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Anne Troelstra’s fine bibliography is an outstanding and ground-breaking work. He has provided the academic world with a long-needed bibliographical record of human endeavour in the field of the natural sciences. The travel narratives listed here encompass all aspects of the natural world in every part of the globe, but are especially concerned with its fauna, flora and fossil remains. Such eyewitness accounts have always fascinated their readers, but they were never written solely for entertainment: fragmentary though they often are, these narratives of travel and exploration are of immense importance for our scientific understanding of life on earth, providing us with a window on an ever changing, and often vanishing, natural world. Without such records of the past we could not track, document or understand the significance of changes that are so important for the study of zoogeography. With this book Troelstra gives us a superb overview of natural history travel narratives. The well over four thousand detailed entries, ranging over four centuries and all major western European languages, are drawn from a wide range of sources and include both printed books and periodical contributions. While no subject bibliography by a single author can attain absolute completeness, Troelstra’s work is comprehensive to a truly remarkable degree. The entries are arranged alphabetically by author and chronologically, by the year of first publication, under the author’s name. A brief biography, with the scope and range of their work, is given for each author; every title is set in context, the contents – including illustrations – are described and all known editions and translations are cited. In addition, there is a geographical index that cross refers between authors and the regions visited, and a full list of the bibliographical and biographical sources used in compiling the bibliography.
A selection of the best in travel writing, with both fiction and non-fiction presented together, this companion is for all those who like travelling, like to think about travelling, and who take an interest in their destination. It covers guidebooks as well as books about food, history, art and architecture, religion, outdoor activities, illustrated books, autobiographies, biographies and fiction and lists books both in and out of print. Anderson's Travel Companion is arranged first by continent, then alphabetically by country and then by subject, cross-referenced where necessary. There is a separate section for guidebooks and comprehensive indexes. Sarah Anderson founded the Travel Bookshop in 1979 and is also a journalist and writer on travel subjects. She is known by well-known travel writers such as Michael Palin and Colin Thubron. Michael Palin chose her bookshop as his favourite shop and Colin Thubron and Geoffrey Moorhouse, among others, made suggestions for titles to include in the Travel Companion.
Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination. Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.