This volume deals with the interrelation between English and Dutch culture as it emerged in the field of the emblem and the emblem book in the 16th and 17th centuries. The traffic of emblems was mostly from the Low Countries to England. The very first printed English emblem book, by Geffrey Whitney, was printed in Leiden in 1586. One of the last English emblem books to be published in the 17th century, by Philip Ayres (1683) goes straight back to the Dutch love emblem tradition (Heinsius, Vaenius, et al.).
The reasons for this mainly one-way traffic are manifold. For one thing the best engravers and printers were to be found in the Low Countries. For another the Church of England also accommodated adaptations of the highly popular continental Jesuit emblem books of the early 17th century.
The book consists of fourteen original articles, by a wide range of specialists in the field, each of whom addresses a different aspect of the general subject.
Agriculture is the adaptation of plant and animal populations to human needs, entailing not just the alteration of natural conditions, but – and to a far greater extent than in hunting and foraging - the manipulation of the qualities of the stock (see Plant breeding and Animal breeding) (see below
The Encyclopedia of Early Modern History (1450–1850) is a translation of the German Enzyklopädie der Neuzeit. On the general conception of this work, see the Preface to the German edition. On the editorial principles guiding the translation and slight adaptation see the Preface to the English
was later applied to human populations; it denotes a dual adaptation: of society (Society [community]) to the natural environment – for example by choosing native crop plants and livestock – , and of nature ...
The term “reception of the Middle Ages” denotes the appropriation, adaptation, and transmission of products of European culture dating from between around 500 and 1500 CE. Because the epoch name “Middle Ages” came into general use only in the 18th century as part of the periodic triad antiquity
In modern Western society horses appear as unexpected visitors: not quite exotic, but not familiar either. This estrangement between humans and horses is a recent one since, until the 1930s, horses were fully present in the everyday world. Indeed, as well as performing utilitarian functions, horses possessed iconic appeal. But, despite the importance of horses, scholars have paid little attention to their lives, roles and meanings. This volume helps to redress the balance. It considers the value that the influential elite placed on horses as essential accompaniments to their way of life and as status symbols, as well as the role that horses played in society as a whole and the people who used and cared for them.
Contributors include Greg Bankoff, Pia F. Cuneo, Louise Hill Curth, Amanda Eisemann, Jennifer Flaherty, Ian F. MacInnes, Richard Nash, Gavin Robinson, Elizabeth Anne Socolow, Sandra Swart, Elizabeth M. Tobey, Andrea Tonni, and Elaine Walker.
was further prompted by the extent to which the conflict had caused not just destruction, but desecration . This latter fact was powerfully explored in Lewis Milestone’s 1930 film adaptation of Erich Maria Remarque’s All Quiet on the Western Front , with one scene famously (and controversially
nation’s neighbours that had emerged from his analysis. These protestations were unnecessary given that many elements of this image had been staples of the stereotype of Frenchmen for at least a century. Loewenfeld saw the French as vain and overly emotional. The latter trait informed the adaptation to
– is anathema. John Keegan mentions that Kipling “adapted” the Stone’s inscription to avoid giving offense to Hindus; 62 since the inscription is in fact a direct Biblical quote, it seems certain that the adaptation Keegan refers to is the removal of the verse’s first half, which reads in full “Their
der Ratsherr und Dichter Barthold Heinrich Brockes vermag mit seiner deutsch-italienischen Übersetzung das ‘niederländische Gedankengut’ aus dem geistlichen Epos im frühen 18. Jahrhundert der Hansestadt Hamburg richtig freizusetzen. Marinos epische Kindermord-Adaptation avanciert in der europäischen