Walden Pond. The Grand Canyon.Yosemite National Park. Throughout the twentieth century, photographers and filmmakers created unforgettable images of these and other American natural treasures. Many of these images, including the work of Ansel Adams, continue to occupy a prominent place in the American imagination. Making these representations, though, was more than a purely aesthetic project. In fact, portraying majestic scenes and threatened places galvanized concern for the environment and its protection. Natural Visions documents through images the history of environmental reform from the Progressive era to the first Earth Day celebration in 1970, showing the crucial role the camera played in the development of the conservation movement. In Natural Visions, Finis Dunaway tells the story of how visual imagery—such as wilderness photographs, New Deal documentary films, and Sierra Club coffee-table books—shaped modern perceptions of the natural world. By examining the relationship between the camera and environmental politics through detailed studies of key artists and activists, Dunaway captures the emotional and spiritual meaning that became associated with the American landscape. Throughout the book, he reveals how photographers and filmmakers adapted longstanding traditions in American culture—the Puritan jeremiad, the romantic sublime, and the frontier myth—to literally picture nature as a place of grace for the individual and the nation. Beautifully illustrated with photographs by Ansel Adams, Eliot Porter, and a host of other artists, Natural Visions will appeal to a wide range of readers interested in American cultural history, the visual arts, and environmentalism.

Takes readers on a color-illustrated journey into the world's oceans, describing such fish and animals as vampire squid, hatchet fish, and elephant seals as well as deep-sea exploration equipment and the effects of water pressure.

Visions of Nature revives the work of late nineteenth-century landscape photographers who shaped the environmental attitudes of settlers in the colonies of the Tasman World and in California. Despite having little association with one another, these photographers developed remarkably similar visions of nature. They rode a wave of interest in wilderness imagery and made pictures that were hung in settler drawing rooms, perused in albums, projected in theaters, and re-created on vacations. In both the American West and the Tasman World, landscape photography fed into settler belonging and produced new ways of thinking about territory and history. During this key period of settler revolution, a generation of photographers came to associate “nature” with remoteness, antiquity, and emptiness, a perspective that disguised the realities of Indigenous presence and reinforced colonial fantasies of environmental abundance. This book lifts the work of these photographers out of their provincial contexts and repositions it within a new comparative frame.

"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books "This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin "Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly "Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement

Investigate some of the most vibrant realms on Earth. Track sea turtles on their annual migrations, explore the Titanic, or scuba dive through underwater caverns. Each book sends the reader on a mission to explore a particular ocean zone and examine its wildlife and geography. The explorer is equipped with a route map, equipment, and a firm base of scientific facts and theories explaining everything from how satellite navigation works to marine snow.

H.D’s writing continues to inspire generations of readers. Bringing together a number of never-before-published essays, this new collection of H.D.’s writings introduces her compelling perspectives on art, myth, and the creative process. While H.D. is best known for her elemental poetry, which draws heavily on the imagery of natural and ancient worlds, her critical writings remain a largely underexplored and unpublished part of her oeuvre. Crucial to understanding both the formative contexts surrounding her departure from Imagism following the First World War and her own remarkable creative vision, Notes on Thought and Vision, written in 1918, is one of the central works in this collection. H.D. guides her reader to the untamed shores of the Scilly Isles, where we hear of powerful, transformative experiences and of her intense relationship with the paintings of Leonardo da Vinci. The accompanying essays, many published here for the first time, help color H.D.’s astute critical engagement with the past, from the city of Athens and the poetry of ancient Greece. Like Letters to a Young Painter (2017), also published in the ekphrasis series, this collection is essential reading for anyone interested in the creative process.

Fits, trances, visions, speaking in tongues, clairvoyance, out-of-body experiences, possession. Believers have long viewed these and similar involuntary experiences as religious--as manifestations of God, the spirits, or the Christ within. Skeptics, on the other hand, have understood them as symptoms of physical disease, mental disorder, group dynamics, or other natural causes. In this sweeping work of religious and psychological history, Ann Taves explores the myriad ways in which believers and detractors interpreted these complex experiences in Anglo-American culture between the mid-eighteenth and early-twentieth centuries. Taves divides the book into three sections. In the first, ranging from 1740 to 1820, she examines the debate over trances, visions, and other involuntary experiences against the politically charged backdrop of Anglo-American evangelicalism, established churches, Enlightenment thought, and a legacy of religious warfare. In the second part, covering 1820 to 1890, she highlights the interplay between popular psychology--particularly the ideas of "animal magnetism" and mesmerism--and movements in popular religion: the disestablishment of churches, the decline of Calvinist orthodoxy, the expansion of Methodism, and the birth of new religious movements. In the third section, Taves traces the emergence of professional psychology between 1890 and 1910 and explores the implications of new ideas about the subconscious mind, hypnosis, hysteria, and dissociation for the understanding of religious experience. Throughout, Taves follows evolving debates about whether fits, trances, and visions are natural (and therefore not religious) or supernatural (and therefore religious). She pays particular attention to a third interpretation, proposed by such "mediators" as William James, according to which these experiences are natural and religious. Taves shows that ordinary people as well as educated elites debated the meaning of these experiences and reveals the importance of interactions between popular and elite culture in accounting for how people experienced religion and explained experience. Combining rich detail with clear and rigorous argument, this is a major contribution to our understanding of Protestant revivalism and the historical interplay between religion and psychology.