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Fascinated by them, unable to ignore them, and imaginatively stimulated by them, Charles Dickens was an acute and unsentimental reporter on the dogs he kept and encountered during a time when they were a burgeoning part of the nineteenth-century urban and domestic scene. As dogs inhabited Dickens’s city, so too did they populate his fiction, journalism, and letters. In the first book-length work of criticism on Dickens’s relationship to canines, Beryl Gray shows that dogs, real and invented, were intrinsic to Dickens’s vision and experience of London and to his representations of its life. Gray draws on an array of reminiscences by Dickens’s friends, family, and fellow writers, and also situates her book within the context of nineteenth-century attitudes towards dogs as revealed in the periodical press, newspapers, and institutional archives. Integral to her study is her analysis of Dickens’s texts in relationship to their illustrations by George Cruikshank and Hablot Knight Browne and to portraiture by late eighteenth- and nineteenth-century artists like Thomas Gainsborough and Edwin Landseer. The Dog in the Dickensian Imagination will not only enlighten readers and critics of Dickens and those interested in his life but will serve as an important resource for scholars interested in the Victorian city, the treatment of animals in literature and art, and attitudes towards animals in nineteenth-century Britain.

The first of two volumes of the eagerly anticipated first complete edition of Auden’s poems—including some that have never been published beforeW. H. Auden (1907–1973) is one of the greatest poets of the twentieth century, and his reputation has only grown since his death. Published on the hundredth anniversary of the year in which he began to write poetry, this is the first of two volumes of the first complete edition of Auden’s poems. Edited, introduced, and annotated by renowned Auden scholar Edward Mendelson, this definitive edition includes all the poems Auden wrote for publication, in their original texts, and all his later revised versions, as well as poems and songs he never published, some of them printed here for the first time.This volume traces the development of Auden’s early career, and contains all the poems, including juvenilia, that he published or submitted for publication, from his first printed work, in 1927, at age twenty, through the poems he wrote during his first months in America, in 1939, when he was thirty-two. The book also includes poems that Auden wrote during his adult career with the expectation that he might publish them, but which he never did; song lyrics that he wrote to be set to music by Benjamin Britten, but which he never put into print; and verses that he wrote for magazines at schools where he was teaching.The main text presents the poems in their original published versions. The notes include the extensive revisions that he made to his poems over the course of his career, and provide explanations of obscure references.The second volume of this edition, Poems, Volume 2: 1940–1973, is also available.

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book...Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics...Outstanding."--Choice Originally published in 1990. 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.

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book...Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics...Outstanding."--Choice Originally published in 1990. 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.

John Ireland (1879-1962) had a long and close friendship with Alan Bush (1900-1995) which lasted forty years, from 1922, when John Ireland was already fifty years old, until Ireland's death in 1962. It was the relationship of master and pupil and this was clearly reflected in their letters. The two men came to know each other well once Bush had left the Royal Academy of Music in 1922 and became a student of composition with Ireland until 1927. 160 letters are published here for the first time and they provide not only a compelling and engaging narrative, but also a unique insight into the musical and day-to-day lives of the two men. The letters were written during a most interesting and turbulent period in British history: the inter-war period of the 1920s and 30s, the situation during the Second World War and the post-war era. The volume will therefore appeal to those interested in wider aspects of British musical life and social and political history, as well as followers of Ireland and Bush.

This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

Tracing the mutual influence of great architects of the eighteenth century on both sides of the AtlanticAlthough a good deal has been written about the voluminous intellectual exchange between Europe and the Americas in the eighteenth century across various humane disciplines, no study to date has focused on architectural culture, despite the fact that numerous Europeans made their way across the Atlantic to design some of America’s most important buildings. In this groundbreaking work, Danielle Willkens authoritatively fills that gap, defining and expounding the “transatlantic design network” of mainly British and American individuals that included Thomas Jefferson, the architect John Soane, and Maria Cosway, an acclaimed painter, musician, composer, and educator who maintained a lifelong correspondence with both Jefferson and Soane.Willkens places Jefferson’s and Soane’s famous homes in a historical and aesthetic context that extends beyond their respective renown as national shrines. She shows how, contrary to their reputations, neither represents the product of a singular architectural vision. The contributions of other architects, designers, philosophers, and friends have been effectively effaced from both Monticello and the Soane House. Willkens here corrects the record, mapping the influence of this crucial hidden network on architecture and aesthetics on both sides of the Atlantic.

Filled with outstanding colour illustrations, here is a landmark study of one of Vincent van Gogh's most famous paintings. Vincent van Gogh painted Irises in the last year of his life, in the garden of the asylum at Saint-Remy, where he was recuperating from a period of mental illness. Its energy and theme - the regenerative powers of the earth - express the artist's deeply held belief in the divinity of art and nature. Featuring full-colour reproductions, not only of van Gogh's nature paintings, but also from the artists who inspired him - including Albrect Durer, Da Vinci, Monet, and Gauguin - this beautiful volume presents a long overdue and in-depth study of Irises, placed in the context of his glorious flower and garden paintings.

A prodigiously talented artist, Sir John Everett Millais (1829-96) co-founded the Pre-Raphaelite Brotherhood with Rossetti and others, helping to revolutionise the Victorian art world. The minute realism of paintings like Christ in the House of his Parents, and his high-profile marriage to Ruskin's ex-wife Effie, were gradually accepted, and the iconic Ophelia was widely admired. Success as an illustrator also put him in the public eye, with the engravings market bringing him new wealth. With popularity came a return to more traditional forms in portraiture and landscape, inspired by Reynolds, Velázquez and the Old Masters, although he also played off Whistler and the aesthetic movement. He became president of the Royal Academy in the last year of his life. His son, John Guille Millais (1865-1931), published this highly illustrated and acclaimed two-volume biography in 1899. Volume 1 provides an account of Millais' most influential years up to 1867.

A prodigiously talented artist, Sir John Everett Millais (1829-96) co-founded the Pre-Raphaelite Brotherhood with Rossetti and others, helping to revolutionise the Victorian art world. The minute realism of paintings like Christ in the House of His Parents, and his high-profile marriage to Ruskin's ex-wife Effie, were gradually accepted, and the iconic Ophelia was widely admired. Success as an illustrator also put him in the public eye, with the engravings market bringing him new wealth. With popularity came a return to more traditional forms in portraiture and landscape, inspired by Reynolds, Velázquez and the Old Masters, although he also played off Whistler and the aesthetic movement. He became president of the Royal Academy in the last year of his life. His son, John Guille Millais (1865-1931), published this highly illustrated and acclaimed two-volume biography in 1899. Volume 2 applauds the freedom and breadth of treatment in Millais' later work.

John Ireland (1879-1962) had a long and close friendship with Alan Bush (1900-1995) which lasted forty years, from 1922, when John Ireland was already fifty years old, until Ireland's death in 1962. It was the relationship of master and pupil and this was clearly reflected in their letters. The two men came to know each other well once Bush had left the Royal Academy of Music in 1922 and became a student of composition with Ireland until 1927. 160 letters are published here for the first time and they provide not only a compelling and engaging narrative, but also a unique insight into the musical and day-to-day lives of the two men. The letters were written during a most interesting and turbulent period in British history: the inter-war period of the 1920s and 30s, the situation during the Second World War and the post-war era. The volume will therefore appeal to those interested in wider aspects of British musical life and social and political history, as well as followers of Ireland and Bush.

This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

Fascinated by them, unable to ignore them, and imaginatively stimulated by them, Charles Dickens was an acute and unsentimental reporter on the dogs he kept and encountered during a time when they were a burgeoning part of the nineteenth-century urban and domestic scene. As dogs inhabited Dickens’s city, so too did they populate his fiction, journalism, and letters. In the first book-length work of criticism on Dickens’s relationship to canines, Beryl Gray shows that dogs, real and invented, were intrinsic to Dickens’s vision and experience of London and to his representations of its life. Gray draws on an array of reminiscences by Dickens’s friends, family, and fellow writers, and also situates her book within the context of nineteenth-century attitudes towards dogs as revealed in the periodical press, newspapers, and institutional archives. Integral to her study is her analysis of Dickens’s texts in relationship to their illustrations by George Cruikshank and Hablot Knight Browne and to portraiture by late eighteenth- and nineteenth-century artists like Thomas Gainsborough and Edwin Landseer. The Dog in the Dickensian Imagination will not only enlighten readers and critics of Dickens and those interested in his life but will serve as an important resource for scholars interested in the Victorian city, the treatment of animals in literature and art, and attitudes towards animals in nineteenth-century Britain.

In this reflective and enriching memoir, John Tuomey navigates the places and memories of his life over the scope of twenty-five years. First recognised for the urban regeneration of Dublin’s Temple Bar, which included the construction of the Irish Film Institute, the National Photographic Archive and Gallery of Photography, his life in architecture led him to design social and cultural spaces such as the Lyric Theatre in Belfast, the Glucksman Gallery in UCC and the Victoria & Albert East Museum in London.Imbued with many inter-textual references to poetry, drama and literature and written in limpid prose, this memoir is inherently literary in nature. Tuomey looks back to his early life where he was born in Tralee and lived in different counties around Ireland, from small towns to country landscapes, from schooldays in Dundalk to student activism at University College Dublin. He traces the pathways that led to his formation as an architect, reflecting on the many cultural and social influences on his life. He excels in capturing the social landscape of Dublin in the 1980s and pays particular attention to the many buildings and social hubs of the inner city. His transient years of moving from Dublin to London, and subsequently working in places like Nairobi and Milan, chronicle the international influences on his outlook. The key relationships in his life, including meeting his future wife, Sheila – a fellow student of architecture in UCD – and his pivotal employment by James Stirling in 1976, form the backbone of his personal and professional life.Tuomey’s expertise in his field is unsurpassed, with meticulous detail given to the finer aspects of design and architecture. His thoughts on the challenges facing the encroaching erasure of city life in Dublin are essential reading for anyone with an interest in the future of building in the city.

John Constable (1776–1837) is England’s best-loved landscape painter, and the familiarity of his images can disguise how revolutionary he really was. His passionate concentration on the truth of the natural world influenced not just other painters but the whole course of romanticism, and the spontaneity and energy of his vision and technique remain as fresh today as ever. It was a long journey for this sensitive, not very sociable man, a journey whose fascinating twists and turns we can trace through his many vivid letters, where Constable shared his developing ideas and practice with a small group of friends and patrons. To read his letters today is to gain unparalleled insight into a pioneering creative mind. For the first time, these letters have now been selected and arranged into chronological order to create a coherent narrative. The editor is the leading expert on Constable, Anne Lyles, and she has also written an extensive introduction.

It is widely accepted in the scientific community that climate change is a reality, and that changes are happening with increasing rapidity. In this second edition, leading climate researcher Barrie Pittock revisits the effects that global warming is having on our planet, in light of ever-evolving scientific research.Presenting all sides of the arguments about the science and possible remedies, Pittock examines the latest analyses of climate change, such as new and alarming observations regarding Arctic sea ice, the recently published IPCC Fourth Assessment Report, and the policies of the new Australian Government and how they affect the implementation of climate change initiatives.New material focuses on massive investments in large-scale renewables, such as the kind being taken up in California, as well as many smaller-scale activities in individual homes and businesses which are being driven by both regulatory and market mechanisms. The book includes extensive endnotes with links to ongoing and updated information, as well as some new illustrations.While the message is clear that climate change is here (and in some areas, might already be having disastrous effects), there is still hope for the future, and the ideas presented here will inspire people to take action. Climate Change: The Science, Impacts and Solutions is an important reference for students in environmental or social sciences, policy makers, and people who are genuinely concerned about the future of our environment.

It is widely accepted in the scientific community that climate change is a reality, and that changes are happening with increasing rapidity. In this second edition, leading climate researcher Barrie Pittock revisits the effects that global warming is having on our planet, in light of ever-evolving scientific research.Presenting all sides of the arguments about the science and possible remedies, Pittock examines the latest analyses of climate change, such as new and alarming observations regarding Arctic sea ice, the recently published IPCC Fourth Assessment Report, and the policies of the new Australian Government and how they affect the implementation of climate change initiatives.New material focuses on massive investments in large-scale renewables, such as the kind being taken up in California, as well as many smaller-scale activities in individual homes and businesses which are being driven by both regulatory and market mechanisms. The book includes extensive endnotes with links to ongoing and updated information, as well as some new illustrations.While the message is clear that climate change is here (and in some areas, might already be having disastrous effects), there is still hope for the future, and the ideas presented here will inspire people to take action. Climate Change: The Science, Impacts and Solutions is an important reference for students in environmental or social sciences, policy makers, and people who are genuinely concerned about the future of our environment.

"The Theory of Atomic Spectra", surrrrnanzlllg all that was then known about the quantum theory of free atoms; and in 1961, J.S. Griffith published "The Theory of Transition Metal Ions", in which he combined the ideas in Condon and Shortley's book with those of Bethe, Schlapp, Penney and Van Vleck. All this work, however, was done by physicists, and the results were reported in a way which was more accessable to physicists than to chemists. In the meantime, Carl J. Ballhausen had been studying quantum theory with W. Moffitt at Harvard; and in 1962 (almost simultaneously with Griffith) he published his extremely important book, "Introduction to Ligand Field Theory". This influential book was written from the standpoint of a chemist, and it became the standard work from which chemists learned the quantum theory of transition metal complexes. While it treated in detail the group theoretical aspects of crystal field theory, Carl J. Ballhausen's book also emphasized the limitations of the theory. As he pointed out, it is often not sufficient to treat the central metal ion as free (apart from the influence of the charges on the surrounding ligands): - In many cases hybridization of metal and ligand orbitals is significant. Thus, in general. a molecular orbital treatment is needed to describe transition metal complexes. However, much of the group theory developed In connection with crystal field theory can also be used in the molecular orbital treatment.

"The Theory of Atomic Spectra", surrrrnanzlllg all that was then known about the quantum theory of free atoms; and in 1961, J.S. Griffith published "The Theory of Transition Metal Ions", in which he combined the ideas in Condon and Shortley's book with those of Bethe, Schlapp, Penney and Van Vleck. All this work, however, was done by physicists, and the results were reported in a way which was more accessable to physicists than to chemists. In the meantime, Carl J. Ballhausen had been studying quantum theory with W. Moffitt at Harvard; and in 1962 (almost simultaneously with Griffith) he published his extremely important book, "Introduction to Ligand Field Theory". This influential book was written from the standpoint of a chemist, and it became the standard work from which chemists learned the quantum theory of transition metal complexes. While it treated in detail the group theoretical aspects of crystal field theory, Carl J. Ballhausen's book also emphasized the limitations of the theory. As he pointed out, it is often not sufficient to treat the central metal ion as free (apart from the influence of the charges on the surrounding ligands): - In many cases hybridization of metal and ligand orbitals is significant. Thus, in general. a molecular orbital treatment is needed to describe transition metal complexes. However, much of the group theory developed In connection with crystal field theory can also be used in the molecular orbital treatment.

Convinced that both God and the Kaiser were on their side, the officers and men of the German Army went to war in 1914, confident that they were destined for a swift and crushing victory in the West. The vaunted Schlieffen Plan on which the anticipated German victory was based expected triumph in the West to be followed by an equally decisive success on the Eastern Front. It was not to be. From the winter of 1914 until the early months of 1918, the struggle on the Western Front was characterised by trench warfare. But our perception of the conflict takes little or no account of the realities of life ‘across the wire’ in the German trenches. This book redresses that imbalance and reminds us how similar these young German men were to our own Tommies. Drawing from diaries and letters, Ian Passingham charts the hopes and despair of the German soldiers, filling an important gap in the history of the Western Front.