Lost Garden Research Articles

Lost Gardens: From Knowledge to Revitalization and Cultural Valorization of Natural Elements

Gardens constantly change during their lifetime due to the growth and death of plants and to the effects (or lack) of management activities. The loss of garden areas, as well as the building’s collapse, can drastically impact the view and understanding of archaeological areas. The study and reconstruction of ancient lost gardens is a complex topic, and it seems that there is a lack of a general methodological approach for assessing the revitalization and valorization activities of these gardens, especially when considering the floristic features. Here, we discuss the required steps for developing the various intervention components for achieving a deep knowledge and understanding of natural, historical, and philosophical features of the place and its culture, from the past to the current conditions. Considering this knowledge, we propose a revitalization and a cultural valorization approach of the natural elements, and we discuss the limitations and issues arising in lost garden studies.

Revisiting BISFT Summer School 1998, The College of St Mark and St John Plymouth, ‘Women Facing the Boundaries of Difference’

In her paper Expelled Again from Eden: Facing Difference through Connection, delivered in Plymouth in 1998, Mary Grey said the story of the Garden of Eden was a dilemma for Feminist Theologians. This because it both bears responsibility for the Fall of relationship between God and Man and the misogyny that has ensued through the ages but also underpinning the desire to return to a supposed golden age of matriarchy with the re-emergence of the Goddess and a related ecological and egalitarian epoch of harmony. Grey makes a connection between the Lost Garden myth and the second wave feminist ideal of global sisterhood of the 1960s. Reflecting on her paper and updating it later, Grey concluded she still felt the challenge of years ago: the sense of rightness of connection and mutuality, yet the crucial need to embrace difference.

Brown, Scotland's Lost Gardens: From the Garden of Eden to the Stewart Palaces

Brown, <i>Scotland's Lost Gardens: From the Garden of Eden to the Stewart Palaces</i>

Tout ce qu'on ne te dira pas, Mongo by Dany Laferrière

of Ukrainians when the Soviets confiscated their crops; and wholesale murders of Ukrainians by their fellow countrymen who were co-opted by the German-controlled local police force. Khemlin’s story allows us to feel the ways in which these tragedies cast a permanent shadow on the place and reverberate in the psyche of its people. Misha is a midlevel police officer in the town of Chernigov (also Khemlin’s hometown ) investigating the apparent murder of Lilia V., a single woman in her mid-thirties. Lilia’s murder and the later suicide of Misha’s best friend turn out to be linked, and Misha shuttles back and forth between Chernigov and its neighboring villages in search of clues and a cache of gold that seems somehow connected to the murder. All the while a nosy neighbor of Lilia V.’s, Laevskaya, manages to constantly be in Misha’s way and even finds the presumed murder weapon, exposing Misha to her relentless ridicule of his shoddy investigative work. The novel’s irrational tone and twisty plot owe a debt to Fyodor Dostoevsky’s The Brothers Karmazov in featuring a cast of high-strung villagers whose absurd actions and exaggerated reactions obfuscate resolution of the murder. Khemlin’s Misha is a memorable character, distasteful in his anti-Semitism, sexism, and misplaced arrogance but playfully drawn to reveal aspects of his humanity and warmth. In fact, the majority of characters in The Investigator are imbued with moral ambiguity not only regarding possible connections to Lilia V.’s murder but also their families’ roles in Ukraine’s recent past, a blurring of the distinctions between perpetrators and victims . Misha gives his account of the murder investigation in a resigned voice punctuated with sardonic wit. It is a sensibility that feels authentically Ukrainian, and we all are poorer for prematurely losing such a fun and gifted storyteller as Khemlin. Lori Feathers Dallas, Texas Dany Laferrière. Tout ce qu’on ne te dira pas, Mongo. Montreal. Mémoire d’encrier. 2015. 299 pages. Tout ce qu’on ne te dira pas, Mongo (Everything they won’t tell you, Mongo) is Dany Laferrière’s first new book since his induction into the Académie Française. An immigrant to Montreal born in Haiti, Laferrière is the only writer in history from either of these countries to have joined the Immortals. In keeping with his now-consecrated place in francophone literature and with the tone of his last two books, Laferrière’s alter-ego narrator in Mongo is no longer the enfant terrible of his earlier works but a jaded sage dispensing advice to the younger generation. Here the narrator (which in classic Laferrière style both is and is not the author himself) bestows his knowledge and experience upon the fictitious Mongo, a recent immigrant to Montreal from Cameroon. Hodgepodge in structure, the first half of Mongo intersperses observations from the narrator’s notebook, transcripts from his Sunday-morning cultural commentary radio program, and scenes from café life in which he chats with Mongo and his Li Ang The Lost Garden Trans. Sylvia Li-chun Lin & Howard Goldblatt Columbia University Press Spanning generations of political struggles in Taiwan, a place that has seen much strife and political uncertainty, The Lost Garden recounts this history as related to one family and the complicated love story between Zhu Yingyong from an old, established family and Lin Xigeng, who has made his own fortune. The lush, descriptive narrative immerses the reader in the humid garden of the title that sits at the core of the novel, standing for history, desire, and family. Jonathan Levi Septimania The Overlook Press Jonathan Levi takes us on a rollicking journey through European and Near Eastern culture with this dizzying story of an organ tuner who discovers an unexpected heritage while searching for his lost love. This novel, Levi’s second in nearly twenty-five years, stretches the boundaries of the possible while never losing its focus on the frailties and triumphs of the human heart. Nota Bene WORLDLITERATURETODAY.ORG 95 white Quebecoise girlfriend. While the café scenes bring Laferrière closer to the fiction he used to write, the majority...

The Lost Garden by Li Ang

The Lost Garden by Li Ang

Imagining Space in the Lost Gardens of Apollo

Imagining Space in the Lost Gardens of Apollo

Beyond the blue rose: Modification of floral architecture with plant-specific chimeric repressors

There is a significant difference between cereal crops and floricultural crops in the concept of genetic modification. This is due to the difference in requirements for these agricultural products; wide variation of flower color, shape and fragrance for floricultural plants in contrast to productivity improvements or fine-tuning of physiological traits for crop plants. Bringing GM flowers to the market against their short product life involves the following factors: (1) a high-efficiency production and screening system of elite lines, (2) reliable methods to minimize biodiversity impact and evaluation of their efficacy, and (3) social receptivity based on intensive education and information sharing. We have developed an efficient system by merging the genetic information resources of the Arabidopsis genome and a transcription factor-based gene silencing system called CRES-T through the Flower CRES-T Project. In this project, we have demonstrated the applicability and general versatility of CRES-T in various plant species through experiments on eight different flower species with over 100 transcription factors. In addition to providing phenotypic information via the original database, we are attempting to improve public knowledge, for example, through the production of resin-embedded specimens of GM-flowers and reviving lost garden varieties of morning glory and using them in educational programs, to gain public acceptance of GM plants. Multi-petal cyclamens with complete sterility, which have been produced by suppressing a pair of floral-organ identity genes, will be released in the near future as the third GM commodity following Suntory's blue carnations and rose. This cyclamen represents the best example of a GM product with a low diversity impact ever produced.

The Women's Film History Project and Women and the Silent Screen

In the beginning, there was the 1978 Brighton conference. This was the catalyst for a renewed scholarly interest in cinema's early years and the installation of film theory within film history. About a decade after the turn to the ‘new historicism’ in mainstream film studies, groundbreaking publications in women's film history began to emerge. Kay Sloan focused on a number of women directors in The Loud Silents: Origins of the Social Problem Film,1 and in Unheimlichkeit des Blicks2 Heide Schlupmann analyzed early cinema in Wilhelmian Germany, highlighting a potential for oppositional women's perceptions.3 Miriam Hansen's Babel and Babylon: Spectatorship in American Silent Film4 offered an expanded view of the historicity of women in the silent screen era, and the first book-length study of a single woman director from the silent era came with Giuliana Bruno's Streetwalking on a Ruined Map,5 a seminal work that synthesized theories of feminine subjectivity and representation with film history and production. Cultural studies opened new vistas, decentring the filmic text to ‘make way for a more open, dispersed and non-linear field of research in which film is studied as an intersection of a range of discourses that circulate through a culture, a shift which leads to investigations of representation, reception and production through intertextual, intermedial, and contextual perspectives’.6 Shelley Stamp's Movie Struck Girls7 took up Hansen's baton along with cultural studies methodologies, and the book's title became a catchphrase in studies of spectatorship in the silent era. The camera obscura special issue on early women stars edited by Diane Negra8 was followed by A Feminist Reader in Early Cinema,9 a giant tome that presents the groundswell of US scholarship on early cinema.10 Kino International and Milestone concurrently released videos of silent films by women directors, and independent documentaries about early women filmmakers appeared in profusion, for example, The Lost Garden: the Life and Cinema of Alice Guy Blache (NFB, 1995) and Reel Models: the Women of Early Film (American Movie Classic, 2000). A new movement in feminist film scholarship and production was underway with a generation of women scholars who had been trained in film studies and were bent on making a mark on the discipline.

Pineapple Growing :

Pineapples are a tropical food crop, yet from the late 1600s onwards, they were grown extensively in the northerly latitudes of Europe. The race to produce the first fruit in Europe was won by the Dutch in 1685 but the production of the first British fruits between 1714 and 1716 triggered a mania for growing them and the horticultural developments that this stimulated are described. The advent of hot water heating from 1816 revolutionized pineapple growing and in the Victorian era the production of well-grown pineapples became the crucial challenge that every gardener worth his salt had to master so that fruits could be entered in the prestigious horticultural shows. The Victorian pineapple pit at The Lost Gardens of Heligan, which was restored in 1994, recalls 19th century pineapple growing. A description and evaluation of the cultivation of the pit using traditional Victorian methods, but lacking certain crucial facilities such as tanner’s bark and supplementary heating, is given.

Theological Hermeneutics: Interpreting “The Lost Garden of Immediacy”

Contemporary hermeneutics has turned from the art of textual interpretation to the world – constitutive functions of language and symbolic representation. It is stressed that all understanding takes place within horizons constituted by history and language. Building on the ultimate religious foundations of divinely revealed truth, theological hermeneutics reflects upon theology as the site of a circular mediation of Scripture, tradition, and culture. The guiding question of this article is: can a theological hermeneutics retranslate philosophical sources into the language of theology? For these purposes we must at first situate the theological phenomenon of Verbum at the center of philosophical hermeneutics. Secondly, it is necessary to give a brief account of how symbols (all in general and some in particular) function in religious language. Also, we can see that in the face of the dawn of some traditional religious symbols, we can find new ones emerging from new strategies of theological hermeneutics in the face of new ontology. The analysis of symbolic nature of theological hermeneutics directs us to the question of analogy. Eventually the subject of investigations turns to be “validity” of analogical language in theological hermeneutics, which have some paradoxical consequences. On the other hand, it is clear that these paradoxes are not simply about formal matters. It is amazing that the basic symbol functioning in analogical language for expressing the proper language of God-talk (theology) is the language itself.

Lasting: Poems on Aging (review)

Reviewed by: Lasting: Poems on Aging Robert Schnall Lasting: Poems on Aging Edited by Meg FilesPima Press, 2005, 293 pp., $18 (paper) In Lasting: Poems on Aging, editor Meg Files has brought together 158 contemporary poems that speak to the pain, grief and confusion with which we encounter mental and physical decline and death. The collection poses penetrating questions with no easy answers: How can we face death without believing in an afterlife? How can life have meaning when loss and death are so arbitrary? How should we live, knowing that we can die at any moment? And, finally, what are the moral implications of how we live? Many familiar names show up in the table of contents as well as some newer poets who deserve more critical attention. The key to the book's success and the main source of its potential importance is that it eloquently and movingly addresses issues we will all ultimately face. The majority of the speakers confront death without the consolation of an afterlife. In "Being Old, Still Playing" Gene Frumkin writes,"The old, all//of them, know that there are margins beyond which/there is no belief." Sometimes a speculation on our loss of memory with age leads directly into a meditation on the oblivion we will all face after death. In Anthony Hecht's "Sarabande on Attaining the Age of Seventy-Seven," the speaker laments that "The dramatis personae of our lives/Dwindle and wizen; familiar [End Page 167] boyhood shames,/The tribulations one somehow survives,/Rise smokily from propitiatory flames//Of our forgetfulness . . . ." Many of the poets distance themselves from suffering and death by treating them ironically. In "In the Sixth Year of My Father's Illness," Andrea Hollander Budy offers this mordant observation: "Some truths/we cannot learn. Some we forget,//as my father did, who yesterday/introduced himself to me." Despite this darkness and doubt, many find solace and pleasure in the present moment. Dana Gioia in "The Lost Garden" suggests that when we purge ourselves of our yearning for the past and of our hopes for the future, memory, too, can be a consolation: "The trick is making memory a blessing,/To learn by loss the cool subtraction of desire,/Of wanting nothing more than what has been . . . ." Sometimes as we grow older we feel more isolated and become increasingly desperate to believe. In Dorianne Laux's "After Twelve Days of Rain," a middle-aged woman tells us, "I've arrived/at a time in my life when I could believe/almost anything." At times life is seen as an uphill struggle; the only way to survive is to endure. In "Up But Not Over," Marge Piercy writes, "Always past these/mountains are higher peaks//and rougher terrain as the light/begins to dim and the load gets/heavier. Shuffle and sigh./The only way to go is on." In the end, death can be a blessing because it allows us to transcend worries and responsibilities. And Harvey Shapiro's moving short poem "Desk" reads: "After my death, my desk,/which is now so cluttered,/will be bare wood, simple and shining,/as I wanted it to be in my life,/as I wanted my life to be." The poems in Lasting run the gamut of forms and styles, and together they attest to the vibrancy of contemporary poetry. Meg Files has assembled a collection which touches on universal themes an which should speak urgently to all of us. Copyright © 2006 The Curators of the University of Missouri

Lost gardens of England

Lost gardens of England

Eden – A Simple Question of Observation

"Eden – A Simple Question of Observation." The Journal of Horticultural Science and Biotechnology, 80(3), p. 279 Additional informationNotes on contributorsTim SmitTim SmitBorn in Holland on 25 September 1954, Tim Smit read Archaeology and Anthropology at Durham University then worked for 10 years in the music industry as a composer/producer in both rock music and opera. In 1987, Tim moved to Cornwall where he and John Nelson 'discovered' and restored the Lost Gardens of Heligan. Tim remains a Director of the Gardens to the present day. Tim is also Chief Executive and co-founder of the Eden Project near St Austell in Cornwall, England. Eden began as a dream in 1995 and opened its doors to the public in 2000. Eden is proud of its success in changing peoples’ perceptions of the potential for, and the application of science by communicating and interpreting scientific concepts through the use of art, drama and storytelling as well as living up to its mission to take a pivotal role in local regeneration. Eden demonstrates, once and for all, that sustainability is not about sandals and nut cutlets, it is about good business practice and the citizenship values of the future. Tim is a Trustee, Patron and Board Member ofa number ofstatutory and voluntary organsiations both locally and nationally in the UK. He has received a variety ofnational awards including The Royal Society ofArts Albert Medal.1n 2002, he was awarded an Honorary CBE in the New Year’s Honours List and has received Honorary Doctorates and Fellowships from a number of Universities. Tim has taken part in many television and radio programmes and is a regular speaker at conferences, dinners and other events. Tim is the author of books about both Heligan and Eden and has contributed to publications on a wide variety ofsubjects. He lives in Cornwall and in his free time enjoys reading, film, music and art.

Ethnic Autobiography as Children's Literature: Laurence Yep's The Lost Garden and Yoshiko Uchida's The Invisible Thread

Ethnic Autobiography as Children's Literature:Laurence Yep's The Lost Garden and Yoshiko Uchida's The Invisible Thread Rocío G. Davis (bio) Ethnic American autobiographies are narratives that highlight the intersection of consciousness of cultural difference from the mainstream and personal development. Many of these ethnic autobiographies have challenged the generic scripts ostensibly required by traditional American autobiography. These revisionary texts center on individual awareness of the subject's ethnic position in relation to other dominant and minority cultural groups, and on the possibilities for its representation, and on how each group occupies certain areas, negotiates historical specificities, and forms communities. Importantly, these texts also subvert some of the traditional narrative structures of autobiography, offering innovative manners of inscribing life: through linked short stories, collaborative autobiographies, shifting or multiple perspectives, among other strategies. The evolution of recent ethnic autobiography for children written by minority groups has tended toward historical realism and toward intercultural narratives that emphasize the varied cultural influences a child growing up in the United States experiences, rather than on depicting that child acquiring a pure heritage identity. Contemporary ethnic literature for children tends to highlight ways of affirming and celebrating cultural differences as they simultaneously seek ways to cooperate and collaborate across different ethnic boundaries. When a constitutive part of that network of concepts involves ethnic appreciation and understanding, the autobiographical text plays a more operative role in articulating the context within which children can engage in a significant process of self-awareness, self-formation, and self-representation. These ethnic autobiographies thus perform a necessary task: by recontextualizing the forms and themes of traditional American autobiography, they enact alternative modes of being and identifying as American, through itineraries marked by separation and difference, rather than by integration. This essay on ethnic autobiography for children, which centers on two Asian American texts, supports the idea that language, immigrant histories, family, and location exist in a relation of dynamic interdependent parts that acquire significance as they are deployed in the representation of highly individual processes of subjectivity and affiliation. Laurence Yep's The Lost Garden and Yoshiko Uchida's The Invisible Thread, both published in 1991, offer multilayered approaches to the act and the art of ethnic life writing. Close readings of Yep's and Uchida's texts illustrate how ethnic autobiographies for children can complicate and enrich traditional conceptions of life writing with a dialogical structure and a heightened concern for metaphor. The protagonists' engagements with bilingualism; their positions as speaking subjects who illustrate Betty Bergland's idea of ethnic subjects as "inscribed by multiple discourses, positioned in multiple subjectivities and situated in multiple historical events" ("Postmodernism" 135); and the evolution of their perspective on immediate reality are paradigms of their process of representation. Interestingly, both Yep and Uchida are among the most prolific of Asian American writers for children, and their autobiographies were published when their status as children's authors had already been established. With almost 100 volumes of children's books between them—including non-fiction, picture books, mythology and folk tales, realist and historical narratives, the majority of which center on immigrant life in the United States—Yep and Uchida represent a vital component of Asian American writing. Reading their autobiographies critically gestures toward the multilayered meaning of their fictional production. The metaphors the writers choose and the often fragmented quality of their narratives thus signify on several levels, communicating specific knowledges and discourses about the lives of Asian American children. Thematic concerns related to the history and the role of Asians in the United States link Yep's and Uchida's autobiographies for children, and both foreground the act of writing as constitutive of the process of discovering or negotiating identity. These texts thus become highly complex engagements with ethnic and artistic reality because both are primarily Künstlerromane that stress their protagonists' process of creative development and describe the genesis of Yep's and Uchida's future literary endeavors. They are, likewise, autobiographies that emphasize how memories and consciousness of ethnicity in the United States inform and nuance their writing. Stuart Hall's description of the two simultaneous axes or vectors that "frame" diasporic identities applies to these texts: "the...

Metanarrative in Ethnic Autobiography for Children: Laurence Yep's "The Lost Garden" and Judith Ortiz Cofer's "Silent Dancing"

Metanarrative in Ethnic Autobiography for Children: Laurence Yep’s The Lost Garden and Judith Ortiz Cofer’s Silent Dancing Get access Rocío G. Davis Rocío G. Davis University of Navarre Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 27, Issue 2, March 2002, Pages 139–156, https://doi.org/10.2307/3250605 Published: 01 March 2002

The Lost Garden of Al-Andalus: Islamic Spain and the Poetic Inversion of Colonialism

In 1933, the Urdu and Persian poet Muhammad Iqbal (1873–1938) became the first Muslim to worship in the mosque of Cordoba since its conversion into a cathedral after the Moors were expelled from Spain in 1492. Iqbal had gone to London as a delegate to the third roundtable conference on the political future of India. On his return, he was invited to lecture in Madrid by the Orientalist Asin Palacios, and took the opportunity to visit the monument. Dramatizing the symbolic significance of his visit to the mosque, Iqbal swooned upon entering and uttered verses that presumably came to be included in his celebrated Urdu poem “Masjid-i Qurtubah”. Some years before, in 1919, the Egyptian Arabic poet Ahmad Shawqi (1868–1932) ended his five-year exile in Spain with a similar visit to the Andalusian monuments, albeit with less dramatic fanfare. Nevertheless, Shawqi as well was accompanied by his muse. In the introduction to his own famous poem about Islamic Spain, the “Siniyyah”, Shawqi recounts how the embryonic verses of this poem came to him as he toured the mosque and the Alhambra of Granada.

Unusually low carbon isotope ratios in plants from hanging gardens in southern Utah.

Leaf carbon isotope ratios (δ13C) and photosynthetic gas exchange were measured on plants growing in hanging garden communities in southern Utah, USA. Hanging gardens are unusual, mesic cliff communities occurring where water seeps from the sandstone bedrock in an otherwise extremely arid region; there is very limited overlap in species distributions inside and outside these gardens. Solar exposure in hanging gardens varied with orientation and one of the gardens (Ribbon Garden) was shaded throughout the day. The leaf δ13C values of plants in hanging gardens were significantly more negative than for plants from either nearby ephemeral wash or riparian communities. In Ribbon Garden, the observed δ13C values were as low as -34.8‰, placing them among the most negative values reported for any terrestrial plant species growing in a natural environment. Hanging garden plants were exposed to normal atmospheric CO2 with an average δ13C value of -7.9‰ and so the low leaf δ13C values could not be attributed to exposure to a CO2 source with low 13C content. There was a seasonal change toward more negative leaf δ13C values at the end of the growing season. The observed leaf δ13C values were consistent with photosynthetic gas exchange measurements that indicated unusually high leaf intercellular CO2 concentrations associated with the relatively low light levels in hanging gardens. Thus, extremely negative leaf δ13C values would be expected if significant amounts of the seasonal carbon gain occur at light levels low enough to be near the light compensation point. Maximum observed photosynthetic rates varied with light levels at each of the gardens, with maximum rates averaging 20.3, 14.6, and 3.1 μmol m-2 s-1 at Double Garden, Lost Garden, and Ribbon Garden, respectively. Leaf nitrogen contents averaged 18.5 mg g-1 in species from the more shaded hanging gardens (Lost and Ribbon). When expressed on a leaf area basis, nitrogen contents averaged 117 mmol N m-2 at Lost Garden and 65 mmol N m-2 at Ribbon Garden (shadiest of the two gardens). Leaf nitrogen isotope ratios averaged -2.3‰ (range of -0.7 to -6.1‰), suggesting that most of the nitrogen was derived from a biological fixation source which is most likely the Nostoc growing on the sandstone walls at the seep. These values contrast with leaf nitrogen isotope ratios of 5-9‰ which have been previously reported for arid zone plants in nearby ecosystems.

The Lost Garden of Coleridge

The Lost Garden of Coleridge

The Lost Gardens of Glasgow University

The Lost Gardens of Glasgow University

Perspective in Shakespeare’s English Histories (by Larry S. Champion)

Journal Article Perspective in Shakespeare’s English Histories (by Larry S. Champion) Get access Perspective in Shakespeare’s English Histories. By Larry S. Champion. Athens, Georgia: University of Georgia Press, 1980. Pp. 226. $16.00. John Wilders John Wilders John Wilders, Fellow at Worcester College, Oxford, is author of The Lost Garden: A View of Shakespeare’s English and Roman History Plays and is the Literary Consultant to the BBC television productions of Shakespeare’s plays. Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 33, Issue 4, Winter 1982, Pages 540–542, https://doi.org/10.2307/2870154 Published: 01 December 1982