This volume brings together thirteen studies on Greek-speaking preachers and audiences in a period from the beginning of the second century A.D. to the beginning of the tenth century which has largely been neglected in the modern literature. The chapters represent a collection of case studies of individual preachers or periods of homiletic activity and cover themes including the identity of Greek-speaking preachers, the circumstances of delivery, the different genres of homiletic, the adaptation of the tropes of Classical approaches, the preparation, redaction and transmission of sermons, and the interaction between preacher and audience. Each chapter is accompanied by a summary bibliography of the most important primary sources and secondary literature.

This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics. Camus's description of the French hotel argues that architecture should please the senses and the mind.

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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.