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Following his two classics, Ask the Fellows Who Cut the Hay and The Horse in the Furrow, renowned oral historian George Ewart Evans continues his study of the vanishing customs, working habits and rich language of the farming communities of East Anglia with The Pattern Under the Plough (Faber, 1966). Although based on East Anglia, this book was and remains of wider interest, for - as the author pointed out at the time - similar changes were occurring in North America, and also happening with remarkable speed in Africa. In chronicling the old culture George Ewart Evans has taken its two chief aspects, the home and the farm. He describes the house with its fascinating constructional details, the magic invoked for its protection, the mystique of the hearth, the link of the bees with the people of the house, and some of their fears and pre-occupations. Among the chapters on the farm is one of Evans's most original pieces of research: the description of the secret horse societies. Beautifully illustrated by David Gentleman, this book is important not only for the material it reveals about the past but for the implications for present-day society. 'As real (and as valuable) as the evidence unearthed by the spadework of archaeology.' Observer
Following his two classics, Ask the Fellows Who Cut the Hay and The Horse in the Furrow, renowned oral historian George Ewart Evans continues his study of the vanishing customs, working habits and rich language of the farming communities of East Anglia with The Pattern Under the Plough (Faber, 1966). Although based on East Anglia, this book was and remains of wider interest, for - as the author pointed out at the time - similar changes were occurring in North America, and also happening with remarkable speed in Africa. In chronicling the old culture George Ewart Evans has taken its two chief aspects, the home and the farm. He describes the house with its fascinating constructional details, the magic invoked for its protection, the mystique of the hearth, the link of the bees with the people of the house, and some of their fears and pre-occupations. Among the chapters on the farm is one of Evans's most original pieces of research: the description of the secret horse societies. Beautifully illustrated by David Gentleman, this book is important not only for the material it reveals about the past but for the implications for present-day society. 'As real (and as valuable) as the evidence unearthed by the spadework of archaeology.' Observer
Artists Helen Billinghurst and Phil Smith offer a handbook for exploration, embodiment and art making in strange times. Uncovering a tattoo in the landscape, they describe the secrets of 'web-walking' and a journey of remarkable encounters.
The Suffolk Punch - that sturdy, compact draft horse of noble ancestry - was, until mechanisation, the powerhouse of the East Anglian farming community. In The Horse in the Furrow (1960), renowned social historian George Ewart Evans explores this potent symbol of a bygone era, and the complex network - farmer, horseman, groom, smith, harness-maker and tailor - which surrounded it. Evans charts a fascinating course, demonstrating the connectedness of husbandry, custom and dialect, and arguing for an organic, inclusive study of these aspects of rural life. In particular, the section on folklore sheds light on some of the most obscure practices, with the Punch standing proudly at its centre. With beautiful illustrations by Charles Tunnicliffe, The Horse in the Furrow is an engaging and subtle portrait of an animal at the heart of its community
Elucidates and argues for the author's concept of human history from the past to the present.
Ronald Hutton is known for his colourful and provocative writings on original subjects. This work is no exception: for the first full-scale scholarly study of the only religion England has ever given the world; that of modern pagan witchcraft, which has now spread from English shores across four continents. Hutton examines the nature of that religion and its development, and offers a microhistory of attitudes to paganism, witchcraft, and magic in British society since 1800. Its pages reveal village cunning folk, Victorian ritual magicians, classicists and archaeologists, leaders of woodcraft and scouting movements, Freemasons, and members of rural secret societies. We also find some of the leading of figures of English literature, from the Romantic poets to W.B. Yeats, D.H. Lawrence, and Robert Graves, as well as the main personalities who have represented pagan witchcraft to the world since 1950. Densely researched, Triumph of the Moon presents an authoritative insight into a hitherto little-known aspect of modern social history.
The people of colonial New England lived in a densely metaphoric landscape--a world where familiars invaded bodies without warning, witches passed with ease through locked doors, and houses blew down in gusts of angry, providential wind. Meaning, Robert St. George argues, was layered, often indirect, and inextricably intertwined with memory, apprehension, and imagination. By exploring the linkages between such cultural expressions as seventeenth-century farmsteads, witchcraft narratives, eighteenth-century crowd violence, and popular portraits of New England Federalists, St. George demonstrates that in early New England, things mattered as much as words in the shaping of metaphor. These forms of cultural representation--architecture and gravestones, metaphysical poetry and sermons, popular religion and labor politics--are connected through what St. George calls a 'poetics of implication.' Words, objects, and actions, referentially interdependent, demonstrate the continued resilience and power of seventeenth-century popular culture throughout the eighteenth century. Illuminating their interconnectedness, St. George calls into question the actual impact of the so-called Enlightenment, suggesting just how long a shadow the colonial climate of fear and inner instability cast over the warm glow of the early national period.