Answers to how various mythological, Biblical, and literary themes have been treated in literature, art, music, and the performing arts can be found in this work. It provides an analysis of over 100 selected themes that reflect the increasingly interdisciplinary nature of scholarly and academic work through the use of various iconographical sources. The alphabetical arrangement facilitates browsing, while the six indexes provide multiple access by considering, among others, references to the Bible; Judeo-Christian personages, places and concepts; and artists and works of art".--"Outstanding Reference Sources : the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA.

"The heart of Christianity is a myth which is also a fact." --C. S. Lewis In From Achilles to Christ, Louis Markos introduces readers to the great narratives of classical mythology from a Christian perspective. From the battles of Achilles and the adventures of Odysseus to the feats of Hercules and the trials of Aeneas, Markos shows how the characters, themes and symbols within these myths both foreshadow and find their fulfillment in the story of Jesus Christ--the "myth made fact." Along the way, he dispels misplaced fears about the dangers of reading classical literature, and offers a Christian approach to the interpretation and appropriation of these great literary works. This engaging and eminently readable book is an excellent resource for Christian students, teachers and readers of classical literature.

"What has Jesus Christ to do with English literature?" ask David Lyle Jeffrey and Gregory Maillet in this insightful survey. First and foremost, they reply, many of the world's best authors of literature in English were formed--for better or worse--by the Christian tradition. Then too, many of the most recognized aesthetic literary forms derive from biblical exemplars. And finally, many great works of literature demand of readers evaluative judgments of the good, the true and the beautiful that can only rightly be understood within a Christian worldview. In this book Jeffrey and Maillet offer a feast of theoretical and practical discernment. After an examination of literature and truth, theological aesthetics, and the literary character of the Bible, they turn to a brief survey of literature from medieval times to the present, highlighting distinctively Christian themes and judgments. In a concluding chapter they suggest a path for budding literary critics through the current state of literary studies. Here is a must-read for all who are interested in a Christian perspective on literary studies. The Christian Worldview Integration Series, edited by J. P. Moreland and Francis J. Beckwith, seeks to promote a robust personal and conceptual integration of Christian faith and learning, with textbooks focused on disciplines such as education, psychology, literature, politics, science, communications, biology, philosophy, and history.

This fascinating examination of the earliest years of Christianity reveals how the man we call St. Paul shaped Christianity as we know it today.
Historians know almost nothing about the two decades following the crucifixion of Jesus, when his followers regrouped and began to spread his message. During this time Paul joined the movement and began to preach to the gentiles. Using the oldest Christian documents that we have--the letters of Paul--as well as other early Chris-tian sources, historian and scholar James Tabor reconstructs the origins of Christianity. Tabor shows how Paul separated himself from Peter and James to introduce his own version of Christianity, which would continue to develop independently of the message that Jesus, James, and Peter preached.
"Paul and Jesus" illuminates the fascinating period of history when Christianity was born out of Judaism.

Performing the Visual explores the practice of wall painting in China from a new perspective. Relying on rare, virtually unpublished drawings on Buddhist themes from a long-hidden medieval library in western China, the author analyzes the painters' pictorial strategies. She also examines the financial accounting of Buddhist temples, providing practical information that ninth- and tenth-century critics ignored: how artists were paid and when, the temple's role as mediator between patrons and artists, and the way painters functioned outside the monastic system, working in guilds and secular academies affiliated with local government. Based on the careful study of hundreds of inaccessible wall paintings at Dunhuang, arguably Asia's largest and most important Buddhist site, the author shows that although critics celebrated spontaneous feats with brush and ink, artists at Dunhuang were heavily dependent on concrete tools such as sketches in the preparation of wall painting.

The comprehensive study of the Italian Renaissance altarpiece from the 13th to the early 17th century The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time-whether painter or sculptor, major or minor-who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece-"immagini" (icons), "historie" (narratives), and "misteri" (mysteries)-and is illustrated with 250 beautiful reproductions of the artworks.

A breathtaking journey into the hidden history of medieval manuscripts, from the Lindisfarne Gospels to the ornate Psalter of Henry VIII.

Medieval manuscripts can tell us much about power and art, knowledge and beauty. Many have survived because of an author’s status—part of the reason we have so much of Chaucer’s writing, for example, is because he was a London-based government official first and a poet second. Other works by the less influential have narrowly avoided ruin, like the book of illiterate Margery Kempe, found in a country house closet, the cover nibbled on by mice. Scholar Mary Wellesley recounts the amazing origins of these remarkable manuscripts, surfacing the important roles played by women and ordinary people—the grinders, binders, and scribes—in their creation and survival.

The Gilded Page is the story of the written word in the manuscript age. Rich and surprising, it shows how the most exquisite objects ever made by human hands came from unexpected places.

Bring on the doodles

Zen doodle, that is In "Zen Doodle: Tons of Tangles," you'll find gorgeous images of the best doodle art from around the world. This collection of drawings and painted canvases from dozens of contributors features thousands of tangle patterns and doodle designs to inspire you to doodle anything and everything.

Create a mythical, doodled beast or abstract work of art. Draw an inspirational tangled card for a friend or add doodled intrigue to your art journal with patterned shapes. "Zen Doodle" provides you with the first steps toward creating unique tangled art, including traditional tiles, letterforms, Zendalas, landscapes, four-tile ensembles, paper quilts and more

Inside you'll find:

• More than 100 pieces of Zen doodled art from 42 artists.
• Step-by-step instruction to help you begin your own Zen doodles.
• Four chapters of doodle inspiration: Abstracts, Shapes & Objects, Animals & Beasts, and Friendship & Love.

Isn't it time you take your tangles to the next level?

Art and the Artist in the Contemporary Israeli Novel presents studies of eight contemporary works of Israeli fiction by eight major Israeli novelists. It deals with a society where drama, lived in reality but also in the mind, is a central moving force. What this book shows is the ways these texts deal with the themes of creativity and the creation of a work of art and with the way art and artists are portrayed in a culture that is often perceived as being otherwise preoccupied. The book involves close and painstaking readings of these novels and travels along a broad spectrum of themes. It also shows how these texts engage in dialogue with texts of the Jewish tradition, on the one hand, and, on the other hand, with each other. Two major points of the book are its emphasis on the work as literary art and the way the same themes often find their way into the varied works created by this literary generation. The book notes two tendencies among Israeli writers: that there is a great "urge to tell" their story and the story of Israel; and that to make clear not only what is "happening" in these novels but also what is "going on" in their works of art, the novelist take the leisurely route of "literary emerging"- slowly but surely leading the reader to see how art emerges from the most prosaic of events. Despite its easygoing tone, the book still claims to be a serious book, dealing with serious issues, both ethical and metaphysical. One of the cases this book endeavors to make is that one of the main goals of contemporary Israeli writers is to insert their works of art-via a midrashic mode of writing in which previous texts are constantly being re-written and being made modern-as links in the great chain of the Jewish textual tradition. These novels often refer back to biblical tales and to rabbinic ways of reading them. But they also demonstrate how the writers themselves and their books and are also a part of that tradition. Most of all, however, these writers are supremely aware that they are artists and that they have a particular responsibility to their art.

Pulitzer Prize-winning novelist Marilynne Robinson is one of the most eminent public intellectuals in America today. In addition to literary elegance, her trilogy of novels (Gilead, Home, and Lila) and her collections of essays offer probing meditations on the Christian faith. Many of these reflections are grounded in her belief that the sixteenth-century Protestant Reformer John Calvin still deserves a hearing in the twenty-first century. This volume, based on the 2018 Wheaton Theology Conference, brings together the thoughts of leading theologians, historians, literary scholars, and church leaders who engaged in theological dialogue with Robinson's published work-and with the author herself.

"A fine collection of probing and imaginative discussions on the relation between the Incarnation and the arts." -Nicholas Wolterstorff, Yale Divinity School

This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation. Dr Cordelia Warr is Senior Lecturer in Art History, University of Manchester, UK.

A record of material and spiritual gifts to churches, compiled from 3000 wills made over 180 years. Reads like a medieval detective story. A splendid book... should be treated as a companion volume to The Stripping of the Altars. JULIAN LITTEN, CHURCH TIMES In the late medieval churches of the former deanery of Dunwich there are many features which were provided by testamentary gifts; this study of three thousand wills from fifty-two Suffolk parishes, written between 1370 and 1547, records such material and spiritual bequests. Many purchased prayer (the prayers of the poor being particularly sought), vital for the swift passage of the soul through Purgatory; other testators left instructions for the acquisition of liturgical books, church plate and embroideredvestments. Gifts and outright donations also provided stained glass, seven-sacrament fonts and rood-screens which have survived. The wills give no hint of the destruction that was to come - a medieval chancel with vacant niches and whitewashed walls says more than the wills are prepared to tell - but the pennies and shillings which had helped towards building expenses in this coastal district of East Anglia produced at least two of the finest parish churches in the country within a few decades of the Reformation. The late JUDITH MIDDLETON-STEWART was a tutor for the Board of Continuing Education for the universities of Cambridge and East Anglia.

A richly illustrated examination of food in the Bible, concentrating on the social aspects of eating. Why do we think it was an apple that Eve offered to Adam? In fact the Bible tells us nothing of the kind, yet apples figure in the illustrations. Out of literally hundreds of meals mentioned in the Bible, only relatively fewwere ever illustrated. This book discusses the most frequently illustrated scenes, covering the thirteen centuries from Roman catacomb paintings and sarcophagus reliefs to Rembrandt and Poussin. Many of the subjects discussed willbe widely familiar, others, such as the meals of Ruth and of the Parables, perhaps less so. Close attention is paid to the biblical text and its coverage in the illustrations. In rare instances the images have no source in the text. The popular scene of Joseph cooking for the infant Jesus, for example, is never mentioned. It is known only from biblical commentaries and from the extant illustrations. The book contains some 160 colour images illustrating the twenty-two meals discussed. It will provide food for thought for readers interested in the study of the Bible and biblical commentaries, the history of meals and food, and the history of art. C.M. KAUFFMANN was Keeper of Prints & Drawings and Paintings at the Victoria and Albert Museum and then Director of the Courtauld Institute and Professor of the History of Art, University of London. Among his publications are catalogues of paintingsat the V & A and the Wellington Museum and also books and articles on medieval art, including Romanesque Manuscripts (1066-1190) and Biblical Imagery in Medieval England 700-1550.

David Moessner proposes a new understanding of the relation of Luke's second volume to his Gospel to open up a whole new reading of Luke's foundational contribution to the New Testament. For postmodern readers who find Acts a 'generic outlier,' dangling tenuously somewhere between the 'mainland' of the evangelists and the 'Peloponnese' of Paul-diffused and confused and shunted to the backwaters of the New Testament by these signature corpora-Moessner plunges his readers into the hermeneutical atmosphere of Greek narrative poetics and elaboration of multi-volume works to inhale the rhetorical swells that animate Luke's first readers in their engagement of his narrative. In this collection of twelve of his essays, re-contextualized and re-organized into five major topical movements, Moessner showcases multiple Hellenistic texts and rhetorical tropes to spotlight the various signals Luke provides his readers of the multiple ways his Acts will follow "all that Jesus began to do and to teach" (Acts 1:1) and, consequently, bring coherence to this dominant block of the New Testament that has long been split apart. By collapsing the world of Jesus into the words and deeds of his followers, Luke re-configures the significance of Israel's "Christ" and the "Reign" of Israel's God for all peoples and places to create a new account of 'Gospel Acts,' discrete and distinctively different than the "narrative" of the "many" (Luke 1:1). Luke the Historian of Israel's Legacy combines what no analysis of the Lukan writings has previously accomplished, integrating seamlessly two 'generically-estranged' volumes into one new whole from the intent of the one composer. For Luke is the Hellenistic historian and simultaneously 'biblical' theologian who arranges the one "plan of God" read from the script of the Jewish scriptures-parts and whole, severally and together-as the saving 'script' for the whole world through Israel's suffering and raised up "Christ," Jesus of Nazareth. In the introductions to each major theme of the essays, this noted scholar of the Lukan writings offers an epitome of the main features of Luke's theological 'thought,' and, in a final Conclusions chapter, weaves together a comprehensive synthesis of this new reading of the whole.