John Withington takes an in-depth and unique look at the nature of storms and the impact that they have—both physical and cultural—on our lives. Withington shows how storms have changed the course of human history. From Roman times to the modern day, he shows how their devastating effects have wiped out entire communities, changed the fates of battle, and even reset the entire planet. He also shows how beneficial they have been to us: as an important feature of our atmosphere and climate, but also as a source of inspiration for nearly every artist who has ever lived, from Homer to Rembrandt, in works from the Old Testament to Robinson Crusoe. Beautifully illustrated, this book offers a fascinating look at Earth’s most fearsome events.
For a century, the history of the novel has been written in terms of nations and territories: the English novel, the French novel, the American novel. But what if novels were viewed in terms of the seas that unite these different lands? Examining works across two centuries, The Novel and the Sea recounts the novel's rise, told from the perspective of the ship's deck and the allure of the oceans in the modern cultural imagination. Margaret Cohen moors the novel to overseas exploration and work at sea, framing its emergence as a transatlantic history, steeped in the adventures and risks of the maritime frontier. Cohen explores how Robinson Crusoe competed with the best-selling nautical literature of the time by dramatizing remarkable conditions, from the wonders of unknown lands to storms, shipwrecks, and pirates. She considers James Fenimore Cooper's refashioning of the adventure novel in postcolonial America, and a change in literary poetics toward new frontiers and to the maritime labor and technology of the nineteenth century. Cohen shows how Jules Verne reworked adventures at sea into science fiction; how Melville, Hugo, and Conrad navigated the foggy waters of language and thought; and how detective and spy fiction built on sea fiction's problem-solving devices. She also discusses the transformation of the ocean from a theater of skilled work to an environment of pristine nature and the sublime. A significant literary history, The Novel and the Sea challenges readers to rethink their land-locked assumptions about the novel.
Tales of shipwreck have always fascinated audiences, and as a result there is a rich literature of suffering at sea, and an equally rich tradition of visual art depicting this theme. Exploring the shifting semiotics and symbolism of shipwreck, the interdisciplinary essays in this volume provide a history of a major literary and artistic motif as they consider how depictions have varied over time, and across genres and cultures. Simultaneously, they explore the imaginative potential of shipwreck as they consider the many meanings that have historically attached to maritime disaster and suffering at sea. Spanning both popular and high culture, and addressing a range of political, spiritual, aesthetic and environmental concerns, this cross-cultural, comparative study sheds new light on changing attitudes to the sea, especially in the West. In particular, it foregrounds the role played by the maritime in the emergence of Western modernity, and so will appeal not only to those interested in literature and art, but also to scholars in history, geography, international relations, and postcolonial studies.
Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture. By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order. The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.
Frank Wynne's remarkable book tells the story of Han van Meegeren, a paranoid, drug-addicted, second-rate painter whose Vermeer forgeries made him a secret superstar of the art world. During van Meegeren's heyday as a forger of Vermeers, he earned the equivalent of fifty million dollars, the acclaim of the world's press, and the satisfaction of swindling Hermann Göring himself, trading the Nazi commander one of his forgeries in exchange for the return of hundreds of looted Dutch paintings. But he was undone by his very success, thriving so noticeably during World War II that when it ended, he was arrested as a Nazi collaborator. His only defense was to admit that he himself had painted the Old Masters that had passed through his hands-a confession the public refused to believe, until, in a huge media event, the courts staged the public painting of what would be van Meegeren's last "Vermeer." I Was Vermeer is a gripping real-life mystery that exposes the life and techniques of the consummate art forger; the fascinating work of the experts who try to track down the fakes; and the collusion and ego in the art establishment that, even today, allow forgery to thrive. Wry, amoral, and plotted like a thriller, it is the first major book in forty years on this astonishing episode in history. Frank Wynne is a writer and award-winning literary translator. Born in Ireland, he has lived and worked in Dublin, Paris, Amsterdam, London, and Buenos Aires, and currently lives in San José, Costa Rica. He has translated more than a dozen novels, among them the works of Michel Houellebecq, Frédéric Beigbeder, Pierre Mérot, and Ahmadou Kourouma. A journalist and broadcaster, he has written for the Sunday Times, the Independent, the Irish Times, Melody Maker, and Time Out.