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Nature can be collected in many forms and shapes: live animals have been locked up in cages, displayed in zoos and menageries and their hides and dried body parts have been used as part of installations in galleries and studies. Plants from far-away countries have been cultivated in botanical gardens and in hothouses. Furthermore, the depiction of medicinal plants and of prized animals was regarded as an important part of the decorative schemes, in an attempt to bring nature indoors. Recent research has also shown that artificialia and naturalia were displayed side by side in early modern Europe—sometimes in the company of scientifica—and that the exhibition set-up often included a complex arrangement of stables, kennels, aviaries, art gallery and library. Villas and country houses displayed favourite horses as well as paintings and antiquities. Botanical gardens and gardens of simples at monastic foundations and universities imposed order and intellectual scope to the cultivation of many new species imported to Europe during the age of exploration. Of particular interest to the mission of this working group is the fact that so many collections of naturalia were displayed in close proximity to other collecting categories, according to a similar choreography as well as according to a similar logistical set-up. Thus, the collections, outdoors as well as indoors, resemble one another in terms of labels adopted and discussions conducted on the respective merits of order and categorisation. The essays in the present volume, therefore, connect art, nature and science by tracing objects, as well as the practices of collecting and display from the early kunst- und wunderkammern to the more scientific aspirations and publications of the eighteenth century. Indoor as well as outdoor locations of collecting are considered as well as the dissemination of objects and knowledge in the form of books during a period, which gradually led from an intrinsic, if untidy, connection between art and nature towards a new world of clear, if unhappy, divisions.
Virginia Woolf and the Natural World is a compilation of thirty-one essays presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection-ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few-fosters a deeper understanding of the nature of nature in Woolf's works. Contributors include Bonnie Kime Scott, Carrie Rohman, Diana Swanson, Elisa Kay Sparks, Beth Rigel Daugherty, Jane Goldman, and Diane Gillespie, among many others from the international community of Woolf scholars.
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.
In 1500 few Europeans regarded nature as a subject worthy of inquiry. Yet fifty years later the first museums of natural history had appeared in Italy, dedicated to the marvels of nature. Italian patricians, their curiosity fueled by new voyages of exploration and the humanist rediscovery of nature, created vast collections as a means of knowing the world and used this knowledge to their greater glory. Drawing on extensive archives of visitors' books, letters, travel journals, memoirs, and pleas for patronage, Paula Findlen reconstructs the lost social world of Renaissance and Baroque museums. She follows the new study of natural history as it moved out of the universities and into sixteenth- and seventeenth-century scientific societies, religious orders, and princely courts. Findlen argues convincingly that natural history as a discipline blurred the border between the ancients and the moderns, between collecting in order to recover ancient wisdom and the development of new textual and experimental scholarship. Her vivid account reveals how the scientific revolution grew from the constant mediation between the old forms of knowledge and the new.
Essays by Valerie C. Doran, Richard Rosenblum.
Discover Earth's most beautiful and fascinating natural landmarks. From the spectacular granite domes of Yosemite to the reefs of the Bahama Banks and the ice sheets of the Antarctic, this is an unparalleled survey of the world's natural treasures. From the Rocky Mountains to the Great barrier Reef and everything in between, Natural Wonders of the World combines breathtaking landscape photography and illustrations with 3-D terrain models and other explanatory artworks to reveal what lies beneath the surface and explain the geological processes to show how the features were formed. Plants and animals that inhabit each environment are also included, making Natural Wonders of the World a complete celebration of our world. Produced in association with the Smithsonian Institution.
Contents includes information on sea creatures, birds, polar animals, reptiles, creepy crawlies, desert animals, jungle animals, and endangered animals.
This is not just another atlas! Mapographica uses cleverly designed maps and fantastic infographics to show you the world as you've never seen it before. Book jacket.
Echoes of a Natural World presents a continuum of discomforting reactions to a world perpetually out of whack. Nature, so oft considered the epitome of "order" and "tranquility" in the human mind, is herein explored at its most aberrant, absurd, and nightmarish. Through eleven weird tales, Echoes of a Natural World raises questions about Nature's influence on the mind and the mind's unnatural influence on Nature.Contributions include new translations of fin de siècle Decadent masters; sensual accounts of amphibian horrors and secret caverns below country inns. These sparkling 19th century pieces sit against contemporary American fiction that delivers haunting scenarios and darkly comic ontological routines. Behold accounts of whispering mold and Midwestern strip-mall desolation; occult hypnosis and regenerated limbs; void-bound train rides with a hallucinatory hustler king; ghost boars in German battlefields; spiraling anxiety that only peach trees and country cottages could produce. Parse through questionable documents that detail the aftershocks of a once idyllic world no longer salvageable. This kaleidoscopic collection wades in those nebulous waters where the inner world and outer landscape mesh. For as we barrel into a reality where technology has seemingly penetrated even the most remote corners of the earth, one must ask: Is it even possible to have a genuine interaction with Nature anymore? Has it ever been? Or have these longings always been the romantic delusions of a species obsessed with itself? Echoes of a Natural World defies easy categorization and easy answers.
In 1759 the British Museum opened its doors to the public—the first free national museum in the world. James Delbourgo recounts the story behind its creation through the life of Hans Sloane, a controversial luminary with an insatiable ambition to pit universal knowledge against superstition and few curbs on his passion for collecting the world.