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Excerpt from Eleanor Ormerod, LL. D: Economic Entomologist, Autobiography and Correspondence The idea that Miss Ormerod should write her biography originated with the present writer during one of many visits paid to her at St. Albans. Miss Ormerod had unfolded in charming language and with admirable lucidity and fluency some interesting chapters of her personal experiences and reminiscences. The first working plan of the project involved the concealment of a shorthand writer behind a screen in the dining-room while dinner was proceeding, and while the examination of ethnological specimens or other attractive objects gave place for a time to general conversation on subjects grown interesting by age. Although the shorthand writer was selected and is several times referred to in letters written about this period (pp. 304-7), Miss Ormerod, on due reflection, felt that the presence, though unseen, of a stranger at these meetings in camera would make the position unnatural, and dislocate the association of ideas to the detriment of the narrative. She then bethought herself of the method of writing down at leisure moments, from time to time as a suitable subject occurred to her, rough notes (p. 122) to be elaborated later, and when after a time a subject had been exhausted, the rough notes were re-written and welded into a narrative (pp. 304-21). Some four or five of the early chapters were thus treated and then typewritten, but the remainder of the Autobiography was left in crude form, requiring much piecing together and editorial trimming. Had the book been produced on the original plan, it was proposed to name it "Recollections of Changing Times." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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A systematic survey and comparison of the work of 19th-century American and British women in scientific research, this book covers the two countries in which women of the period were most active in scientific work and examines all the fields in which they were engaged. The field-by-field examination brings out patterns and concentrations in women's research (in both countries) and allows a systematic comparison of the two national groups. Through this comparison, new insights are provided into how the national patterns developed and what they meant, in terms of both the process of women's entry into research and the contributions they made there. Ladies in the Laboratory? features a specialized bibliography of nineteenth century research journal publications by women, created from the London Royal Society's Catalogue of Scientific Papers, 1800-1900. In addition, 23 illustrations present in condensed form information about American and British women's scientific publications throughout the nineteenth century. This well-organized blend of individual life stories and quantitative information presents a great deal of new data and field-by-field analysis; its broad and methodical coverage will make it a basic work for everyone interested in the story of women's participation in nineteenth century science.
Volume 2 of 2.
Beyond the Victorian/ Modernist Divide contributes to a new phase in the Victorian-modern debate of traditional periodization through the perspective lens of literature and the visual arts. Breaking away from conventionally fixed discourses and dichotomies, this book utilizes an interdisciplinary approach to examine the existence of overlaps and unexplored continuities between the Victorians, the post-Victorians and the modernists, including the fields of music, architecture, design, science, and social life. Furthermore, the book remaps the cultural history of two critical meta-narratives and their interdependence – the myth of "high modernism" and the myth of "Victorianism" – by building on recent scholarly work and addressing the question of the "turn of the century break theory" with a new set of arguments and contributions. The essays presented within acknowledge the existence of a break-theory in modernism, but question this theory by re-contextualising it while uncovering long-masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross-fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from characteristic classifications of works, authors and cultural phenomena. Ultimately, the volume argues that though periodization and genre categories play substantial roles in this divide, it is also essential to be critically aware of the way cultural history has been, and continues to be, constructed.
This volume is unique in its focus on cross-fertilisation in the arts, on very specific exploration of liminal spaces, and on the representation of marginal figures in writing. The essays here grew out of the Borders and Margins colloquium, held at Leeds Trinity University, UK, in April 2010, which was the fourth in a series of colloquia. This collection, moreover, contributes to a growing area of scholarship which explores Anglo-French interactions and exchanges. In choosing the term “liminality”, the editors are aware of its nuanced implications, allowing suggestions both of the initial and the transitional. The contributors here are academics from the fields of literature, history and art history, and their essays cover art history, literature, cultural history, the arts, and faith. Altogether, this collection evokes a sense of temporal shift, in that changes in values and focus are uncovered as the nineteenth century progresses. Some have an ekphrastic quality, showing how pictures can have a narrative, and how pictures, as well as texts, can be encoded with moral and social interpretations. Close scrutiny is applied to different kinds of texts, fiction and non-fiction, and the purposes for which they were produced. This book will appeal to scholars and academics interested in a wide range of cross-categorisational transactions in nineteenth-century Britain. It will be of interest to scholars of Victorian culture, and English nineteenth-century literature and art, particularly in terms of genre, as well as to academics interested in the development of social, personal, and national identities.