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Hardcover reprint of the original 1877 edition - beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo - 6x9". No adjustments have been made to the original text, giving readers the full antiquarian experience. for quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: Turner, Cordelia Harris. the Floral Kingdom: Its History, Sentiment and Poetry: A Dictionary of More Than Three Hundred Plants, With the Genera and Families To Which They Belong, and the Language of Each Illustrated With Appropriate Gems To Poetry. Indiana: Repressed Publishing LLC, 2012. Original Publishing: Turner, Cordelia Harris. the Floral Kingdom: Its History, Sentiment and Poetry: A Dictionary of More Than Three Hundred Plants, With the Genera and Families To Which They Belong, and the Language of Each Illustrated With Appropriate Gems To Poetry, . Chicago: M. Warren, 1877. Subject: Flower Language
Reprint of the original, first published in 1877.
Keeney examines the role of botany in the lives of nineteenth-century 'botanizers,' amateur scientists who collected, identified, and preserved plant specimens as a pastime. Using popular magazines, fiction, and autobiographies of the day, she explores the popular culture of this avocation, which attracted both men and women by the thousands.
British explorer and professional travel writer Isabella Bird is, to the modern eye, a study in contradictions. One of the premier mountaineers and world explorers of her generation, she was, in 1892, the first woman elected to London’s Royal Geographic Society. And yet Bird’s books on her travels are filled with depictions of herself and other women that reinforce the “properly feminine” domestic and behavioral codes of her day. In this fascinating and highly original collection of essays, Karen Morin explores the self-expression of travel writers like Bird by giving geographic context to their work. With a rare degree of clarity the author examines relationships among nineteenth-century American expansionism, discourses about gender, and writings of women who traveled and lived in the American West in the late nineteenth century—British travelers, American journalists, a Native American tribal leader, and female naturalists. Drawing from a rich diversity of primary sources, from published travelogues and unpublished archival sources such as letters and diaries to newspaper reportage, Morin considers ways in which women’s writing was influenced by the material circumstances of travel in addition to the various social norms that circumscribed female roles. Ranging in scale from the interior of train cars and the homes of these women to the colonial projects of conquering the American West, the author illustrates how geography was fundamental to the formation of women’s identity and greatly influenced the gendered and colonialist language found in their writing.
The author traces the phenomenon of ascribing sentimental meaning to floral imagery from its beginnings in Napoleonic France through its later transformations in England and America. At the heart of the book is a depiction of what the three most important flower books from each of the countries divulge about the period and the respective cultures. Seaton shows that the language of flowers was not a single and universally understood correlation of flowers to meanings that men and women used to communicate in matters of love and romance. The language differs from book to book, country to country. To place the language of flowers in social and literary perspective, the author examines the nineteenth-century uses of flowers in everyday life and in ceremonies and rituals and provides a brief history of floral symbolism. She also discusses the sentimental flower book, a genre especially intended for female readers. Two especially valuable features of the book are its table of correlations of flowers and their meanings from different sourcebooks and its complete bibliography of language of flower titles. This book will appeal not only to scholars in Victorian studies and women's studies but also to art historians, book collectors, museum curators, historians of horticulture, and anyone interested in nineteenth-century popular culture.