The Empty Garden draws a portrait of Milton as a cultural and religious critic who, in his latest and greatest poems, wrote narratives that illustrate the proper relationships among the individual, the community, and God. Rushdy argues that the political theory implicit in these relationships arises from Milton's own drive for self-knowledge, a kind of knowledge that gives the individual freedom to act in accordance with his or her own understanding of God's will rather than the state's. Rushdy redefines Milton's creative spirit in a way that encompasses his poetic, political, and religious careers.
Nurture your love of the earth with a garden rooted in your spirituality. In this updated 15th anniversary edition of the beloved classic, Patricia Monaghan offers fresh advice and guidance for creating a magical garden that will nourish your soul. Bursting with ideas and inspiration, this guidebook shows you how to plan, grow, and tend an enchanting garden that is sown with your unique spirituality. Along with gardening advice for every climate and season, Magical Gardens weaves together myth and ritual to help you bring added power and meaning to your garden space. Discover the best plants for your site—being mindful of sun exposure, soil type, and climate zone—and learn about composting, controlling pests and weeds, gardening organically, and caring for plants at all growth stages. Perform meditations based on the year's gardening cycle, and celebrate each season and every milestone in your life with rituals, prayers, and ceremonies. This book features more than a dozen themed designs for sacred perennial gardens that you can re-create in your own backyard or out on your patio. Easy-to-follow designs will show you how to create a garden in honor of: Angels Aphrodite Cats Dragons Fairies Kwan-Yin The Sun And more Praise: "From preparing the soil to preparing the mind, Patricia Monaghan has written an informative, magical, and visionary book."—Connections
The first profound depiction of the great reformer of Japanese garden design in the twentieth century Mirei Shigemori decisively shaped the development of Japanese landscape architecture in the twentieth century. He founded the Kyoto Garden Society in 1932 and published the 26-volume Illustrated Book on the History of the Japanese Garden in 1938. One year later he designed his own first masterwork, the garden of the main hall of Tôfuku-ji Temple. Between then and his death in 1975, he went on to design 240 gardens throughout Japan. Among the most famous are the Tenrai-an tea garden (1969) and the Matsuo Taisha garden (1975). All of his gardens are distinguished by the fact that they honor tradition while at the same time – through their openness to Western modernity – they free themselves from its weight and develop a language of their own. The first part of the book will deal with Shigemori’s life and influences, including his interest in ikebana and tea ceremonies. The second part will offer detailed presentations of some seventeen different gardens. Mirei Shigemori prägte maßgeblich die Entwicklung der japanischen Landschaftsarchitektur im 20. Jahrhundert. Seit den 1920er Jahren tätig, gründete er 1932 die Kyotoer Gartengesellschaft und publizierte 1938 das 26-bändige Werk Illustrated Book on the History of the Japanese Garden. Ein Jahr später entwarf er sein erstes eigenes Meisterwerk, den Garten bei der Haupthalle des Tôfuku-ji Tempels. Von da an gestaltete er 240 Gärten in ganz Japan bis zu seinem Tod 1975; zu den berühmtesten gehören der Teegarten Tenrai-an (1969) und der Matsuo Taisha-Garten (1975). Kennzeichen seiner Gärten ist, dass sie die Tradition ehren und sich zugleich – in der Öffnung gegenüber den Einflüssen der westlichen Moderne – von dem Althergebrachten durch eine eigene Sprache lösen. Der erste Teil des Buches wird sich mit dem Leben Shigemoris und den Einflüssen auf sein Werk auseinandersetzen. Dabei wird auch seine Auseinandersetzung mit Ikebana und Teezeremonien eine Rolle spielen. Der zweite Teil wird etwa 17 Gärten ausführlich darstellen.
The modernist garden, which flourished in France between the 1910s and the 1930s, vividly mirrored the geometries and cubist aesthetics familiar to the decorative and fine arts of the period. Created by architects and artists, these gardens were often conceived as tableaux in which plants played a role only as pigment or texture. This handsomely illustrated book by Dorothée Imbert presents for the first time - in word and image - a comprehensive study of these arresting architectonic gardens.
This extensively revised and expanded edition broadens the reach and depth of the permaculture approach for urban and suburban gardeners. The text's message is that working with nature, not against it, results in more beautiful, abundant, and forgiving gardens.
"The silence was not just about thinking on this topic. They reached the end of the tunnel. Due to the curve they were taking, they still could not see the horizon. It must have been around nine in the morning. The sun’s rays were coming in at such a zenith angle. As they rounded the curve, the view they had been dreaming of for a long time opened up before them. The summit of a mountain which was steeper towards the top was snow-covered. Around this summit, when its size was considered in proportion to the mountain, a snake coiled, at least fifty meters wide and about a kilometer long. Its head, at the same level as the rising sun, moved ever so slightly. Its jet-black eyes could be viewed even from this distance. It had many bright, but faint, colors. Due to this, the contrast it did with the grayish-brown rocks of the mountain was weak. Its jagged tail stretched all the way down to the broad upper plain of the mountain. There was nothing at the summit of the much lower mountain on the right side. The view was perfect as the sky was cloudless and the weather was clear." CHAPTERS: WAITING FOR THE WAVE NEW YORK PARIS ISTANBUL THE GROUNDLESS LANDS PRIMECITY BEYOND THE WALL – THE SPLIT PYRAMID CONTACT WITH THE CENTER OF THE EARTH HEAVY CUSTOMS GATE
