By David Hall, Glenn Foard, Tracey Partida
An Atlas of Northamptonshire offers an old atlas of the better a part of Northamptonshire (the first zone having been released as An Atlas of Rockingham Forest). It provides in map shape the result of fieldwork and documentary study undertaken because the mid-1960s to map the panorama of the total of Northamptonshire ahead of enclosure via Parliamentary Act. this can be the 1st time a complete county has been thoroughly studied during this manner, and the 1st time a complete county has had a correct view of its medieval panorama with info of the medieval fields, woods, pastures and meadows which were mapped through ground-survey of archaeological continues to be proven the place attainable from aerial photos and early maps. it's also the 1st time a county has been mapped displaying all pre-parliamentary enclosure supplying complete information for the tricky topic of early enclosure in a midland county. whole appropriate historical map resources are indexed, many in deepest ownership and never lodged with county checklist places of work. Settlements are mentioned in line with the precise mapping of each condominium depicted on old maps as wells the level of earthworks, which supplies a lot new facts relative to payment improvement within the Midlands. in addition to being hugely appropriate for someone learning medieval settlements and enclosure, it illustrates how GIS can be utilized to offer a truly great amount of old and panorama info for any sector. The in actual fact laid out maps in complete color all through comprise a tremendous volume of information which jointly offer a desirable new portrait of this old county.
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Additional resources for An Atlas of Northamptonshire: The Medieval and Early-Modern Landscape
Although (or perhaps because) Arachne’s tapestry wins the day, Minerva destroys it, and then thwarts Arachne’s ensuing suicide attempt by transforming her into a spider. In book 10 the two best-known performances of the legendary Orpheus, in the underworld and in Thrace, are presented by Ovid in full. In the first, he sings to the gods of the underworld to persuade them to release his dead wife, Eurydice. He succeeds, but loses Eurydice a second time when he turns to gaze at her on the way out of the underworld.
608–728). Again the power of persuasion is at work, this time in a private and erotic rather than a public and social setting, as Venus urges her husband, Vulcan, to create armor for a son fathered by another (albeit mortal) man. She alludes to Thetis’s successful request in Iliad 18 (te filia Nerei / te potuit lacrimis . . 376). The weakness of Venus’s appeal only serves to highlight the fact that Vulcan’s obligation to her is marital only, not a reciprocal sense of duty as in Thetis’s case. The motivation in this scene will instead be Eros, the irresistibility of Venus, marking a shift from the Iliad’s concern with mh`ni~, anger, and its impact on society, to the Aeneid’s preoccupation with the impact of amor on Roma.
Damoitas and Daphnis in Idylls 6 also present longer, self-contained poems. The thematic responsion so evident in the songs of the Metamorphoses contest is also characteristic of many bucolic songs; in Eclogues 3, for example, Menalcas responds to the themes and views expressed in each of Damoetas’s stanzas (Jupiter vs. Apollo, Galatea vs. ). 662–78). As is so often true in this poem, however, similarities between the Metamorphoses passage and its models only highlight the innovations of Ovid’s practice.
An Atlas of Northamptonshire: The Medieval and Early-Modern Landscape by David Hall, Glenn Foard, Tracey Partida