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This new anthology will revive interest in this vital part of our landscape, and will be a landmark publication.
The Tree of Life and Arboreal Aesthetics in Early Modern Literature explores the vital motif of the tree of life and what it meant to early modern writers who drew from its long histories in biblical, classical and folkloric contexts, giving rise to a language of trees, an arboreal aesthetics. An ancient symbol of immortality, the tree of life was appropriated by Christian ideology and iconography to express ideas about Christ; however, the concept also migrated beyond religious doctrine. Ideas circulating around the tree of life enabled writers to imagine and articulate ideas of death and rebirth, loss and regeneration, the condition of the political state and personal states of the soul through arboreal metaphors and imagery. The motif could be used to sacralise landscapes, such as the garden, orchard or country estate, blurring the lines between contemporary green spaces and the spiritual and poetic imaginary. Located within the field of environmental humanities, and intersecting with ecocriticism and critical plant studies, this volume outlines a comprehensive history of the tree of life and offers interdisciplinary readings of focus texts by Shakespeare, George Herbert, Henry Vaughan, Aemilia Lanyer, Andrew Marvell and Ralph Austen. It includes consideration of related ideas and motifs, such as the tree of Jesse and the Green Man, illuminating the rich histories and meanings that emerge when an understanding of the tree of life and arboreal aesthetics are brought to the analysis of early modern literary texts and their representations of green spaces, both physical and metaphysical.
In the gentle embrace of nature, we often find moments that elude our hurried gaze, secrets that only the patient observer can truly grasp. “The Arboreal Alchemist: Poetry through Nature’s Eyes”” is a poetry collection that invites readers to slow down, to listen closely, and to feel deeply the voices of nature. In these verses, I seek to personify the elements of the natural world, giving voice to the silent wonders that surround us daily. With humility and reverence, I present this collection, a humble offering to the eternal beauty of the Earth. The verses within these pages breathe life into the seemingly mundane. They celebrate the rustle of leaves as they gossip with the wind, the shimmering dance of sunlight on water, and the ancient wisdom of towering oaks. The poems are born from moments when I, like all of us, have failed to truly see the world around me, moments when I yearned to perceive nature as she perceives us. The tone of this collection is one of reverence and humility. Nature, in her infinite wisdom, serves as both the muse and the mentor. The words flow gently, like a babbling brook, as I strive to capture the profound beauty and wisdom that lies within every rock, tree, cloud and gust of wind. It is a humble endeavour to offer gratitude to the silent forces that shape our world. As you immerse yourself in these poems, you will find that they evoke a sense of wonder and introspection. They encourage the reader to reflect on the small miracles that often go unnoticed—the delicate intricacy of a spider’s web, the steadfast endurance of a mountain, or the relentless cycle of seasons. Each poem reminds us that the world is alive with stories waiting to be heard. There are some surprises in the form of humour and nostalgia as well strewn across the collection.
During the week of September 13, 1988 the Mathematical Sciences Research Institute hosted a four day workshop on Arboreal Group Theory. This volume is the product of that meeting. The program centered on the topic of the theory of groups acting on trees and the various applications to hyperbolic geometry. Topics include the theory of length functions, structure of groups acting freely on trees, spaces of hyperbolic structures and their compactifications, and moduli for tree actions.
Arboreal Symbolism in European Art, 1300–1800 probes the significance of trees in religious iconography of Western art. Based in the disciplines of art history, botany, and theology, this study focuses on selected works of art in which tree forms embody and reflect Christian themes. Through this triple lens, Brown examines trees that early modern artists rendered as sacred symbols—symbols with origins in the Old Testament, New Testament, Greek and Roman cultures, and early medieval legends. Tree components and wood depicted in works of art can serve as evidence for early modern artists’ embrace of biblical metaphor, classical sources, and devotional connotations. The author considers how artists rendered seasonal change in Christian narratives to emphasize themes of spiritual transformation. Brown argues that many artists and their patrons drew parallels between the life cycle of a tree and events in the Gospels with their respective annual, liturgical celebrations. This book will interest scholars in art history, religion, humanities, and interdisciplinary studies.