Using a multidisciplinary approach, this book argues that the operation of art-as-mirror is the key to the hidden unity of Huysmans' fiction. The author claims that only the elimination of Huysmans' stylistic distortions enabled his art finally to become faithful and clear.

Through a unique and stunning collection of paintings, sculpture, rare books, and works on paper, Divine Mirrors examines the complex relationship between sacred imagery and secular identity in the art of the Madonna. This magnificent work--born from a multi-year project that included a museum exhibition, scholarly symposium, and reinstallation of a segment of the permanent collection of the Davis Museum and Cultural Center at Wellesley College--features the work of such renowned artists as Il Pintoricchio, Mantegna, Munch, and Leger, alongside fresh, undiscovered masters and little-known works of art. The book's fifty catalogue entries range from a rare thirteenth-century panel painting to a specially commissioned artwork exploring the intersection of religion and modern life. This volume investigates everything from non-Western perceptions of European religious practices to the Virgin Mary's voice in musical composition. In the opening essay "The Many Names of the Mother of God" noted scholar Robert A. Orsi considers why images of Mary offer contemporary Americans such a powerful visual experience. Unlike paintings and sculptures created solely for aesthetic contemplation, Orsi writes, images of Mary are more than just artistic representations--they become for us an embodiment of the Virgin Mother herself. Then, moving into the historical realm, editor Melissa R. Katz guides us on a twenty-century chronological tour that explores the intersection of art history and world history in representations of Mary. Katz's essay "Regarding Mary: Women's Lives Reflected in the Virgin's Image" takes the elements of Marian iconography most relevant to the study of art and weaves them together to provide a guide for modern audiences to engage with the religious origins of our common artistic legacy. Filled with fascinating information, this important work requires no particular background in art history, religion, or the Bible. Readers of all levels will be rewarded with an in-depth encounter of a remarkable and complex figure."

In this inaugural volume in the Studies in Christian Doctrine and Scripture, Kevin J. Vanhoozer and Daniel J. Treier set forth a programmatic proposal for evangelical theology, rooted in the claim that the church's vocation is to mirror the witness of Scripture in its doctrine and discipleship.

In this beautifully realized study, Peter Schäfer investigates the origins of a female manifestation of God in Jewish mysticism. The search itself is a fascinating exploration of the idea of a feminine divinity. And Schäfer's surprising but persuasive conclusions yield deeper understanding of the complex but frequently intimate relationship between Christianity and Judaism--and of the development of religious concepts more generally. Toward the end of the twelfth century, a small book titled the Bahir (Light) appeared in Provence. The first document of Judaism's emerging kabbalistic movement, it introduced a completely new view of God, one that included a divine potency that was essentially female. This female divinity was portrayed both as a mediator between Jews and God and as part of the Godhead itself. Examining Judaic history from the biblical Wisdom tradition to the Middle Ages, Schäfer finds some precedents for the Kabbalah's feminine divinity. But he cannot account for her forceful appearance in twelfth-century southern France without reference to the immediate Christian environment, particularly the flourishing veneration of the Virgin Mary. Indeed, twelfth-century Jews and Christians were simultaneously rediscovering the feminine as an aspect of the Godhead after having abandoned it in favor of either an abstract, disembodied God or an exclusively male one. In proposing that the medieval cult of Mary--rather than eastern Gnosticism--is the appropriate framework for understanding the feminine elements in Jewish mysticism, Mirror of His Beauty represents a sea change in Kabbalah and Jewish-Christian cultural studies. It shifts our attention from the Byzantine East to the Latin Christian West. And in contrast to histories that treat the development of Judaism and Christianity in isolation, it leads us to a fuller understanding of Jews and Christians living in proximity, aware of each other.

This engaging and witty cultural history traces the evolution of the mirror from antiquity to the present day, illustrating its journey from wondrous object to ordinary trinket. With its earliest invention, the mirror allowed us to gaze upon ourselves, bestowing a power both fascinating and terrifying.

Some say that in the city of Orlyn, godhood is on sale to the highest bidder. Thousands flock to the city each year, hoping for a chance at immortality.Lydia Hastings is a knowledge sorcerer, capable of extracting information from anything she touches. When she travels to Orlyn to validate the claims of the local faith, she discovers a conspiracy that could lead to a war between the world's three greatest powers. At the focal point is a prisoner who bears a striking resemblance to the long-missing leader of the pantheon she worships. Rescuing the prisoner would require risking her carefully cultivated cover - but his execution could mean the end of everything Lydia holds dear.

Erik Satie - composer, dandy, eccentric - is dead. Told to select one memory to take with him into the afterlife, he finds himself in limbo with a community of the deceased, looking back at his fifty-nine years for their most precious moments. Evenings of absinthe at the Chat Noir? Friendships with Debussy, Duchamp and Man Ray? What of his great musical triumphs and disasters? How will he choose his own legacy before silent whiteness descends? Venice, 1511. In the convent of Sant' Alvise, Oliva is about to take the veil and become a bride of Christ. When her world is shaken - first, literally, by an earthquake, and then, spiritually, by forces that threaten to change the convent for ever - she begins to ask questions about her faith and her future. When she agrees to sit for Signor Avílo, the renowned portrait painter, he brings with him a diabolical object: a mirror. And reflections can be dangerous. Told with playful elegance, these are two utterly original tales of art and devotion, of religious and creative fervour. They contemplate the eternal in different ways - one examining a life only just beginning, tentatively; the other a life lived without compromise as it reaches its close.