Excerpt from East London Visions This book is neither a novel nor (strictly speaking) an autobiography, but rather a statement and criticism of Life on an unusual plan. There is little chronological order or development in the story, which is that of a young man's struggle for a living in London. If the writer in this respect, as also in describing his characters as well as letting them speak for themselves, disregards accepted canons of Art, he does so not in ignorance - for occasionally it is evident that he knows and can observe these rules. He is as if setting down what occurs to him as it occurs, nor does he scruple to employ, as in natural conversation, the first personal pronoun. It would, however, be a mistake to think that behind all the narration there is not really a cogent plan, and even symbolism intended, though the more disguised by this apparently loose treatment. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The volume contains eight original studies, each of which focuses on a different chapter or central passage in Daniel and offers a new interpretation or reading of the passage in question. The studies span the Danielic tales and apocalypses, offering innovative analyses that often challenge the scholarly consensus regarding the exegesis of this book. The eight chapters relate to Daniel 1, 2, 4, 5, 7, 9, Susanna, and the conception of angelology in Daniel. The studies are all based on careful textual analysis, including comparison between the Hebrew/Aramaic and Greek versions (especially regarding Daniel 4–6), and, in each case, the larger arguments are built upon solid philological foundations. Many of the insights proposed in this volume are based upon the realization that the authors of Daniel were frequently interpreters of earlier biblical books, and that the identification of these intertextual clues can be the key to unlocking the meaning of these texts. In this sense, Daniel is similar to other contemporaneous works, such as Jubilees and Qumran literature, but the extent of this phenomenon has not been fully appreciated by scholars of the book. This volume therefore contributes to the appreciation of Daniel as both the latest book in the Hebrew Bible, and a significant work in the landscape of Second Temple Judaism.

The Byzantines used imagery to communicate a wide range of issues. In the context of Iconoclasm - the debate about the legitimacy of religious art conducted between c. AD 730 and 843 - Byzantine authors themselves claimed that visual images could express certain ideas better than words. Vision and Meaning in Ninth-Century Byzantium deals with how such visual communication worked and examines the types of messages that pictures could convey in the aftermath of Iconoclasm. Its focus is on a deluxe manuscript commissioned around 880, a copy of the fourth-century sermons of the Cappadocian church father Gregory of Nazianzus which presented to the Emperor Basil I, founder of the Macedonian dynasty, by one of the greatest scholars Byzantium ever produced, the patriarch Photios. The manuscript was lavishly decorated with gilded initials, elaborate headpieces and a full-page miniature before each of Gregory's sermons. Forty-six of these, including over 200 distinct scenes, survive. Fewer than half however were directly inspired by the homily that they accompany. Instead most function as commentaries on the ninth-century court and carefully deconstructed both provide us with information not available from preserved written sources and perhaps more important show us how visual images communicate differently from words.

An introduction to the world religions of Judaism, Christianity, Islam, Hinduism, Buddhism and Sikhism. Emphasis is placed on the living religion and the whole work is designed as a first-level introduction for those who have little or no previous knowledge of these religions.

Religions teach their adherents how to see and feel at the same time; learning to see is not a disembodied process but one hammered from the forge of human need, social relations, and material practice. David Morgan argues that the history of religions may therefore be studied through the lens of their salient visual themes. The Forge of Vision tells the history of Christianity from the sixteenth century through the present by selecting the visual themes of faith that have profoundly influenced its development. After exploring how distinctive Catholic and Protestant visual cultures emerged in the early modern period, Morgan examines a variety of Christian visual practices, ranging from the imagination, visions of nationhood, the likeness of Jesus, the material life of words, and the role of modern art as a spiritual quest, to the importance of images for education, devotion, worship, and domestic life. An insightful, informed presentation of how Christianity has shaped and continues to shape the modern world, this work is a must-read for scholars and students across fields of religious studies, history, and art history.

Though now remembered as an act of anti-colonial protest leading to the Egyptian military coup of 1952, the Cairo Fire that burned through downtown stores and businesses appeared to many at the time as an act of urban self-destruction and national suicide. The logic behind this latter view has now been largely lost. Offering a revised history, Nancy Reynolds looks to the decades leading up to the fire to show that the lines between foreign and native in city space and commercial merchandise were never so starkly drawn. Consumer goods occupied an uneasy place on anti-colonial agendas for decades in Egypt before the great Cairo Fire. Nationalist leaders frequently railed against commerce as a form of colonial captivity, yet simultaneously expanded local production and consumption to anchor a newly independent economy. Close examination of struggles over dress and shopping reveals that nationhood coalesced informally from the conflicts and collaboration of consumers "from below" as well as more institutional and prescriptive mandates.