Through extensive research and reference to new archival material, Cavell recaptures and examines the experience of nineteenth-century readers.

An engaging look at ocean routes’ complicated beginnings and elusive impact. Sara Caputo’s Tracks on the Ocean is a sweeping history of how we have understood routes of travel over the ocean and how we came to represent that movement as a cartographical line. Focusing on the representation of sea journeys in the Western world from the early sixteenth century to the present, Caputo deftly argues that the depiction of these lines is inextricable from European imperialism, the rise of modernity, and attempts at mastery over nature. Caputo recounts the history of ocean tracks through an array of lively stories and characters, from the expeditions of Captain James Cook in the eighteenth century to tracks depicted in Moby Dick and popular culture of the nineteenth century to the use of navigational techniques by the British navy. She discusses how tracks evolved from tools of surveying into tools of surveillance and, eventually, into paths of environmental calamity. The impulse to record tracks on the ocean is, Caputo argues, reflective of an ongoing desire for order, schematization, and personal visibility, as well as occupation and permanent ownership—in this case over something that is unoccupiable and impossible to truly possess. Both beautifully written and deeply researched, Tracks on the Ocean shares how the lines drawn on maps tell the audacious and often tragic and violent stories of ocean voyages.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

The Oxford Handbook of British Romantic Prose is a full-length essay collection devoted entirely to British Romantic nonfiction prose. Organized into eight parts, each containing between five and nine chapters arranged alphabetically, the Handbook weaves together familiar and unfamiliar texts, events, and authors, and invites readers to draw comparisons, reimagine connections and disconnections, and confront frequently stark contradictions, within British Romantic nonfiction prose, but also in its relationship to British Romanticism more generally, and to the literary practices and cultural contexts of other periods and countries. The Handbook builds on previous scholarship in the field, considers emerging trends and evolving methodologies, and suggests future areas of study. Throughout the emphasis is on lucid expression rather than gnomic declaration, and on chapters that offer, not a dutiful survey, but evaluative assessments that keep an eye on the bigger picture yet also dwell meaningfully on specific paradoxes and the most telling examples. Taken as a whole the volume demonstrates the energy, originality, and diversity at the crux of British Romantic nonfiction prose. It vigorously challenges the traditional construction of the British Romantic movement as focused too exclusively on the accomplishments of its poets, and it reveals the many ways in which scholars of the period are steadily broadening out and opening up delineations of British Romanticism in order to encompass and thoroughly evaluate the achievements of its nonfiction prose writers.

Authoritative chapters chart new developments of gospels interpretation in four main areas: background, content, interpretation and impact.

There was some agreement about what memory traces were not, but little about what actually did characterize the memory trace. Yet models and theories of memory at the time could not help making implicit and often unrecognized assumptions about the memory trace. Originally published in 1982, this title aimed to strengthen the meagre base on which memory theories rested at the time. It challenges old assumptions and introduces new concepts, foremost the notion of singularity, as they become necessary to understand traces adequately. Some research data of the past was found in need of reinterpretation. The result is a new theory of the memory trace.

The first systematic inquiry into the Texas Rangers did not begin until 1935 with Walter Prescott Webb’s publication The Texas Rangers. Since then numerous works have appeared on the Rangers, but no volume has been published before that covers the various historians of the Rangers and their approaches to the topic. Editors Bruce A. Glasrud and Harold J. Weiss Jr. gather essays that profile individual historians of the Texas Rangers, explore themes and issues in Ranger history, and comprise archival research, biographies, and autobiographies. Several approaches in Texas historiography have influenced the writings on the Texas Rangers and serve to organize the chapters in the volume. Traditionalists (Chuck Parsons, Stephen L. Moore, and Bob Alexander) stress the revered happenings in the nineteenth century that brought about the Lone Star state and its empire-building Ranger force. To these historical writers the Texas Rangers were part of a golden age. Revisionists (Robert M. Utley, Louis R. Sadler, and Charles H. Harris) pull back from this adulation, emphasize the importance of overlooked ethnic and racial groups, and point out misbehavior on the part of Rangers. They also want to separate fact from fiction. Some Ranger historians (Frederick Wilkins and Mike Cox) straddle both traditional and revisionist approaches in their works. The final group, Cultural Constructionalists (Gary Clayton Anderson, Américo Paredes, and Monica Muñoz Martinez), continue the work of Revisionists and focus on an interconnected past that includes theoretical approaches and the study of memory and regional identities. Several themes emerge throughout the book. One is how the Rangers changed from unorganized mounted militia, dragoons in the modern sense, to organized cavalry forces with six-shooter firepower who served as a military arm of the state and nation. A second is how the dichotomous views of the Rangers—as either patriot warriors or bloody avengers—left their imprint on Anglo and Hispanic society. This divergent examination especially derived from incidents in the US-Mexican War, the period from 1910 to 1920, and the lower Rio Grande valley in the 1960s. And yet another theme is how the Rangers first resisted and fought against, yet ultimately absorbed, all creeds and colors into their ranks over two hundred years as they evolved into police officers: Anglo, Black, Hispanic, Indian, and women Rangers.

The concept of narrative has exerted a strong influence on a wide range of fields, from the humanities such as literature (and art and entertainment) to social studies, psychiatry, and psychology. The framework that allows access to narratives across a wide range of areas, from science to the humanities, has the potential to be improved as a fusion of cognitive science and artificial intelligence. Toward an Integrated Approach to Narrative Generation: Emerging Research and Opportunities is a critical scholarly book that focuses on the significance of narratives and narrative generation in various aspects of human society. Featuring an array of topics such as philosophy, narratology, and advertising, this book is ideal for software developers, academicians, philosophy professionals, researchers, and students in the fields of cognitive studies, literary studies, and digital content design and development.

Privileging the visual as the main method of communication and meaning-making, this book responds critically to the worldwide discussion about the Arctic and the North, addressing the interrelated issues of climate change, ethics and geopolitics. A multi-disciplinary, multi-modal exploration of the Arctic, it supplies an original conceptualization of the Arctic as a visual world encompassing an array of representations, imaginings, and constructions. By examining a broad range of visual forms, media and forms such as art, film, graphic novels, maps, media, and photography, the book advances current debates about visual culture. The book enriches contemporary theories of the visual taking the Arctic as a spatial entity and also as a mode of exploring contemporary and historical visual practices, including imaginary constructions of the North. Original contributions include case studies from all the countries along the Arctic shore, with Russian material occupying a large section due to the country’s impact on the region

Focusing on nineteenth-century attempts to locate the northwest passage, the essays in this volume present this quest as a central element of British culture.