In these reflections on the mercurial qualities of style in Ovid's Meta-morphoses, Garth Tissol contends that stylistic features of the ever-shifting narrative surface, such as wordplay, narrative disruption, and the self-conscious reworking of the poetic tradition, are thematically significant. It is the style that makes the process of reading the work a changing, transformative experience, as it both embodies and reflects the poem's presentation of the world as defined by instability and flux. Tissol deftly illustrates that far from being merely ornamental, style is as much a site for interpretation as any other element of Ovid's art. In the first chapter, Tissol argues that verbal wit and wordplay are closely linked to Ovidian metamorphoses. Wit challenges the ordinary conceptual categories of Ovid's readers, disturbing and extending the meanings and references of words. Thereby it contributes on the stylistic level to the readers' apprehension of flux. On a larger scale, parallel disturbances occur in the progress of narratives. In the second and third chapters, the author examines surprise and abrupt alteration of perspective as important features of narrative style. We experience reading as a transformative process not only in the characteristic indirection and unpredictability of Ovid's narrative but also in the memory of his predecessors. In the fourth chapter, Tissol shows how Ovid subsumes Vergil's Aeneid into the Metamorphoses in an especially rich allusive exploitation, one which contrasts Vergil's aetiological themes with those of his own work. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The primordial peninsula and people. He whenua hou: a new land -- Arrival and adaptation -- Continuity and change: making southern Māori -- The world washes ashore. Takata Pora: the people of the ships, European exploration, Māori discovery 1770-1830 -- 'Soon may the Wellerman come': whaling at Ōtākou 1831-48 -- Improving God's creation. 'A desperate struggle': British settlement on the Otago Peninsula 1848-61 -- The axe and the lucifer match: boom-time settlement of the 1860s and 1870s -- 'The whole face of Nature is altered': 1881-1900.

In these reflections on the mercurial qualities of style in Ovid's Meta-morphoses, Garth Tissol contends that stylistic features of the ever-shifting narrative surface, such as wordplay, narrative disruption, and the self-conscious reworking of the poetic tradition, are thematically significant. It is the style that makes the process of reading the work a changing, transformative experience, as it both embodies and reflects the poem's presentation of the world as defined by instability and flux. Tissol deftly illustrates that far from being merely ornamental, style is as much a site for interpretation as any other element of Ovid's art. In the first chapter, Tissol argues that verbal wit and wordplay are closely linked to Ovidian metamorphoses. Wit challenges the ordinary conceptual categories of Ovid's readers, disturbing and extending the meanings and references of words. Thereby it contributes on the stylistic level to the readers' apprehension of flux. On a larger scale, parallel disturbances occur in the progress of narratives. In the second and third chapters, the author examines surprise and abrupt alteration of perspective as important features of narrative style. We experience reading as a transformative process not only in the characteristic indirection and unpredictability of Ovid's narrative but also in the memory of his predecessors. In the fourth chapter, Tissol shows how Ovid subsumes Vergil's Aeneid into the Metamorphoses in an especially rich allusive exploitation, one which contrasts Vergil's aetiological themes with those of his own work. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Return of Nature asks you to critique your conception of nature and your approach to architectural sustainability and green design. What do the terms mean? Are they de facto design requirements? Or are they unintended design replacements? The book is divided into five parts giving you multiple viewpoints on the role of the relations between architecture, nature, technology, and culture. A detailed case study of a built project concludes each part to help you translate theory into practice. This holistic approach will allow you to formulate your own theory and to adjust your practice based on your findings. Will you provoke change, design architecture that responds to change, or both? Coedited by an architect and a historian, the book features new essays by Robert Levit, Catherine Ingraham, Sylvia Lavin, Barry Bergdoll, K. Michael Hays, Diane Lewis, Andrew Payne, Mark Jarzombek, Jean-Francois Chevrier, Elizabeth Diller, Antoine Picon, and Jorge Silvetti. Five case studies document the work of MOS Architects, Michael Bell Architecture, Steven Holl Architects, George L. Legendre, and Preston Scott Cohen.

This title offers a journey into otherworld, revealing images of nature inhabited by mythological figures and anthropomorphic forms. The author's walks in remote areas accessed images formed by wind, frost and shifting sands - testament to nature's role as ignored and endangered artist.

Standing at the intersection of evolutionary biology and feminist theory is a large audience interested in the questions one field raises for the other. Have evolutionary biologists worked largely or strictly within a masculine paradigm, seeing males as evolving and females as merely reacting passively or carried along with the tide? Would our view of nature `red in tooth in claw' be different if women had played a larger role in the creation of evolutionary theory and through education in its transmission to younger generations? Is there any such thing as a feminist science or feminist methodology? For feminists, does any kind of biological determinism undermine their contention that gender roles purely constructed, not inherent in the human species? Does the study of animals have anything to say to those preoccupied with the evolution and behavior of humans? All these questions and many more are addressed by this book, whose contributing authors include leading scholars in both feminism and evolutionary biology. Bound to be controversial, this book is addressed to evolutionary biologists and to feminists and to the large number of people interested in women's studies.

Black Faces, White Spaces: Reimagining the Relationship of African Americans to the Great Outdoors

What is special about the face, and what happens when neurological conditions make expression or comprehension of the face unavailable? Through a mix of science, autobiography, case studies, and speculation, Jonathan Cole shows the importance not only of facial expressions for communication among individuals but also of facial embodiment for our sense of self. He presents, in his words, "a natural history of the face and an unnatural history of those who live without it." The heart of the book lies in the experiences of people with facial losses of various kinds. The case studies are of blind, autistic, and neurologically impaired persons; the most extreme case involves Mobius syndrome, in which individuals are born with a total inability to move their facial muscles and hence to make facial expressions. Cole suggests that it is only by studying such personal narratives of loss that we can understand facial function and something of what all our faces reflect.

An Artforum Best Book of the Year A Legal Theory Bookworm Book of the Year Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world. “After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s “Dazzling...Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political... For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.” —Ross Andersen, The Atlantic