In this beautifully illustrated volume, fifteen distinguished writers on architecture mark the retirement of Professor David Watkin from the University of Cambridge. Linked by the common theme of classicism, the chapters are divided into three sections. The first is concerned with architectural ideas and includes essays on Renaissance interpretations of Vitruvius, Roman Catholic Chapels in post-Reformation London, and architectural writers John Summerson and Hope Bagenal. The central section deals with aspects of eighteenth- and nineteenth-century Neo-classicism and includes new work on Marie-Joseph Peyre, Charles Barry and C.R. Cockerell. The final section is devoted to studies of classicism and the Picturesque in the twentieth century.

Received a special citation from The de la Torre Bueno© First Book Award Committee of the Dance Studies Association (2020). The book has been hailed as "an invaluable addition to the scholarship on Bharatanatyam." Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the "classical" forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the twentieth century from an interdisciplinary, transmedia standpoint and features 130 archival images.

As A Million and One Gods shows, polytheism is considered a scandalous presence in societies oriented to Jewish, Christian, and Muslim beliefs. Yet it persists, even in the West, perhaps because polytheism corresponds to unconscious needs and deeply held values of tolerance, diversity, and equality that are central to civilized societies.

This book critically assesses arguments for the existence of the God of classical theism, develops an innovative account of objects’ persistence, and defends new arguments against classical theism. The authors engage the following classical theistic proofs: Aquinas’s First Way, Aquinas’s De Ente argument, and Feser’s Aristotelian, Neo-Platonic, Augustinian, Thomistic, and Rationalist proofs. The authors also provide the first systematic treatment of the ‘existential inertia thesis’. By connecting the thesis to relativity theory and recent developments in the philosophy of physics, and by developing a variety of novel existential-inertia-friendly explanations of persistence, they mount a formidable new case against classical theistic proofs. Finally, they defend new arguments against classical theism based on abstract objects and changing divine knowledge. The text appeals to students, researchers, and others interested in classical theistic proofs, the existence and nature of God, and the ultimate explanations of persistence, change, and contingency.

In an impressively comparative work, Jane K. Brown explores the tension in European drama between allegory and neoclassicism from the sixteenth through the nineteenth century. Imitation of nature is generally thought to triumph over religious allegory in the Elizabethan and French classical theater, a shift attributable to the recovery of Aristotle's Poetics in the Renaissance. But if Aristotle's terminology was rapidly assimilated, Brown demonstrates that change in dramatic practice took place only gradually and partially and that allegory was never fully cast off the stage. The book traces a complex history of neoclassicism in which new allegorical forms flourish and older ones are constantly revitalized. Brown reveals the allegorical survivals in the works of such major figures as Shakespeare, Calderón, Racine, Vondel, Metastasio, Goethe, and Wagner and reads tragedy, comedy, masque, opera, and school drama together rather than as separate developments. Throughout, she draws illuminating parallels to modes of representation in the visual arts. A work of broad interest to scholars, teachers, and students of theatrical form, The Persistence of Allegory presents a fundamental rethinking of the history of European drama.