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From one of Australia's foremost thinkers, a uniquely broad-ranging 1997 collection of essays on landscape.
Australian-born landscape designer Bernard Trainor has made it his life's work to capture the wild soul of his adopted home of Northern California. Neither a naturalist nor an architect, Trainor uses the tools of both to create stunning large-scale gardens that unfold over many acres. Across airy hilltops, craggy seasides, and other one-of-a-kind tracts, Trainor applies simple, understated frames to rugged natural panoramas, the better to bring them into focus. His understated yet powerful landscapes draw inspiration from local plants, regional history, and the contours of the site. Designed to engage all of the senses—the sound of water, the smell of sage—Trainor's gardens create sensory memories that foster a deep connection to the land. Landprints showcases ten of his most ambitious and inspiring gardens through gorgeous photography and detailed project descriptions.
The dream of building Jerusalem in England's green and pleasant land has long been a quintessential part of English identity and culture: but how did this vision shape the Victorian encounter with the actual Jerusalem in the Middle East? The Holy Land in English Culture 1799-1917 offers a new cultural history of the English fascination with Palestine in the long nineteenth century, from Napoleon's failed Mediterranean campaign of 1799, which marked a new era in the British involvement in the land, to Allenby's conquest of Jerusalem in 1917. Bar-Yosef argues that the Protestant tradition of internalizing Biblical vocabulary - 'Promised Land', 'Chosen People', 'Jerusalem' - and applying it to different, often contesting, visions of England and Englishness evoked a unique sense of ambivalence towards the imperial desire to possess the Holy Land. Popular religious culture, in other words, was crucial to the construction of the orientalist discourse: so crucial, in fact, that metaphorical appropriations of the 'Holy Land' played a much more dominant role in the English cultural imagination than the actual Holy Land itself. As it traces the diversity of 'Holy Lands' in the Victorian cultural landscape - literal and metaphorical, secular and sacred, radical and patriotic, visual and textual - this study joins the ongoing debate about the dissemination of imperial ideology. Drawing on a wide array of sources, from Sunday-school textbooks and popular exhibitions to penny magazines and soldiers' diaries, the book demonstrates how the Orientalist discourse functions - or, to be more precise, malfunctions - in those popular cultural spheres that are so markedly absent from Edward Said's work: it is only by exploring sources that go beyond the highbrow, the academic, or the official, that we can begin to grasp the limited currency of the orientalist discourse in the metropolitan centre, and the different meanings it could hold for different social groups. As such, The Holy Land in English Culture 1799-1917 provides a significant contribution to both postcolonial studies and English social history.
In his new book New Testament scholar Gary Burge offers all Christians a rare exploration into the world of the Bible and how its land, culture, and traditions contribute to a unique understanding of a life with God. Insights into numerous biblical passages reveal how cultural assumptions lie behind countless biblical stories.
Of the Land presents a series of prints and poems that follow the life and work of master silkscreen printer Lou Stovall as he was developing his unique techniques in the 1970s–a period of jazz, protest, and prolific art production in Washington, DC. Stovall’s influence on the silkscreen medium and art community will be part of his lasting legacy.
At the Chautauqua Institution in New York, visitors could walk down Palestine Avenue to "Palestine" and a model of Jerusalem, or along Morris Avenue to a scale model of the "Jewish Tabernacle." At the St. Louis World's Fair of 1904, a replica of Ottoman Jerusalem covered eleven acres, while today, 300 miles to the southeast, a seven-story-high Christ of the Ozarks stands above a modern re-creation of the Holy Land set in the Arkansas hills."--BOOK JACKET.
The Dairy Farmer's Guide to the Universe Volume IV explores the environment, with the Midwest as an example, using traditional Jungian and Hillmanian approaches to deepen our connection with the land, the seasons, and insects. The Dalai Lama said how we relate to insects is very important for what it reveals much about a culture's relationship with the psyche and nature. . .” I had several Big Dreams in my last year of training at the Jung Institute in Zurich, including a single image dream of a typical Wisconsin pasture or meadow scene. This was the most beautiful landscape I have ever seen because it shown with an inner light, what Jung called a numinous or sacred dream. Since returning to Wisconsin I have let the mystery and power of that dream inspire me to learn and experience as much as possible about the land and the seasons of the upper Midwest, a process of turning a landscape into a soulscape. The means of doing this are presented in Land, Weather, Seasons, Insects: An Archetypal View, volume IV of The Dairy Farmer's Guide to the Universe-Jung, Hermes, and Ecopsychology. This involves the use of science, myths, symbols, dreams, Native American spirituality, imaginal psychology and the I Ching. It is an approach that can be used to develop a deep connection with any landscape, meeting one of the goals of ecopsychology. Carl Sagan believed that unless we can re-establish a sense of the sacred about the earth, the forces leading to its destruction will be too powerful to avert." —Dennis L. Merritt Front Cover: A Monarch butterfly on 'Buddleia' in Olbrich Gardens, Madison, Wisconsin. This "King of the Butterflies" is probably the best known of the North American butterflies and is the chosen image for the Entomological Society of America. The caterpillar feeds on the lowly milkweed, genius 'Asclepias, ' named after the Greek god of healing. The plant and the insect are toxic to most organisms. The insect is known for its uniquely long and complicated migrations. Photo by Chuck Heikkinen.
'There is an Australian dream that is collective. It goes to the roots of what it means to be Australian, since it's imprinted in Australia's history, the collective acts of its peoples, their attitudes, their gestures, what and how they eat, how they spend their leisure time, and the way such things reflect upon and derive from who they are.' In The Land of Plenty, Mark Davis argues that this dream has been forsaken. Over the past few decades Australians have felt the ground shift beneath their feet. Many people are asking why Australia is no longer the egalitarian place it once was. While the airwaves sing and newspaper front pages burst with news of how prosperous Australians are, many people wonder why they are working harder and longer, for so little, while important social agendas have fallen by the wayside. The Land of Plenty is at once a devastating record of the changes that have taken place in Australian society since the 1980s, and a goldmine of ideas for change. Insightful, provocative and thoroughly original, The Land of Plenty is a manifesto for our times.
The Land's Wild Music explores the home terrains and the writing of four great American writers of place—Barry Lopez, Peter Matthiessen, Terry Tempest Williams, and James Galvin. In their work and its relationship with their home places, Tredinnick, an Australian writer, searches for answers to such questions such as whether it’s possible for a writer to make an authentic witness of a place; how one captures the landscape as it truly is; and how one joins the place in witness so that its lyric becomes one’s own and enters into one’s own work. He asks what it might mean to enact an ecological imagination of the world and whether it might be possible to see the work—and the writer—as part of the place itself. The work is a meditation on the nature of landscape and its power to shape the lives and syntax of men and women. It is animated by the author’s encounters with Lopez, Matthiessen, Williams, and Galvin, by critical readings of their work, and by the author’s engagement with the landscapes that have shaped these writers and their writing—the Cascades, Long Island, the Colorado Plateau, and the high prairies of the Rocky Mountains. Tredinnick seeks “the spring of nature writing deep in the nature of a place itself, carried in a writer’s wild self inside and resonated over and over again at the desk until it is a work in which the place itself sings.”