In Elizabethan England, dramatists and painters were both achieving the greatest degree of artistic excellence yet witnessed, but they were also in a state of transition, vying for social status and patronage, as well as struggling against religious reformers' accusations of idolatry and eroticism. This interdisciplinary study brings to light the radical, inventive ways in which dramatists such as Shakespeare, Lyly, and Marston appropriated painting and subtly competed with painters to advance their own art and defend theater against Puritan attacks. They transformed painting into a provocative stage property and trope that enhanced the language of their scripts and the audience's imaginative participation in the drama. At the same time, they reflected a profound ambivalence towards painting by staging scenes with painters and pictures that emphasized the dangerous powers inherent in visual images and image-making.

Because many modern Christians can offer a reasonable explanation of the meaning of Jesus' death on the cross, they find it hard to understand the confusion displayed by the disciples after the events in the last pages of the Gospels. But if Paul were alive today, he would find it inexplicable that we modern believers are not scandalized by the cross. Proclaiming the Scandal of the Cross introduces pastors, church leaders, students, and lay readers to the need for contextualized atonement theology, offering creative examples of how the cross can be proclaimed today in culturally relevant and transformative ways. It makes helpful suggestions on how this vision for a culturally relevant message might be developed. The impressive list of contributors includes writings from C. S. Lewis, Rowan Williams, Frederica Mathewes-Green, Brian McLaren, and many more who are actively working out just how to make this life-transforming proclamation.

This engaging look at presidential candidate images features a wide range of essays that dissect how these images are formed and manipulated during campaigns. As more and more emphasis is placed on a candidate's persona and how it affects our voting decisions, Presidential Candidate Images provides a variety of frameworks and cases for analyzing candidate images in past, current, and future elections.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

Images play an outstanding role in the transfer of knowledge. They are used in numerous academic disciplines to present scientific results. Digital tools such as Adobe Photoshop make it possible to display the information in images brilliantly and clearly - at the same time the line between appropriate and inappropriate manipulation is not always easy to draw. Scientific journals have published guidelines for handling and editing images, but they are not always specific enough to provide clarity for all situations. „Shaping Images" examines how scholars from biology, information science, art history and design deal with this uncertainty - how they process and manipulate images, where they see their special potential and how they draw the line between appropriate and inappropriate image manipulation. The work also looks at scientific journals and lets selected editors have their say: What would have to happen to make it possible to combat image manipulation in science more effectively? The book's interdisciplinary approach makes it clear how different the practices are and how different the views are on what should be allowed in the processing of images. Images - this too is problematized in the book - are always a means to a certain end, which is precisely why the handling of images should be thoroughly reflected upon.

The end of authoritarian rule in 1998 ushered in an exhilarating but unsettled period of democratization in Indonesia. A more open political climate converged with a rapidly changing media landscape, yielding a vibrant and volatile public sphere within which Indonesians grappled with the possibilities and limits of democracy amid entrenched corruption, state violence, and rising forms of intolerance. In Demanding Images Karen Strassler theorizes image-events as political processes in which publicly circulating images become the material ground of struggles over the nation's past, present, and future. Considering photographs, posters, contemporary art, graffiti, selfies, memes, and other visual media, she argues that people increasingly engage with politics through acts of making, circulating, manipulating, and scrutinizing images. Demanding Images is both a closely observed account of Indonesia's turbulent democratic transition and a globally salient analysis of the work of images in the era of digital media and neoliberal democracy. Strassler reveals politics today to be an unruly enterprise profoundly shaped by the affective and evidentiary force of images.

Image is everything. Today, our television and movie stars, our athletes, and our politicians carefully craft images for public consumption. Even our country's Executive Chief is not immune to a bit of image manipulation. If presidents can not always actually satisfy the public's excessive, contradictory, and unrealistic expectations, they can at least present a compelling image of presidential leadership and success. When it comes to the modern presidency, tennis star Andre Agassi was correct, ?Image is everything.?Image creation is a serious business with critically important implications for the success of any politician. But presidents must be careful in deciding how they craft the ways in which we perceive them. If they are to succeed, presidents must present an appropriate image of leadership to the American people; an image that is appropriate for the particular needs of the time when the president governs and is appropriate to the personality of that president. Their ultimate goal is to convince the public that they are actually providing leadership, even if in reality they have only a limited ability to effect outcomes.This book examines the way American presidents in the media age have shaped their public personas as a means of cultivating and advancing their political and ideological agendas. Images play an important role in the perceived success or failure of our presidents. Since public expectations are most often aimed directly at the White House and its central occupant, it is more important than ever that a president control his image, as well as presenting the right image to the American public. Reality thus becomes secondary and image is everything.