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'Throughout its human history, New Zealand has been interpreted and experienced in often radically different ways. Each wave of arrivals to its shores has left its own set of views of New Zealand on the country – applying a new coat of mythology and understanding to the landscape, usually without fully removing the one that lies beneath it.' Encounters is the wide-ranging, audacious and gripping story of New Zealand's changing national identity, how it has emerged and evolved through generations. In this genre-busting book, historian Paul Moon delves into how the many and conflicting ideas about New Zealand came into being. Along the way, he explores forgotten crevices of the nation's character, and exposes some of the mythology of its past and present. These include, for example, the earliest Maori myths and the 'mock sacredness' of the All Blacks in the twenty-first century; the role of nostalgia in our national character, both Maori and Pakeha; whether the explorer Kupe existed; the appeal of the Speight's 'Southern Man'; and ruminations on New Zealand art and landscape. What results is an absorbing piece of scholarship, an imaginative and exuberant epic that will challenge preconceptions about what it means to be a New Zealander, and how our country is understood. Lyrical, breathtaking and provocative, and illustrated with artworks throughout, Encounters offers an extraordinary insight into the beginnings of our country.
This book offers a sweeping history of Pureora Forest Park, one of the most significant sites of natural and cultural history interest in New Zealand. The authors review the geological history of the volcanic zone, its flora and fauna, and the history of Maori and European utilization of forest resources. Chapter-length discussions cover management of the native forest by the New Zealand Forest Service; the forest village and its sawmills; the intensive timber harvesting, and the conflicts with conservationists and expensive compensation agreements that ensued. Separate chapters cover initiatives to protect the forest from introduced herbivores; to guard protected species, especially birds, from predators; the facilities for recreational hunting; the development of the Timber Trail, an 83 km cycleway through the forest and along old logging tramways, complete with detailed interpretation signs illustrating the history of logging; and the family recreation areas and tracks. The final chapter gathers conclusions and advances prospects for the future of Pureora Forest. In sum, the book demonstrates how ecological study, combined with a respect for people and for nature plus a flexible, interdisciplinary approach to both local history and current scientific priorities, can be welded into a consistently effective strategy for addressing the pressing forest-ecology questions of our time.
Reprint of the original, first published in 1864/1865.
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.
Fat: such a little word evokes big responses. While ‘fat’ describes the size and shape of bodies, our negative reactions to corpulent bodies also depend on something tangible and tactile; as this book argues, there is more to fat than meets the eye. Fat: A Cultural History of the Stuff of Life offers a historical reflection on how fat has been perceived and imagined in the West since antiquity. Featuring fascinating historical accounts, philosophical, religious and cultural arguments, including discussions of status, gender and race, the book digs deep into the past for the roots of our current notions and prejudices. Three central themes emerge: how we have perceived and imagined obesity over the centuries; how fat as a substance has elicited disgust and how it evokes perceptions of animality; but also how it has been associated with vitality and fertility. By exploring the complex ways in which fat, fatness and fattening have been perceived over time, this book provides rich insights into the stuff our stereotypes are made of.
This comprehensive survey uniquely covers both Aboriginal art and that of European Australians, providing a revealing examination of the interaction between the two. Painting, bark art, photography, rock art, sculpture, and the decorative arts are all fully explored to present the rich texture of Australian art traditions. Well-known artists such as Margaret Preston, Rover Thomas, and Sidney Nolan are all discussed, as are the natural history illustrators, Aboriginal draughtsmen, and pastellists, whose work is only now being brought to light by new research. Taking the European colonization of the continent in 1788 as his starting point, Sayers highlights important issues concerning colonial art and women artists in this fascinating new story of Australian art.