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"Visions of nature" are the ideas that people hold of what nature is and how we should relate to it. These visions are important for the design of democratically grounded landscape and nature policies. These contributions were presented at an expert meeting at Radboud University, June 2001
A stunning combination of landscape photography and thematic essays exploring how the concept of wilderness has evolved over time Our ideas of wilderness have evolved dramatically over the past one hundred and fifty years, from a view of wild country as an inviolable "place apart" to one that exists only within the matrix of human activity. This shift in understanding has provoked complicated questions about the importance of the wild in American environmentalism, as well as new aesthetic expectations as we reframe the wilderness as (to some degree) a human creation. Wild Visions is distinctive in its union of landscape photography and environmental thought, a merging of short, thematic essays with a striking visual narrative. Often, the wild is viewed in binary terms: either revered as sacred and ecologically pure or dismissed as spoiled by human activities. This book portrays wilderness instead as an evolving gamut of understandings, a collage of views and ideas that is still in process.
In their successful, internationally published book A Boat in Our Baggage, Maria Coffey and Dag Goering described their year-long, worldwide expedition by kayak. Since then, they have continued to travel many parts of the globe, including some of the last truly wild places of the British Columbia coast. Their latest adventure - a 1,000-plus kilometre journey circumnavigating Vancouver Island in its entirety - is detailed and illustrated in Visions of the Wild. Coffey and Goering set off from their home on Protection Island, BC, in July 1999. For three months they confronted some of the most exposed, storm-battered coastlines British Columbia has to offer: infamous places such as Cape Scott, Estevan Point and the imposing Brooks Peninsula, all of which have become the sites of shipwrecks and fatalities. The voyagers experienced deadly currents, whirlpools and enormous waves, were buffeted relentlessly by wind and rain and spent many a wet, miserable camping trip ashore. But they also explored the serene waters of Nootka Sound, the Gulf Islands and the Broken Group Islands, where they saw stands of ancient rainforests interspersed with raw clearcuts, and spectacular vistas of ocean and sky juxtaposed with intricate coves, rocks and reefs. They had encounters with whales, bears, wolves, sea lions and puffins; and as they stopped at different Native villages, fishing ports and old homesteads, they made friends with many of the diverse people who call the island home. Brimming with breathtaking colour photographs and compelling journal entries from all stages of their exciting kayaking journey, Visions of the Wild is at once an inspiring chronicle of the adventure of a lifetime, and a beautiful book of photographs that rejoices in the untamed spirit of Canada's west coast.
Visions of Nature revives the work of late nineteenth-century landscape photographers who shaped the environmental attitudes of settlers in the colonies of the Tasman World and in California. Despite having little association with one another, these photographers developed remarkably similar visions of nature. They rode a wave of interest in wilderness imagery and made pictures that were hung in settler drawing rooms, perused in albums, projected in theaters, and re-created on vacations. In both the American West and the Tasman World, landscape photography fed into settler belonging and produced new ways of thinking about territory and history. During this key period of settler revolution, a generation of photographers came to associate “nature” with remoteness, antiquity, and emptiness, a perspective that disguised the realities of Indigenous presence and reinforced colonial fantasies of environmental abundance. This book lifts the work of these photographers out of their provincial contexts and repositions it within a new comparative frame.
A study of seven autobiographies by women who defied the domestic ideology of 19th-century America by serving as itinerant preachers. Literally and culturally homeless, all of them used their autobiographies to construct plausible identities as women and Christians.
"New Visions of Nature" focuses on the emergence of these new visions of complex nature in three domains. The first selection of essays reflects public visions of nature, that is, nature as it is experienced, encountered, and instrumentalized by diverse publics. The second selection zooms in on micro nature and explores the world of contemporary genomics. The final section returns to the macro world and discusses the ethics of place in present-day landscape philosophy and environmental ethics. The contributions to this volume explore perceptual and conceptual boundaries between the human and the natural, or between an ‘out there’ and ‘in here.’ They attempt to specify how nature has been publicly and genomically constructed, known and described through metaphors and re-envisioned in terms of landscape and place. By parsing out and rendering explicit these divergent views, the volume asks for a re-thinking of our relationship with nature.
A careful and meticulous study of the Western Theme in Science Fiction Literature. I.O. Evans Studies in the Philosophy and Criticism of Literature, Vol. 1
A stunning combination of landscape photography and thematic essays exploring how the concept of wilderness has evolved over time Our ideas of wilderness have evolved dramatically over the past one hundred and fifty years, from a view of wild country as an inviolable “place apart” to one that exists only within the matrix of human activity. This shift in understanding has provoked complicated questions about the importance of the wild in American environmentalism, as well as new aesthetic expectations as we reframe the wilderness as (to some degree) a human creation. Wild Visions is distinctive in its union of landscape photography and environmental thought, a merging of short, thematic essays with a striking visual narrative. Often, the wild is viewed in binary terms: either revered as sacred and ecologically pure or dismissed as spoiled by human activities. This book portrays wilderness instead as an evolving gamut of understandings, a collage of views and ideas that is still in process.
The interface of old age and cinema provides a fascinating yet uncharted territory in the humanities and social sciences. In Visions of Aging, two central perspectives are explored: movies on old age by old filmmakers and movies on old age by younger artists. The first perspective focuses on the cinematic representation of aging from within, whereas the second examines the ways aging is viewed from the outside. The distinction is based on the schism between the phenomenology of aging and its social representation. The one hinges on intrinsic qualities of "old age style" or "late style" while the second addresses attitudes towards old age in general, as well as towards aging artists and the reception (or rejection) of their late films. The author combines these general perspectives as they shift between text and context, beginning with aging from the outside in order to introduce the semantics and pragmatics of the context (reception and filmmaking stylistic change; midlife images of old age) and continuing into the world of aging as cinematically represented from within by old filmmakers - an often idiosyncratic, metaphysical, and sometimes unapproachable world. By providing a roadmap that charts previous scholarly paths of inquiry, this book offers a panoramic view of the direction of this new field of cinematic gerontology, and is essential reading for students and scholars of cinema, humanistic gerontology, psychology of art, the sociology of old age, and popular culture.