This book is an attempt to understand suicide from the perspective of a group of men who decided to take their own lives. Their stories imply that male suicide is not, as frequently portrayed, an impulsive action arising from particular, sex-specific, causes but relates to a cluster of interlinked issues which accumulate over time. These issues were not distinctively male concerns but were connected to gender in that the men’s difficulties were exacerbated by the existence of an emotional culture which inhibited males from expressing specific feelings. The prevailing form of masculinity impeded them in developing knowledge of, and speaking about, their emotional needs and from accessing help and this prolonged their suffering and made suicide a possibility. These men produced compelling accounts of their emotional pain which belied notions of male inexpressiveness but the findings point to a link between emotionally constraining cultures and suicidal behaviour for some groups of men.

This volume, a feminist inquiry into the landscape, provides a bridge between feminist discussions of space and place and landscape interpretations.

This study is the result of a long standing interest by the author in the expression of social identities of the past, perhaps more specifically, social identities as translated through gender, and their resulting cultural expressions and material remains. The overarching subject explored is the gender structures prevalent in the Late Iron Age in the county of Vestfold, Norway. The Scandinavian Late Iron Age, popularly known as the Viking Age, is often represented as deeply and inherently male, with male aggressiveness as the ideal presented to the public, leaving little room for alternative gender roles in the popular imagination. Gender is one of the basic structuring principles of most societies, and as a social category it must be understood in order to grasp the cultural complexity of a society. The author will attempts to show that the gender roles of the Viking Age are perhaps often interpreted and represented too simplistically, and that popular stereotypes fail to take into account the complex multitude of categories, variations and negotiations which one ought to expect from the interpretation of gender. The author's basic proposition is that if the gender roles of the Viking Age were more complex than is often believed, this may be reflected in the mortuary landscape and in the choice of location for burials. To approach this subject, the author looks at the relative positioning of female graves in the mortuary landscape of the Viking Age, and focuses on two different sites in the county now known as Vestfold: Oseberg and Kaupang.

While many fields struggle to specify feminine contributions, the work of women has always played a fundamental role in American landscape architecture. Women claim responsibility for many landscape types now taken for granted, including community gardens, playgrounds, and streetscapes. This collection of essays by leaders in the discipline addresses the ways that gender has influenced the history, design practice and perception of landscapes. It highlights women's relation to landscape architecture, presents the professional efforts of women in the landscape realm, examines both the perception and experience of landscapes by women, and speculates on ways to re-imagine gender and the landscape.

While gender has been the subject of extensive critical inquiry, the debate has focused primarily on the human, particularly the female, body. The spaces bodies occupy and the ways in which those spaces are depicted in landscape art has not, however, been subject to investigation. This book is the first sustained attempt to fill this gap in art history.

Examining a wide range of representations of physical, metaphorical, and dream landscapes in Charlotte Brontë, George Eliot, and Thomas Hardy, Eithne Henson explores the way in which gender attitudes are expressed, both in descriptions of landscape as the human body and in ideas of nature. Henson discusses the influence of eighteenth-century aesthetic theory, particularly on Brontë and Eliot, and argues that Ruskinian aesthetics, Darwinism, and other scientific preoccupations of an industrializing economy, changed constructions of landscape in the later nineteenth century. Henson examines the conventions of reading landscape, including the implied expectations of the reader, the question of the gendered narrator, how place defines the kind of action and characters in the novels, the importance of landscape in creating mood, the pastoral as a moral marker for readers, and the influence of changing aesthetic theory on the implied painterly models that the three authors reproduce in their work. She also considers how each writer defines the concept of Englishness against an internal or colonial Other. Alongside these concerns, Henson interrogates the ancient trope that equates woman with nature, and the effect of comparing women to natural objects or offering them as objects of the male gaze, typically to diminish or control them. Informed by close readings, Henson's study offers an original approach to the significances of landscape in the 'realist' nineteenth-century novel.

This comprehensive and authoritative guide offers an evidence-based overview of healing gardens and therapeutic landscapes from planning to post-occupancy evaluation. It provides general guidelines for designers and other stakeholders in a variety of projects, as well as patient-specific guidelines covering twelve categories ranging from burn patients, psychiatric patients, to hospice and Alzheimer's patients, among others. Sections on participatory design and funding offer valuable guidance to the entire team, not just designers, while a planting and maintenance chapter gives critical information to ensure that safety, longevity, and budgetary concerns are addressed.