With considerable learning and insight, Broglio reveals how artists are both complicit with such objectification of nature, and at other moments work toward a more vivid connection to the environment."--BOOK JACKET.

Technologies of Empire reshapes post-colonial scholarship of the long eighteenth century by exploring the ways in which post-enlightenment authors employ writing and imagination to produce rather than simply represent empire. Challenging the assumption that the first imaginings of coordinated global empires occur in the later nineteenth century, this study argues that authors ranging from Adam Smith, Edmund Burke to William Wordsworth conceive of imagination and writing as technologies that can conceptualize and consolidate the new forms of empire they see emerging.

Beginning with a description of Gothic, Classical, and Baroque architecture, Pierson explores how American architects used these traditions to develop a uniquely American style. He examines the works of the early masters, including Bulfinch's Massachusetts State House, Latrobe's Capitol Building in Washington, Independence Hall in Philadelphia, Mills's buildings in South Carolina, as well as Thomas Jefferson's house in Monticello, which represents the clearest expression of the new American architectural vision.

A collection of Hunt's essays, many previously unpublished, dealing with the ways in which men and women have given meaning to gardens and landscapes, especially with the ways in which gardens have represented the world of nature "picturesquely".

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

In William Wordsworth and the Ecology of Authorship, Scott Hess explores Wordsworth's defining role in establishing what he designates as "the ecology of authorship" a primarily middle-class, nineteenth-century conception of nature associated with aesthetics, high culture, individualism, and nation. Instead of viewing Wordsworth as an early ecologist, Hess places him within a context that is largely cultural and aesthetic. The supposedly universal Wordsworthian vision of nature, Hess argues, was in this sense specifically male, middle-class, professional, and culturally elite--factors that continue to shape the environmental movement today.

Exploring the pre-Civil War architecture of the 19th century in Volume 2, Pierson traces the evolution of two distinct styles--the "corporate," first seen in the chaste, brick buildings of early Boston, and the "early Gothic Revival," which brought new vitality to American religious and domestic architecture--in the works of Ithiel Town, Richard Upjohn, James Renwick, A.J. Davis, and Andrew Jackson Downing.

Manning examines the formation of nineteenth-century intelligentsia print publics in the former Soviet republic of Georgia both anthropologically and historically. At once somehow part of “Europe,” at least aspirationally, and yet rarely recognized by others as such, Georgia attempted to forge European style publics as a strong claim to European identity. These attempts also produced a crisis of self-defi nition, as European Georgia sent newspaper correspondents into newly reconquered Oriental Georgia, only to discover that the people of these lands were strangers. In this encounter, the community of “strangers” of European Georgian publics proved unable to assimilate the people of the “strange land” of Oriental Georgia. This crisis produced both notions of Georgian public life and European identity which this book explores.

Deep Mapping and the Corpus of Lake District Writing -- Picturesque Technologies and the Digital Humanities -- Tourists, Travellers, Inhabitants: Variant Digital Literary Geographies -- Walking in the Literary Lakes -- Seeing Sound: Mapping the Lake District's Soundscape -- Digital Cartographies and Personal Geographies: (Re-)Mapping Scafell.