"In the nineteenth century a new type of mystic emerged in Catholic Europe. While cases of stigmatisation had been reported since the thirteenth century, this era witnessed the development of the 'stigmatic': young women who attracted widespread interest thanks to the appearance of physical stigmata. To understand the popularity of these stigmatics we need to regard them as the 'saints' and religious 'celebrities' of their time. With their 'miraculous' bodies, they fit contemporary popular ideas (if not necessarily those of the Church) of what sanctity was. As knowledge about them spread via modern media and their fame became marketable, they developed into religious 'celebrities'"--

In 1988, The Cloisters celebrated its fiftieth anniversary as a branch museum of The Metropolitan Museum of Art. Devoted to the art of medieval Europe, The Cloisters is a twentieth century museum designed in a style evocative of medieval architecture. Its combination of medieval and modern architectural elements, organized around arcades of five medieval cloisters, creates a unique and sympathetic context for the exhibition of sculpture, metalwork, textiles, and painting. This contextual approach has been enormously influential in introducing medieval art to the American public. The opportunity for both visitor and scholar to examine works of art in evocative settings has informed and inspired viewers since the Museum's opening in 1938. The collection continues to grow in a wide-ranging fashion, as exemplified by the recently acquired Langobardic reliefs and fourteenth-century stained glass from the Austrian castle chapel at Ebreichsdorf, which are examined here. A two-day scholarly symposium marked the fiftieth anniversary of The Cloisters, bringing together fifteen distinguished scholars from Europe and North America. Jointly sponsored by The Metropolitan Museum of Art and the International Center of Medieval Art, the symposium offered discussions of The Cloisters' history as well as concise papers emphasizing new research on specific works of art in the collection. Keynote papers by Ilene H. Forsyth and Willibald Sauerlander presented provocative critical reviews of the present state of research on Romanesque and Gothic art--the predominant strengths of the collection. Their appraisals and proposals for new directions of research confirm the rapidly changing and challenging state of medieval art scholarship. Symposium participants have revised their papers for publication, and contributions by members of the Museum's staff have been added. The twenty-two studies presented in this commemorative volume demonstrate the methodological diversity confronting the field of medieval art history. As a group, they offer an extraordinary tribute to the significance of The Cloisters Collection. (This title was originally published in 1991/92.)

Are Western epistemology, metaphysics, methodology and the philosophy of science grounded only in men's distinctive understandings of themselves, others, and nature? Does this less than human understanding distort our models of reason and of scientific inquiry? In different ways, the papers in this collection explore the evidence for these increasingly reasonable and intriguing questions. They identify how it is distinctively masculine perspectives on masculine experience which have shaped the most fundamental and formal aspects of systematic thought in philosophy and the natural and social sciences - precisely the aspects of thought believed most gender-neutral. They show how these understandings ground Aristotle's biology and metaphysics; the very definition of the problems of philosophy in Plato, Descartes, Hobbes and Rousseau; the `adversary method' which is the paradigm of philosophic and scientific reasoning; principles of individuation in philosophical ontology and the philosophy of language; individualistic assumptions in psychology; functionalism in sociological and biological theory; evolutionary theory; the methodology of political science; Marxist political economy; and conceptions of `objective inquiry' in the social and natural sciences. These essays also begin to identify for us the distictive aspects of women's experience which can provide the resources needed for the creation of a truly human understanding. Audience: The book will be of interest to those involved in epistemology, and philosophy of the natural and social sciences, as well as feminist scholars in philosophy. The work will also be of value for theorists, methodologists, and feminist scholars in the natural and social sciences.

Bringing forth fresh perspectives on Manet's art by established scholars, this volume places this compelling and elusive artist's painted oeuvre within a broader cultural context, and links his artistic preoccupations with literary and musical currents. Rather than seeking consensus on his art through one methodology, or focusing on one crucial work or period, this collection investigates the range of Manet's art in the context of his time and considers how his vision has shaped subsequent interpretations. Specific essays explore the relationship between Manet and Whistler; Emile Zola's attitude toward the artist; Manet's engagement with moral and ethical questions in his paintings; and the heritage of Charles Baudelaire and Clement Greenberg in critical responses to Manet. Through these and other analyses, this volume illuminates the scope of Manet's career, and indicates the crucial position the artist held in generating a modernist avant-garde aesthetic.

How can we grasp the complex religious lives of individuals such as Peter, an ordained Protestant minister who has little attachment to any church but centers his highly committed religious practice on peace-and-justice activism? Or Hannah, a devout Jew whose rich spiritual life revolves around her women's spirituality group and the daily practice of meditative dance? Or Laura, who identifies as Catholic but rarely attends Mass, and engages daily in Buddhist-style meditation at her home altar arranged with symbols of Mexican American popular religion? Diverse religious practices such as these have long baffled scholars, whose research often starts with the assumption that individuals commit, or refuse to commit, to an entire institutionally framed package of beliefs and practices. Meredith McGuire points the way forward toward a new way of understanding religion. She argues that scholars must study religion not as it is defined by religious organizations, but as it is actually lived in people's everyday lives. Drawing on her own extensive fieldwork, as well as recent work by others, McGuire explores the many, seemingly mundane, ways that individuals practice their religions and develop their spiritual lives. By examining the many eclectic and creative practices -- of body, mind, emotion, and spirit -- that have been invisible to researchers, she offers a fuller and more nuanced understanding of contemporary religion.

This book is intended for scholars and students of Sociology, Religion, Politics, European Studies, and Philosophy.