This book tells a compelling story about invasion, settler colonialism, and an emergent sense of identity in place, as seen through topographical and landscape images by seven fascinating artists. Their ways of imagining the Vandemonian landscape are part of a much larger story about how aesthetic forces shaped empire and colony, place and migration, and people’s lives. They remain intriguing through-lines of global significance and local meaning.
Domesticating Empire is the first contextually-oriented monograph on Egyptian imagery in Roman households. Caitlín Barrett draws on case studies from Flavian Pompeii to investigate the close association between representations of Egypt and a particular type of Roman household space: the domestic garden. Through paintings and mosaics portraying the Nile, canals that turned the garden itself into a miniature "Nilescape," and statuary depicting Egyptian themes, many gardens in Pompeii offered ancient visitors evocations of a Roman vision of Egypt. Simultaneously faraway and familiar, these imagined landscapes made the unfathomable breadth of empire compatible with the familiarity of home. In contrast to older interpretations that connect Roman "Aegyptiaca" to the worship of Egyptian gods or the problematic concept of "Egyptomania," a contextual analysis of these garden assemblages suggests new possibilities for meaning. In Pompeian houses, Egyptian and Egyptian-looking objects and images interacted with their settings to construct complex entanglements of "foreign" and "familiar," "self" and "other." Representations of Egyptian landscapes in domestic gardens enabled individuals to present themselves as sophisticated citizens of empire. Yet at the same time, household material culture also exerted an agency of its own: domesticizing, familiarizing, and "Romanizing" once-foreign images and objects. That which was once imagined as alien and potentially dangerous was now part of the domus itself, increasingly incorporated into cultural constructions of what it meant to be "Roman." Featuring brilliant illustrations in both color and black and white, Domesticating Empire reveals the importance of material culture in transforming household space into a microcosm of empire.
A history of the colonial tea plantation regime in Assam, which brought more than one million migrants to the region in northeast India, irrevocably changing the social landscape.
For generations, New Yorkers have joked about "The City's" interminable tearing down and building up. The city that the whole world watches seems to be endlessly remaking itself. When the locals and the rest of the world say "New York," they mean Manhattan, a crowded island of commercial districts and residential neighborhoods, skyscrapers and tenements, fabulously rich and abjectly poor cheek by jowl. Of course, it was not always so; New York's metamorphosis from compact port to modern metropolis occurred during the mid-nineteenth century. Empire City tells the story of the dreams that inspired the changes in the landscape and the problems that eluded solution.Author David Scobey paints a remarkable panorama of New York's uneven development, a city-building process careening between obsessive calculation and speculative excess. Envisioning a new kind of national civilization, "bourgeois urbanists" attempted to make New York the nation's pre-eminent city. Ultimately, they created a mosaic of grand improvements, dynamic change, and environmental disorder. Empire City sets the stories of the city's most celebrated landmarks--Central Park, the Brooklyn Bridge, the downtown commercial center--within the context of this new ideal of landscape design and a politics of planned city building. Perhaps such an ambitious project for guiding growth, overcoming spatial problems, and uplifting the public was bound to fail; still, it grips the imagination.
Landscape is a stimulating introduction to and contemporary understanding of one of the most important concepts within human geography. A series of different influential readings of landscape are debated and explored, and, for the first time, distinctive traditions of landscape writing are brought together and examined as a whole, in a forward-looking critical review of work by cultural geographers and others within the last twenty to thirty years. This book clearly and concisely explores ‘landscape’ theories and writings, allowing students of geography, environmental studies and cultural studies to fully comprehend this vast and complex topic. To aid the student, vignettes are used to highlight key writers, papers and texts. Annotated further reading and student exercises are also included. For researchers and lecturers, Landscape presents a forward-looking synthesis of hitherto disparate fields of inquiry, one which offers a platform for future research and writing.
Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? What are differences between the use of landscape in Western filmmaking and in the work of Middle Eastern and Asian filmmakers? How is cinematic landscape related to the idea of a national cinema and questions of identity. The first collection on the idea of landscape and film, this volume will present an impressive international cast of contributors, among them Jacques Aumont, Tom Conley, David B. Clarke, Marcus A. Doel, Peter Rist, and Antonio Costa.
In an ambitious work of wide-ranging literary, visual, and historical allusion, Jill H.Casid examines how landscaping functioned in an imperial mode that defined and remade the "heartlands" of nations as well as the contact zones and colonial peripheries in the West and East Indies. Revealing the colonial landscape as far more than an agricultural system - as a means of regulating national, sexual, and gender identities - Casid also traces how the circulation of plants and hybridity influenced agriculture and landscaping on European soil and how colonial contacts materially shaped what we take as "European."
Completed in 1747, Mark Catesby's Natural History of Carolina, Florida, and the Bahama Islands was the first major illustrated publication on the flora and fauna of Britain's American colonies. Together with his Hortus Britanno-Americanus (1763), which detailed plant species that might be transplanted successfully to British soil, Catesby's Natural History exerted an important, though often overlooked, influence on the development of art, natural history, and scientific observation in the eighteenth century. Inspired by a major traveling exhibition of Catesby's watercolor drawings from the Royal Library, Windsor Castle, this collection of interdisciplinary essays considers Catesby's endeavors as a naturalist-artist, scientific explorer, experimental horticulturist, ornamental gardener, and early environmental thinker in terms of the interests held by the various, overlapping communities in which he functioned--particularly as those interests related to the British colonial enterprise. The contributors are David R. Brigham, Joyce E. Chaplin, Mark Laird, Amy R. W. Meyers, Therese O'Malley, and Margaret Beck Pritchard.
