Over centuries, discoveries of fossil bones spawned legends of monsters such as giants and dragons. As the field of earth sciences matured during the 19th century, early fossilists gained understanding of prehistoric creatures such as Tyrannosaurus, Triceratops and Stegosaurus. This historical study examines how these genuine beasts morphed in the public imagination into mythical, powerful engines of destruction and harbingers of cataclysm, taking their place in popular culture, film, and literature as symbols of "lost worlds" where time stands still.

"Passionate and meticulous . . . [Ehrlich] delivers thought-provoking metaphors, unforgettable scenes and many beautifully worded phrases." —Benjamin Labatut, The New York Times Book Review One of The Telegraph's best books of the year The first major biography of the Nobel Prize–winning scientist who discovered neurons and transformed our understanding of the human mind—illustrated with his extraordinary anatomical drawings Unless you’re a neuroscientist, Santiago Ramón y Cajal is likely the most important figure in the history of biology you’ve never heard of. Along with Charles Darwin and Louis Pasteur, he ranks among the most brilliant and original biologists of the nineteenth century, and his discoveries have done for our understanding of the human brain what the work of Galileo and Sir Isaac Newton did for our conception of the physical universe. He was awarded the Nobel Prize in 1906 for his lifelong investigation of the structure of neurons: “The mysterious butterflies of the soul,” Cajal called them, “whose beating of wings may one day reveal to us the secrets of the mind.” And he produced a dazzling oeuvre of anatomical drawings, whose alien beauty grace the pages of medical textbooks and the walls of museums to this day. Benjamin Ehrlich’s The Brain in Search of Itself is the first major biography in English of this singular figure, whose scientific odyssey mirrored the rocky journey of his beloved homeland of Spain into the twentieth century. Born into relative poverty in a mountaintop hamlet, Cajal was an enterprising and unruly child whose ambitions were both nurtured and thwarted by his father, a country doctor with a flinty disposition. A portrait of a nation as well a biography, The Brain in Search of Itself follows Cajal from the hinterlands to Barcelona and Madrid, where he became an illustrious figure—resisting and ultimately transforming the rigid hierarchies and underdeveloped science that surrounded him. To momentous effect, Cajal devised a theory that was as controversial in his own time as it is universal in ours: that the nervous system is comprised of individual cells with distinctive roles, just like any other organ in the body. In one of the greatest scientific rivalries in history, he argued his case against Camillo Golgi and prevailed. In our age of neuro-imaging and investigations into the neural basis of the mind, Cajal is the artistic and scientific forefather we must get to know. The Brain in Search of Itself is at once the story of how the brain as we know it came into being and a finely wrought portrait of an individual as fantastical and complex as the subject to which he devoted his life.

Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Located near the southern edge of the Pennsylvania anthracite, the town of St. Clair in the early half of the 19th century seemed to be perfectly situated to provide fuel to the iron and steel industry that was the heart of the Industrial Revolution in America. It was a time of unprecedented promise and possibility for the region, and yet, in the years between 1830 and 1880, only grandiose illusions flourished there. St. Clair itself succumbed early on to a devastating economic blight, one that would in time affect anthracite mining everywhere. In this dramatic work of social history, Anthony F. C. Wallace re-creates St. Clair in those years when expectations collided with reality, when the coal trade was in chronic distress, exacerbated by the epic battles between the forces of labor and capital. As he did in his Bancroft Prize-winning Rockdale, Wallace uses public records and private papers to reconstruct the operation of an anthracite colliery and the life of a working-man’s town totally dependent upon it. He describes the labor hierarchy of the collieries, the communal spirit that sprang up in the outlying mine patches, the polyglot immigrant life in the taverns and churchs, and the workingmen’s societies that provided identity to the miners and gave relief to families in distress. He examines the birth of the first effective miners’ union and documents the escalating antagonism between Irish immigrant workers—mostly Catholic—and the Protestant middle classes who owned the collieries. Wallace reveals the blindness, greed, and self-congratulation of the mine owners and operators. These “heroes” of the entrepreneurial wars disregarded geologists’ warnings that the coal seams south of St. Clair were virtually inaccessible and, at best, extremely costly to mine, and then blamed their economic woes on the lack of a high tariff on imported British iron. To cut costs, they ignored the most basic and safety engineering practices and then blamed “the careless miner” and “Irish hooligans” for the catastrophic accidents that resulted. In thrall to a great dream of wealth and power, they plunged ahead to bankruptcy while the miners paid with their lives. St. Clair is a rich and illuminating work of scholarship—an engrossing portrait of a disaster-prone industry (a portrait that stands as a sober warning to the nuclear-power industry) and of the tragic hubris of a ruling class that brough ruin upon a Pennsylvania coal town at a crucial moment in its history.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

While many Civil War reference books exist, there is no single compendium that contains important details about the combatant states (and territories) that Civil War researchers can readily access for their work. People looking for information about the organization, activities, economies, demographics, and prominent personalities of Civil War states and state governments must assemble data from a variety of sources, and many key sources remain unavailable online. This volume, the first of six, provides a crucial reference book for Civil War scholars and historians, professional or amateur, seeking information about individual states or groups of states. Its principal sources include the Official Records, state adjutant-general reports, legislative journals, state and federal legislation, federal and state executive speeches and proclamations, and the general and special orders issued by the military authorities of both governments. Designed and organized for easy use, this book can be read in two ways: by individual state, with each chapter offering a stand-alone skeletal history of an individual stateÕs war years, or across states, comparing reactions to the same event or solutions to the same problems.

Long overdue, this important first full length account in English of the history of Japan’s first foreign settlement, which for centuries was the country’s only ‘front door’to the outside world, will be widely welcomed. Following the opening of Japan’s ports in 1859, Nagasaki rapidly became one of Japan’s leading industrial centres, which included shipbuilding, but, other than the history surrounding the atomic bombing of August 1945, in the post-war period, it has been largely overshadowed by interest in the Meiji settlements of Kobe and Yokohama. Fully illustrated, the value of the work is reinforced by additional key data to be found in the appendices, including the 1866 and 1898 Directories of Foreign Residents, the 1872 List of Property being Rented, a List of Existing Cultural Assets of the Former Nagasaki Foreign Settlement and a chronology of ‘Madame Butterfly and Nagasaki’.