"This book tells the story of how Germans struggled to make art an autonomous instrument of social progress in the face of real-world challenges between 1790-1850. For philosophers such as Friedrich Schiller, a work of art was governed by its own laws and soared above trivial constraints; thus, a painting or sculpture could both model and stimulate the moral autonomy of its beholders. This "aesthetic education" (to be conducted in the newish institution of museums) would yield an "aesthetic state," born of the measured reason of its citizens rather than the fractious antagonisms of mobs and tyrants. But highbrows like Schiller failed to consider the tough realities facing art "on the ground." Not only were there no proper museums in the German states for presenting art to the public, the systematic looting of their art collections during the Napoleonic wars had thrown the very ontological status of art into serious question: What was a painted altarpiece supposed to be once it had been torn out of a Church and reinstalled in a secular space? How would a marble statue of a nude Apollo impact modern viewers-especially unmarried young ladies not used to such sights? And how could a stolen object symbolize freedom? As art works fell prey to the very violence they were supposed to transcend, social theorists began to wonder how art could deliver liberation if it could so quickly end up a spoil of war. Among the specimens considered are forty porphyry columns from the tomb of Charlemagne in Aachen; the Quadriga from the Brandenburg Gate in Berlin; the Laocoön group from Rome; a bronze medieval reliquary from Goslar; a Last Judgment from Danzig; and, last, but surely not least, the mummified body of an official from the Rhenish hamlet of Sinzig"--

With warmth and humor, Archbishop Desmond Tutu distills his philosophy of unity and forgiveness into a picture book for the very young. Archbishop Desmond Tutu has a vision of God's dream, which he shares here with the youngest of listeners. It involves people who reach out and hold each other's hands, but sometimes get angry and hurt each other — and say they're sorry and forgive. It's a wish that everyone will see they are brothers and sisters, no matter their way of speaking to God, no matter the size of their nose or the shade of their skin. Aided by vibrant artwork evoking such images as a rainbow and a sharing circle, Tutu offers the essence of his ubuntu philosophy, a wisdom so clear and crystalline that even the smallest child can understand.

This collection of essays continue to encourag the home schooling family. The authors share their expertise, wisdom about educational choices and options, and advice regarding rearing children in a faith-based home.

Brought up in an evangelical household in the Bible Belt, Hatcher's religion had provided no answers to his parents' broken marriage, or his own divorce. The key to his salvation would come from a most unlikely source: a flyer calling for Peace Corps volunteers. As a geography teacher at an all-girls' boarding school in Tanzania, he's expected broaden his students' horizons, but instead it is his own worldview that is challenged. Through tragedy and triumph, by questioning the very core of his being, he manages to escape the confines of his "marble room" and gain a new understanding of himself and God.

The book, Objects of War, illuminates the ways in which people have used things to grapple with the social, cultural, and psychological upheavals wrought by war and forced displacement.― Utah Public Radio Historians have become increasingly interested in material culture as both a category of analysis and as a teaching tool. And yet the profession tends to be suspicious of things; words are its stock-in-trade. What new insights can historians gain about the past by thinking about things? A central object (and consequence) of modern warfare is the radical destruction and transformation of the material world. And yet we know little about the role of material culture in the history of war and forced displacement: objects carried in flight; objects stolen on battlefields; objects expropriated, reappropriated, and remembered. Objects of War illuminates the ways in which people have used things to grapple with the social, cultural, and psychological upheavals wrought by war and forced displacement. Chapters consider theft and pillaging as strategies of conquest; soldiers' relationships with their weapons; and the use of clothing and domestic goods by prisoners of war, extermination camp inmates, freed people, and refugees to make claims and to create a kind of normalcy. While studies of migration and material culture have proliferated in recent years, as have histories of the Napoleonic, colonial, World Wars, and postcolonial wars, few have focused on the movement of people and things in times of war across two centuries. This focus, in combination with a broad temporal canvas, serves historians and others well as they seek to push beyond the written word. Contributors: Noah Benninga, Sandra H. Dudley, Bonnie Effros, Cathleen M. Giustino, Alice Goff, Gerdien Jonker, Aubrey Pomerance, Iris Rachamimov, Brandon M. Schechter, Jeffrey Wallen, and Sarah Jones Weicksel

"From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself. The two despise each other."--Front jacket flap.

Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.