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While many fields struggle to specify feminine contributions, the work of women has always played a fundamental role in American landscape architecture. Women claim responsibility for many landscape types now taken for granted, including community gardens, playgrounds, and streetscapes. This collection of essays by leaders in the discipline addresses the ways that gender has influenced the history, design practice and perception of landscapes. It highlights women's relation to landscape architecture, presents the professional efforts of women in the landscape realm, examines both the perception and experience of landscapes by women, and speculates on ways to re-imagine gender and the landscape.
A powerful and timely book teaching women how to connect to the wisdom of their bodies to heal, rebalance and transform their lives. There was a time, roughly 5000 years ago, when SHE Power reigned and lady landscapes were revered. A time when the space between a woman’s thighs was considered a power portal with a direct hookup to Source. Love Your Lady Landscape is a healing journey through the terrain of what it is to be a woman. When a woman isn't in alignment with her feminine essence, she may experience exhaustion and overwhelm, lack sexual desire or passion for life, and generally feel "out of sync". In this book, Lisa Lister uses a myriad of tools and practices such as Earth based spirituality, shamanic teachings, movement and dance, and breath and sound work to teach women how to reconnect to their feminine wisdom in order to start rebalancing all aspects of their lives. Based on Lisa's own 11-year journey of healing and reconnecting with her body, this book will help you: • release guilt and shame from the past • explore self-pleasure and sensuality • understand, read, and connect with your body's signs and signals • learn about your menstrual cycle and its connection with the rhythms of nature and the universe • discover the sacred art of receiving • express your creativity • find your voice to communicate your needs, wants, and desires Love Your Lady Landscape will move women into a fiercely loving and healing relationship with their body and will teach them how to use its cycles and signs to create a life of vitality, fulfillment, and creation.
Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs. The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander). The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women’s studies and cultural geography.
In the early 1970s, empowered by the civil rights and women's movements, a new group of women writers began speaking to the American public. Their topic, broadly defined, was the postmodern American West. By the mid-1980s, their combined works made for a bona fide literary groundswell in both critical and commercial terms. However, as Krista Comer notes, despite the attentions of publishers, the media, and millions of readers, literary scholars have rarely addressed this movement or its writers. Too many critics, Comer argues, still enamored of western images that are both masculine and antimodern, have been slow to reckon with the emergence of a new, far more "feminine," postmodern, multiracial, and urban west. Here, she calls for a redesign of the field of western cultural studies, one that engages issues of gender and race and is more self-conscious about space itself_especially that cherished symbol of western "authenticity," open landscape. Surveying works by Joan Didion, Wanda Coleman, Maxine Hong Kingston, Leslie Marmon Silko, Barbara Kingsolver, Pam Houston, Louise Erdrich, Sandra Cisneros, and Mary Clearman Blew, Comer shows how these and other contemporary women writers have mapped new geographical imaginations upon the cultural and social spaces of today's American West.
A multidisciplinary compilation of nineteen incisive essays ranges from the formality of traditional art criticism to intimate, lyrical meditations as they explore nuclear test sites, the meaning of national borders and geographical features, and the idea of the feminine and the sublime.
Elite Women and the Agricultural Landscape, 1700–1830 offers a detailed study of elite women’s relationships with landed property, specifically as they were mediated through the lens of their estate management and improvement. This highly original book provides an explicitly feminist historical geography of the eighteenth-century English rural landscape. It addresses important questions about propertied women’s role in English rural communities and in Georgian society more generally, whilst contributing to wider cultural debates about women’s place in the environmental, social and economic history of Britain. It will be of interest to those working in Historical and Cultural Geography, Social, Economic and Cultural History, Women’s Studies, Gender Studies and Landscape Studies. Chapters 2, 3, and 4 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
20 women writers from all over Wales recount their deep personal connections to the landscapes which have shaped their lives - their loves, their joys, their losses, their inner and their outer worlds. These essays present nature as a healer and teacher, and this anthology finds as its subject the unique bond with the natural world which comes over time spent in the company of wild things. Written from a feminine perspective with both new and established voices, In Her Element offers a much needed revision of contemporary British nature writing.
Sarah Margaret Fuller Ossoli (1810-1850), better known as Margaret Fuller, was a writer, editor, translator, early feminist thinker, critic, and social reformer who was associated with the Transcendentalist movement in New England. This is her introspective account of a trip to the Great Lakes region in 1843. Organized as a series of travel episodes interspersed with literary and social commentary, the work displays a style common to the portfolios, sketch books, and commonplace books kept by educated nineteenth-century women. In addition to her own thoughts about natural landscapes and human encounters, Fuller includes stories, legends, allegorical dialogues, poems, and excerpts from the works of other authors. When she traveled to the Midwest, Fuller was exhausted by her work as editor of the Dial, the Transcendentalist journal she edited with Ralph Waldo Emerson. Accompanied during part of the journey by her friends James Clarke and Sarah Clarke, who created the book's etchings, Fuller traveled by train, steamboat, carriage, and on foot in a circle from Niagara Falls north to Mackinac Island and Sault Ste. Marie, west to Milwaukee, south to Pawpaw, Illinois, and back to Buffalo. Fuller discusses Chicago in some detail, and laments the unjust treatment of Native Americans. She comments on the difficulties of pioneer life for women and on the degradation of the region's beautiful and exhilarating natural environment. She speaks favorably about the British-American agrarian visionary, Morris Birbeck, and includes a short story about an old school friend, Mariana, who dies because her active mind cannot adapt to the restrictive codes of behavior prescribed for the era's elite women.
“An empowering and expertly curated look at the horticultural world.” —Gardens Illustrated In this beautiful and empowering book, Jennifer Jewell introduces 75 inspiring women. Working in wide-reaching fields that include botany, floral design, landscape architecture, farming, herbalism, and food justice, these influencers are creating change from the ground up. Profiled women include flower farmer Erin Benzakein; codirector of Soul Fire Farm Leah Penniman; plantswoman Flora Grubb; edible and cultural landscape designer Leslie Bennett; Caribbean-American writer and gardener Jamaica Kincaid; soil scientist Elaine Ingham; landscape designer Ariella Chezar; floral designer Amy Merrick, and many more. Rich with personal stories and insights, Jewell’s portraits reveal a devotion that transcends age, locale, and background, reminding us of the profound role of green growing things in our world—and our lives.
The Feminine Sublime provides a new and startling insight into the modes and devices employed in the creation of women's fiction since the eighteenth century. Barbara Claire Freeman argues that traditional theorizations of the sublime depend upon unexamined assumptions about femininity and sexual difference, and that the sublime could not exist without misogynistic constructions of "the feminine." Taking this as her starting point, Freeman suggests that the "other sublime" that comes into view from this new perspective not only offers a crucial way to approach representations of excess in women's fiction, but allows us to envision other modes of writing the sublime. Freeman reconsiders Longinus, Burke, Kant, Weiskel, Hertz, and Derrida while also engaging a wide range of women's fiction, including novels by Chopin, Morrison, Rhys, Shelley, and Wharton. Addressing the coincident rise of the novel and concept of the sublime in eighteenth-century European culture, Freeman allies the articulation of sublime experience with questions of agency and passion in modern and contemporary women's fiction. Arguments that have seemed merely to explain the sublime also functioned to evaluate, domesticate, and ultimately exclude an otherness that is almost always gendered as feminine. Freeman explores the ways in which fiction by American and British women, mainly of the twentieth century, responds to and redefines what the tradition has called "the sublime." This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. The Feminine Sublime provides a new and startling insight into the modes and devices employed in the creation of women's fiction since the eighteenth century. Barbara Claire Freeman argues that traditional theorizations of the sublime depend upon u