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Forests in literature. --- Forests and forestry in literature
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Poetics. --- Criticism --- Plants in literature. --- Forests in literature.
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Forest Family highlights the importance of the old-growth forests of Southwest Australia to art, culture, history, politics, and community identity. The volume weaves together the natural and cultural histories of Southwest eucalypt forests, spanning pre-settlement, colonial, and contemporary periods. The contributors critique a range of content including historical documents, music, novels, paintings, performances, photography, poetry, and sculpture representing ancient Australian forests. Forest Family centers on the relationship between old-growth nature and human culture through the narrative strand of the Giblett family of Western Australia and the forests in which they settled during the nineteenth century. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.
Old growth forests --- Human-plant relationships --- Forests in literature. --- History.
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The Shakespearean Forest, Anne Barton's final book, uncovers the pervasive presence of woodland in early modern drama, revealing its persistent imaginative power. The collection is representative of the startling breadth of Barton's scholarship: ranging across plays by Shakespeare (including Titus Andronicus, As You Like It, Macbeth, The Two Gentlemen of Verona and Timon of Athens) and his contemporaries (including Jonson, Dekker, Lyly, Massinger and Greene), it also considers court pageants, treatises on forestry and chronicle history. Barton's incisive literary analysis characteristically pays careful attention to the practicalities of performance, and is supplemented by numerous illustrations and a bibliographical essay exploring recent scholarship in the field. Prepared for publication by Hester Lees-Jeffries, featuring a Foreword by Adrian Poole and an Afterword by Peter Holland, the book explores the forest as a source of cultural and psychological fascination, embracing and illuminating its mysteriousness.
Forests in literature. --- English drama --- Forests and forestry in literature --- History and criticism.
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Forests and forestry --- Forests in literature --- Trees --- Trees --- Social aspects --- Social aspects --- Symbolic aspects
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"Russia has more woodlands than any other country in the world, and its forests have loomed large in Russian culture and history. Historical site of protection from invaders but also from state authority, by the nineteenth century Russia's forests became the focus of both scientific scrutiny and poetic imaginations. The forest was imagined as alternately endless and eternal or alarmingly vulnerable in a rapidly modernizing Russia. For some the forest constituted an imaginary geography of religious homeland; for others it was the locus of peasant culture and local knowledge; for all Russians it was the provider of both material and symbolic resources. In Heart-Pine Russia, Jane T. Costlow explores the central place the forest came to hold in a century of intense seeking for articulations of national and spiritual identity. Costlow focuses on writers, painters, and scientists who went to Russia's European forests to observe, to listen, and to create; increasingly aware of the extent to which woodlands were threatened, much of their work was imbued with a sense of impending loss. Costlow's sweep includes canonic literary figures and blockbuster writers whose romances of epic woodlands nourished fin-de-siècle opera and painting. Considering the work of Turgenev, Tolstoy, and Korolenko in the company of scientific foresters and visual artists from Shishkin and Repin to Nesterov, Costlow uncovers a rich and nuanced cultural landscape in which the forest is a natural and national resource, both material and spiritual"--Publisher's Web site.
Forests and forestry --- Forests in literature --- National characteristics, Russian --- Russian literature --- Social aspects --- History --- History --- History and criticism --- Russia --- Civilization
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By pursuing an ecocritical reading, The Forest in Medieval German Literature examines passages in medieval German texts where protagonists operated in the forest and found themselves either in conflictual situations or in refuge. By probing the way the individual authors dealt with the forest, illustrating how their characters fared in this sylvan space, the role of the forest proved to be of supreme importance in understanding the fundamental relationship between humans and nature. The medieval forest almost always introduced an epistemological challenge: how to cope in life, or how to find one's way in this natural maze. By approaching these narratives through modern ecocritical issues that are paired with premodern perspectives, we gain a solid and far-reaching understanding of how medieval concepts can aid in a better understanding of human society and nature in its historical context. This book revisits some of the best and lesser known examples of medieval German literature, and the critical approach used here will allow us to recognize the importance of medieval literature for a profound reassessment of our modern existence with respect to our own forests. --
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Pour les habitants des bois, chaque espèce d’arbre a sa voix, les rivières du monde ont chacune leur langage. Les glaciers du Grand Nord eux-mêmes retentissent de sons étonnants. La nature nous parle et nous ne l’écoutons plus. Depuis l’invention du paysage, le spectacle visuel a déterminé l’essentiel de notre rapport à l’arbre et à la forêt. Qu’avons-nous oublié ? Doué pour voir, regardeur du monde, l’homme peut-il aussi l’écouter ?En nous invitant à l’écoute attentive des sons naturels, comme à entendre le silence, les contributions rassemblées dans La forêt sonore nous sortent puissamment du parti pris du « spectacle » pour redonner toute sa place à la part « sylvestre » de l’homme. Car l’expérience de l’écoute compte parmi les joies essentielles de l’être humain ; elle répond au désir d’aller absorber le monde de la forêt, se fondre en son bain de parfums et de sons. La forêt n’est plus alors à « regarder », ou à « représenter » : elle se branche sur du vital.Pour entendre cette harmonie sonore naturelle, la plupart des auteurs rassemblés dans La Forêt sonore font appel aux œuvres d’art qui ont inventé la beauté de la forêt : la musique bien entendu mais également la littérature, la poésie ou encore le cinéma dont la beauté s’origine aussi dans le son.Par ailleurs, dans une démarche où le souci écologique voisine avec le plaisir esthétique, géographes et chercheurs en biologie donnent voix à la notion d’environnement et nous disent pourquoi le paysage sonore peut devenir un précieux instrument de diagnostic de la biodiversité.
Bioacoustics --- Soundscapes (Music) --- Nature sounds --- Forests in literature --- Environmental responsibility --- Philosophy of nature --- Forests and forestry --- Bioacoustique --- Paysages sonores (Musique) --- Nature --- Forêts dans la littérature --- Responsabilité environnementale --- Philosophie de la nature --- Sons
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