This wide-ranging book elucidates the symbolism of veils and highlights the power of drapery in Italian art from Giotto to Titian. In the cities of the Renaissance, display of luxury dress was a marker of status. Florentines decked out their palaces and streets with textiles for public rituals. But cloths are also the stuff of fantasy: throughout the book, the author moves from the material to the metaphorical. Curtains and veils, swaddling and shrouds, evoke associations with birth and death. The central chapters address the sculpture of Ghiberti and Donatello, focusing on how they deployed drapery to dramatic effect. In the final chapters the focus shifts to the paintings of Bellini, Lotto, and Titian, where drapery both clothes the figures and composes the picture. In the work of Titian, the veiled presence of the body is absorbed within the materials of oil-paint on canvas: medium and subject become one.

Auriane, warrior maiden of the Chattian tribe, was sworn to remove the cursed Romans from the lands of the Rhine. Then fate intervened: she was captured, brought to Rome in chains, and trained to fight in the arenas as a gladiator - only to fall in love with a Roman aristocrat, Marcus Arrius Julianus, and become his wife. Marcus and Auriane have lived in tranquility for years but, without his knowledge, Auriane is a traitor to Rome. Plundering her husband's coffers for nearly a decade, Auriane has provided her people with enough wealth to arm themselves. Now, Auriane's betrayal has been discovered, and if her duplicity reaches the Roman authorities, her life - and the lives of her family - will be forfeit.

How does literature imagine its own powers of representation? Françoise Meltzer attempts to answer this question by looking at how the portrait—the painted portrait, framed—appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits—in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette—reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and history, the narcissistic character of representation, and the interdependency of representation and power. Writing, thinking, speaking, dreaming, acting—the extent to which these are all controlled by representation must, Meltzer concludes, become "consciously unconscious." In the textual portrait, she locates the moment when this essential process is both revealed and repressed.

How does the gospel relate to a pluralist society? What is the Christian message in a society marked by religious pluralism, ethnic diversity, and cultural relativism? Should Christians encountering today's pluralist society concentrate on evangelism or on dialogue? How does the prevailing climate of opinion affect, perhaps infect, Christians' faith? These kinds of questions are addressed in this noteworthy book by Lesslie Newbigin. A highly respected Christian leader and ecumenical figure, Newbigin provides a brilliant analysis of contemporary (secular, humanist, pluralist) culture and suggests how Christians can more confidently affirm their faith in such a context. While drawing from scholars such as Michael Polanyi, Alasdair MacIntyre, Hendrikus Berkhof, Walter Wink, and Robert Wuthnow, The Gospel in a Pluralist Society is suited not only to an academic readership. This heartfelt work by a missionary pastor and preacher also offers to Christian leaders and laypeople some thoughtful, helpful, and provocative reflections.

A study of the lure of Italy in German culture from the eighteenth to the twentieth century. Wearied by his life as an administrator at the Duke’s court in Weimar, in 1786 Johann Wolfgang von Goethe departed unannounced in the middle of the night for what had been the destination of his imagination since childhood: Italy. His extended stay there dramatically affected his views of art, architecture, prose, poetry, and science. When he returned to Germany and Weimar, Goethe’s experiences translated into his life and work in ways that influenced countless others as they developed Germany’s own brand of high culture. The Spell of Italy: Vacation, Magic, and the Attraction of Goethe tracks the peculiar space Italy occupies in the cultural consciousness of German writers by reconsidering the Italian journeys of Goethe and Winckelmann and the legacy of those journeys in the works of Heine, Nietzsche, Freud, Mann, Carossa, and Bachmann. Author Richard Block contests previous assumptions about Italy as a place to encounter classical culture and creative rebirth. His study examines the degree to which Germany’s literary and cultural traditions appropriated a phantasmic Italy, showing how Winckelmann’s art history and Goethe’s Italian journey predisposed later writers to search for an aesthetic ideal in Italy that did not exist, and how their search for this absent ideal eventually resulted in disillusionment and deception. Building on previous work on Goethe, literary theory, and cultural history, The Spell of Italy offers compelling new ways of understanding Germany’s fascination with Italy from the eighteenth century to its troubled political history of the twentieth century.