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Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the specimens from which our world view is to be reconstituted. The factors that weigh at every stage are here dissected, analysed and set within a historical narrative that spans more than five centuries. During that era, every aspect evolved and changed, as engagement with nature moved from a speculative pursuit heavily influenced by classical scholarship to a systematic science, drawing on advanced theory and technology. Far from being neutrally objective, the process of representing nature is shown as fraught with constraint and compromise. With a Foreword by Sir David Attenborough Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
George Forster's A Voyage Round the World presents a wealth of geographic, scientific, and ethnographic knowledge uncovered by Cook's second journey of exploration in the Pacific (1772-1775). Accompanying his father, the ship's naturalist Johann Reinhold Forster, on the voyage, George proved a knowledgeable and adept observer. The lively, elegant prose and critical detail of his account, based loosely on his father's journal, make it one of the finest works of eighteenth-century travel literature and an account of prime importance in the history of European contact with Pacific peoples. The Forsters' publications reveal the sophistication and enthusiasm they brought to their observation of Polynesian peoples as well as a sensitivity to the moral ambiguities of contact. The two volumes of George Forster's work include substantially richer descriptions of encounters with island inhabitants than either his father's classic work (Observations Made during a Voyage round the World, UH Press, 1996) or Cook's official narrative, and its confident, even visionary, style incorporates a good deal of polemic, particularly in its criticism of the treatment of islanders by Cook's crew. In addition to the range and depth of its anthropological considerations, it provides a thrilling account of life aboard one of Cook's vessels. In its author's German translation, this work becomes a classic of natural history writing, but its original English version has long been neglected by anglophone scholars. This new scholarly edition makes this important book readily available for the first time since its initial publication more than two centuries ago. But it also presents the work in fresh terms, making it more accessible and relevant to a contemporary audience. The valuable introduction and annotations draw on the wide range of anthropological and ethnohistorical scholarship published since the 1960s and contextualize the book in relation to both the cultures of Oceania documented by the Forsters and the history of European voyaging in the Pacific. Appendixes include a translation of the introduction to the German edition and the polemical pamphlets by George Forster and the ship's astronomer William Wales, in which some of the book's more controversial claims were debated. A Voyage Round the World brings the disciplines of history and anthropology to bear on Cook's voyages in an illuminating and readable fashion. This edition will help complete the corpus of basic documents on Cook's voyages--a crucial resource for researchers in cultural, Pacific, and maritime history; archaeologists, anthropologists, and art historians; and most recently for scholars engaged in revisionist interpretations of eighteenth-century exploration and colonization.
This is the first publication in English of this essay by Georg Forster in full facsimile of the original Berlin printing of 1787. Forster, who accompanied Cook on his second voyage, originally wrote the essay as an introduction to his translation of the German edition of the official third voyage account. This new translation, complete with notes and a select bibliography, has been commissioned especially for this edition. The text is accompanied by an introductory essay by Dr Nigel Erskine of the Australian National Maritime Museum which provides an insight into the fractured relationship between Georg Forster and the British establishment.