Forgotten Landscapes... Despite the proud boast of the Liverpudlians of today that there has always been a Liverpool and always will be a Liverpool, the truth is that for many centuries the world got on quite well without us, and as cities go Liverpool is only a recent newcomer compared with most others across Europe. The granting of the much-vaunted Charter of 1207 and the presence of an imposing castle were all well and good but the fact remained that the town was little more than a fishing village with a nice beach for the following 450 years. The event which awakened Liverpool from its slumbrous backwaters was the British colonisation of the West Indies which triggered a trade in slaves, an occupation which Liverpool shipowners took up with alacrity and made fortunes from throughout the following 150 years. The slave-trade was the catalyst for the building of Liverpool and it was from 1650 onwards, throughout the shameful years of the enforced African diaspora and beyond, that the architectural and cultural framework of modern Liverpool was formed; much of it has now gone and much of it is falling into decay but with a little imagination the fragments of that forgotten landscape can still be glimpsed. Forgotten Lives...The natural corollary to envisaging Liverpool's lost landscape is to wonder what the people were like who inhabited the city; were they tougher than us? They had a whole host of diseases to cope with, harder lives and primitive living conditions; were they cleverer than us? Victorian engineering was breathtaking but it is more than remarkable that Llangollen's Pontcysllte aqueduct was begun as early as 1795; were they as cultured as us? Some of their art works have never been surpassed. The facts speak for themselves and given the obstacles they faced our ancestors were a remarkably resilient and hardy lot. Although the lives of many Liverpudlians have been documented there are far more whose stories lie mouldering in the city's archives and in this book I have tried to bring some of them back into the light of day to enlighten our lives and wonder at theirs.

Analysis of hundreds of art works from the period provides insights into forgotten landscapes and hidden geographies.After the Napoleonic wars many wealthy British women and men settled along the coast in Liguria and travelled in Piedmont and Valle d'Aosta in search of warmth and health. They established English-speaking colonies of retired clerics, colonial officials, aristocrats and industrialists at places such as Alassio, Bordighera, Sanremo and Portofino. Many were keen artists.This book assesses hundreds of topographical drawings, paintings and photographs of north-west Italy produced by these British visitors and residents in the nineteenth and early twentieth century. Through the identification and analysis of these works, scattered today in private and public collections in Italy and Britain, it provides insights into the way Italian landscapes were understood and appreciated. Considered in conjunction with historical photography, maps, archives and fieldwork, they deepen our knowledge of past land management traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.

Coming to prominence during the rubber fever of the late-nineteenth and early-twentieth centuries, the Putumayo has long been a site of political turmoil, a place of mass immigration, exile, subjugation, insurgency, and violence, all of which have fostered a long, international literary history. Colombia's Forgotten Frontier maps a literary map of this history for the first time. Lesley Wylie looks at works by writers from Latin America, the United States, and Europe— including works by Roger Casement, José Eustasio Rivera, and Williams Burroughs—in order to examine Colombia's literary legacy of marginality and conflict.

Drawing on multi-disciplinary debates surrounding the cultural production of place, space and memory in the post-industrial city, this study explores the role of moving images in representations and perceptions of everyday urban landscapes. It uses a unique spatial database of over 1700 archive films of Liverpool from 1897 to the present day.

This is the first book to examine the partially hidden history of metal music scenes within the city of Liverpool and the surrounding region of Merseyside in the North-West of England. It reveals that while Liverpool has historically been portrayed as a certain kind of ‘music city,’ metal has been marginalized within its music heritage narratives. This marginality was not inevitable. The book illustrates how it is not merely the product of historical representation but the result of forces of urban change and regional shifts in the economy of live music. Nor is this marginality inconsequential. Drawing on ethnographic research, Nedim Hassan demonstrates that it has influenced how the region’s metal scenes are perceived and how people feel towards them. Metal on Merseyside reveals how various people involved with such scenes work within often challenging circumstances to sustain the production of metal music and events. It also reveals the tensions that arise as scene members’ desires for an ideal metal community collide with forces of change. Metal on Merseyside is, therefore, a fascinating barometer for the contradictions apparent when people engage in creative labour to produce music that they love.

This volume contains over 150 paintings and drawings that evoke the landscape of Norfolk as it was in the first 50 years of the last century. It is compiled almost exclusively from a single collection of works by Horace Tuck. Few of the paintings have been seen by the public.