The question of divine agency in the world remains one important unresolved underlying obstacle in the dialogue between theology and science. Modern notions of divine agency are shown to have developed out of the interaction of three factors in early modernity. Two are well known: late medieval perfect-being theology and the early modern application of the notion of the two books of God's revelation to the understanding of the natural order. It is argued the third is the early modern appropriation of the Augustinian doctrine of inspiration. This assumes the soul's existence and a particular description of divine agency in humans, which became more generally applied to divine agency in nature. Whereas Newton explicitly draws the parallel between divine agency in humans and that in nature, Darwin rejects its supposed perfection and Huxley raises serious questions regarding the traditional understanding of the soul. This book offers an alternative incarnational description of divine agency, freeing consideration of divine agency from being dependent on resolving the complex issues of perfect-being theology and the existence of the soul. In conversation with Barth's pneumatology, this proposal is shown to remain theologically coherent and plausible while resolving or avoiding a range of known difficulties in the science-theology dialogue.

Two memoirs written in the late 1950s by Robert Brennan, a republican activist in the early years of the twentieth century, journalist and close associate of Eamon de Valera. "Ireland Standing Firm" is a frank and pungent account of Robert Brennan's time as Irish Minister (in effect Irish Ambassador) in Washington immediately before and during the World War II. Brennan provides an account of his efforts in defending Irish neutrality and his meetings with leading American officials and politicians, including Franklin D. Roosevelt. In the second memoir, Brennan describes his close association with Eamon de Valera from their first meeting in prison in 1917 until de Valera's retirement as Taoiseach in 1959.

This book addresses a phenomenon that pervades the field of art history: the fact that English has become a widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English's rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent. What artistic, intellectual, and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words? Includes 10 essays in English, four in Italian, and one in German. Text in English, German and Italian.