This volume sets out to explore the world of domestic devotions and is premised on the assumption that the home was a central space of religious practice and experience throughout the early modern world. The contributions to this book, which deal with themes dating from the fifteenth to the eighteenth century, tell of the intimate relationship between humans and the sacred within the walls of the home. The volume demonstrates that the home cannot be studied in isolation: the sixteen essays, that encompass religious history, the histories of art and architecture, material culture, literary history, and social and cultural history, instead point individually and collectively to the porosity of the home and its connectedness with other institutions and broader communities. Contributors: Dotan Arad, Kathleen Ashley, Martin Christ, Hildegard Diemberger, Marco Faini, Suzanna Ivanič, Debra Kaplan, Marion H. Katz, Soyeon Kim, Hester Lees-Jeffries, Borja Franco Llopis, Alessia Meneghin, Francisco J. Moreno Díaz del Campo, Cristina Osswald, Kathleen M. Ryor, Igor Sosa Mayor, Hanneke van Asperen, Torsten Wollina, and Jungyoon Yang.

This book explores a range of social, institutional and discursive conditions in and through which criticism emerged and functioned in 19th-century France, and goes on to develop broader theoretical questions drawn from historical case studies.

Any branch of biology depends for its progress on the development of new concepts and to a lesser, but sometimes crucial, extent on the elimination of erroneous notions. Understanding the roles of bacteria required first the observation that such minute creatures existed, and subsequently the exper imental demonstrations that their presence was necessary for the occurrence of particular phenomena. In this first volume, the authors review the development of scientific understanding of the role of microbes as agents of diverse natural processes. Notably absent is a separate review of the history of microbes as agents of disease, a his tory available in many other publications. Regrettably absent is a review of the his tory of microbes as agents of inorganic transformations, a serious omission that resulted from the illness of the prospective author late in the preparation of this volume. The topic will of course be treated in later volumes, although not predominantly in a historical manner. Otherwise, the emphasis in this volume is on the history of understanding interrelationships between modes of bacterial existence and the inanimate environment. These relationships were established long be fore multicellular, differentiated or ganisms appeared as potential microbial habitats, and their recognition and elucidation contributed greatly to the widened appreciation of bacterial di versity and the importance of these simpler creatures to the physiochemical conditions of the biosphere.

'When Matisse dies, Chagall will be the only painter left who understands what colour really is.' Picasso said this in the 1950s, when he and Chagall were eminent neighbours living in splendour on the Cote d'Azur. But behind Chagall's role as a pioneer of modern art lay struggle, heartbreak, bitterness, lost love, exile, and the miracle of survival. Born the son of a Russian Jewish herring merchant, Chagall fled the repressive "potato-coloured" czarist empire in 1911 to develop his genius in Paris, living alongside Modigliani and Leger in La Ruche, the artist's colony where "you either died or came out famous". Through war and revolution in Bolshevik Russia, Weimar Berlin, occupied France and 1940s New York, he gave form to his dreams, longings and memories in paintings which are among the most humane and joyful of the 20th century. Drawing on numerous interviews with the artist's family, friends, dealers, collectors, and illustrated with two hundred paintings, drawings and photographs, many previously unseen, this elegantly written biography gives for the first time a full and true account of Chagall the man and the artist - and of a life as intense, theatrical and haunting as his paintings.

Women engineers have been in the public limelight for decades, yet we have surprisingly little historically grounded understanding of the patterns of employment and education of women in this field. Most studies are either policy papers or limited to statistical analyses. Moreover, the scant historical research so far available emphasizes the individual, single and unique character of those women working in engineering, often using anecdotal evidence but ignoring larger issues like the patterns of the labour market and educational institutions. Crossing Boundaries, Building Bridges offers answers to the question why women engineers have required special permits to pass through the male guarded gates of engineering and examines how they have managed this. It explores the differences and similarities between women engineers in nine countries from a gender point of view. Through case studies the book considers the mechanisms of exclusion and inclusion of women engineers.

This study sets developments within the frameworks both of their unstable social, political and intellectual world and of the official and independent institutions of art.