An exploration of what constitutes the "poetic" in landscape painting today.t examines ways for artists in all mediums to express the poetic in theirainting. According to Elizabeth Mowry, a master of the poetic landscapeenre, a key element of his genre is evoking an emotional response in theiewer, which is achieved by the artist's arrangement of natural elements aseeply expressed through his or her imagination, intellect and feelings. Theaintings that grace these pages are all visual illustrations of the book'soncept of the poetic landscape. Paintings are examined through the specificoncerns for achieving the special sense of time and place found in theseandscapes such as colour, time of day, time of year, atmosphere and weather;s well as capturing the more illusive qualities that define this genre, suchs a sense of place recognition, leading and letting go, and grace of line.

In 1994, workers broke ground on China’s Three Gorges Dam. By its completion in 2012, the dam had transformed the ecology of the Yangzi River, displaced over a million people, and forever altered a landscape immortalized in centuries of literature and art. The controversial history of the dam is well known; what this book uncovers are its unexpected connections to the cultural traditions it seems to sever. By reconsidering the dam in relation to the aesthetic history of the Three Gorges region over more than two millennia, Fixing Landscape offers radically new ways of thinking about cultural and spatial production in contemporary China. Corey Byrnes argues that this monumental feat of engineering can only be understood by confronting its status as a techno-poetic act, a form of landscaping indebted to both the technical knowledge of engineers and to the poetic legacies of the Gorges as cultural site. Synthesizing methods drawn from premodern, modern, and contemporary Chinese studies, as well as from critical geography, art history, and the environmental humanities, Byrnes offers innovative readings of eighth-century poetry, paintings from the twelfth through twenty-first centuries, contemporary film, nineteenth-century British travelogues, and Chinese and Western maps, among other sources. Fixing Landscape shows that premodern poetry and visual art have something urgent to tell us about a contemporary experiment in spatial production. Poems and paintings may not build dams, but Byrnes argues that the Three Gorges Dam would not exist as we know it without them.

Using the poet's native Italian landscapes, Gilbert Highet recreates these poets in situ to evoke the essence of their work. His translations summon a land enchanted by presences - from Horace's beloved Tivoli to Ovid in the Abruzzi. Highet lets each poet tell his own story - their pleasures and agonies, passions and hates and above all their devotion to the natural world around them.

Canada: A Poetic Landscape is a well-considered, joy-filled journey into the vast splendour of the Canadian landscape, its history and heritage, crafted through the lens of an artist turned poet. Experience every province and territory, the book imparts lesser-known information about Canada through colourful, detailed, and whimsical paintings alongside culturally themed stories expressed in verse. From totem poles and inukshuks to the fur trade and the gold rush, from cottage country and maple syrup to high tides and sculptured rocks, from a long history of war to the land cradled on the waves, this book is rich with the uniqueness of each province and territory. Canada: A Poetic Landscape offers an alternative or addition to the map-colouring and memorization of provinces taught in most schools, and provides a more comprehensive understanding of geography and history. Written primarily for children aged ten years and older, this book will inspire readers, young and old, to want to learn more about and experience more of Canada.

A visionary new work from an award-winning poet.

Originally published in 1969. Alan Roper studies the degree to which Arnold achieved a unity of human significance and literal landscape. If landscape poetry is to rise above the level of what Roper calls "country contentments in verse," the poet cannot think and describe alternately; his thinking and describing must be a part of one another. That Matthew Arnold was aware of the difficulty in achieving the necessary unity becomes clear in his own criticism, which Roper examines along with a large and representative number of Arnold's poems. Considering the latter roughly in the order they were published—except for a fuller analysis of Empedocles on Etna, "The Scholar-Gipsy," and "Thyrsis"—Roper follows important changes in Arnold's view of the function and nature of poetry as it emerged in the poems themselves. Basic to the author's critical method is a distinction between geographical sites and poetic landscapes. Focusing on the ways that Arnold and, to a lesser extent, the Augustan and Romantic poets before him untied thought and description, Roper adds a critical dimension to Arnold scholarship. Concerned not with the development of Arnold's ideas nor with their sources in classical antiquity and the Romantic period, he considers Arnold a self-conscious poet who, though sometimes successful, became increasingly unsuccessful in his efforts to imbue a landscape with meaning for individual or social man.