The Coerced Conscience examines liberty of conscience, the freedom to live one's life in accordance with the dictates of conscience, especially in religion. It offers a new perspective on the politics of conscience through the eyes of some of its most influential advocates and critics in Western history, John Milton, Thomas Hobbes, Baruch Spinoza, and Pierre Bayle. By tracing how these four philosophers, revolutionaries, and heretics envisioned, defended, and condemned this crucial freedom, Amy Gais argues that liberty of conscience has a more controversial history than we often acknowledge today. Rather than defend or condemn a static, monolithic view of liberty conscience, these figures disagreed profoundly on what protecting this fundamental principle entails in practice, as well as the threat of hypocrisy and conformity to freedom. This revisionist account of liberty of conscience challenges our intuitions about what it means to be free today.
The Coerced Conscience examines liberty of conscience, the freedom to live one's life in accordance with the dictates of conscience, especially in religion. It offers a new perspective on the politics of conscience through the eyes of some of its most influential advocates and critics in Western history, John Milton, Thomas Hobbes, Baruch Spinoza, and Pierre Bayle. By tracing how these four philosophers, revolutionaries, and heretics envisioned, defended, and condemned this crucial freedom, Amy Gais argues that liberty of conscience has a more controversial history than we often acknowledge today. Rather than defend or condemn a static, monolithic view of liberty conscience, these figures disagreed profoundly on what protecting this fundamental principle entails in practice, as well as the threat of hypocrisy and conformity to freedom. This revisionist account of liberty of conscience challenges our intuitions about what it means to be free today.
In this study Dr Smith investigates the use of political personifications in the visual arts of Athens in the Classical period (480-323 BCE). Whether on objects that served primarily private roles (e.g. decorated vases) or public roles (e.g. cult statues and document stelai), these personifications represented aspects of the state of Athens—its people, government, and events—as well as the virtues (e.g. Nemesis, Peitho or Persuasion, and Eirene or Peace) that underpinned it. Athenians used the same figural language to represent other places and their peoples. This is the only study that uses personifications as a lens through which to view the intellectual and political climate of Athens in the Classical period.
Overturning the long-held assumption that the Xuanhe Catalogue of Paintings was the work of the Northern Song emperor Huizong (r. 1100–1126), Amy McNair argues that it was compiled instead under the direction of Liang Shicheng. Liang, a high-ranking eunuch official who sought to raise his social status from that of despised menial to educated elite, had privileged access to the emperor and palace. McNair’s study, based on her translation and extensive analysis of the text of the Xuanhe Catalogue of Paintings, offers a definitive argument for the authorship of this major landmark in Chinese painting criticism and clarifies why and how it was compiled. The Painting Master’s Shame describes the remarkable circumstances of the period around 1120, when the catalogue was written. The political struggles over the New Policies, the promotion of the “scholar amateur” ideal in painting criticism and practice, and the rise of eunuch court officials as a powerful class converged to allow those officials the unprecedented opportunity to enhance their prestige through scholarly activities and politics. McNair analyzes the catalogue’s central polemical narrative—the humiliation of the high-ranking minister mistakenly called by the lowly title “Painting Master”—as the key to understanding Liang Shicheng’s methods and motives.
From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s “Buried Cube,” Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely — no truer to their first appearance than to their later reappearances. In Depositions, Amy Knight Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of “dead images” during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated “deaths” of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book. In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning on its head the pejorative (art-historical) use of the term pseudomorphosis — formal resemblance where there is no similarity of artistic intent — Powell explores what happens to our understanding of historically and conceptually distant works of art when they look alike.
Xuanhe Catalogue of Paintings is the first complete translation of the well-known document produced at the court of Emperor Huizong (r. 1100–1125). Dated to 1120, the Catalogue is divided into ten categories of subject matter. Under Daoist and Buddhist Subjects, Figural Subjects, Architecture, Barbarian Tribes, Dragons and Fish, Landscape, Domestic and Wild Animals, Flowers and Birds, Ink Bamboo, and Vegetables and Fruit are biographies of 231 painters, ranging from famous early masters, such as Wu Daozi (ca. 685-758) and Li Cheng (919-967), to otherwise unknown artists of the Song-dynasty court, including fourteen eunuch officials and sixteen male and female members of the royal family. Titles of their pictures held in the palace collection are listed for each artist. These 6,396 paintings testify to the visual culture experienced by viewers of the twelfth century. The author's Introduction analyzes the Catalogue as a source of evidence about the formation of the Song-dynasty palace collection and argues that the majority of its pictures were already in the collection before Huizong's reign, as a result of conquest, confiscation, tribute, gift culture, collecting by earlier emperors, and the production of academy artists and regular officials at the Song court. Under Huizong's reign, around a thousand other pictures were added to the Catalogue through acquisition and reattribution. Open access edition funded by the National Endowment for the Humanities.
Ten years ago the Iran-Contra affair swept the headlines as the nation watched an indignant Lt. Col. Oliver North testify before a congressional committee. Although polls showed that most Americans were critical of North's actions and ambivalent toward the man himself, media coverage left the opposite impression, with its broadcasts of "Ollie-for-president" rallies and stories of congressional aides overwhelmed by a torrent of pro-North mail. In this book, public opinion is more than the sum of a pollster's tally; instead, Amy Fried defines it as a political tool, integral to the political process, where vested interests compete to legitimize their interpretation of the public voice. Fried explores the construction, interpretation, and uses of public opinion, raising important questions about the media and the role of special interest groups in determining policy.
Examines the effects of the California Work Opportunity and Responsibility to Kids (CalWORKs) program on work activity participation rates of welfare recipients, welfare caseloads, and outcomes for welfare leavers. While the CalWORKs reforms appear to have been responsible for some of the uniform improvement in outcomes shown by the analysis, the robust economy and other policy changes were probably also important.
At a glance, Mobile, Alabama, is a reserved Southern city, steeped in charm, heritage, and history. But look a little more closely and discover a winding tale of revivalist zeal, quirky contradictions, and delightfully ghastly scandals and scoundrels. In Secret Mobile: A Guide to the Weird, Wonderful, and Obscure, you’ll unearth secrets of the past. People will be quick to tell you that Mobile is the birthplace of Mardi Gras in America, and they’ll be even quicker to tell you about Joe Cain, the rebellious firefighter credited with restoring the Mardi Gras tradition following the Civil War, but is that really the whole story? Not even close. As you’ll quickly learn, when it comes to Mobile, there’s always more to the story. Learn why the City of Mobile was twice burned to the ground, what famous presidential quote was uttered in the historic Battle House Hotel, and how a telltale oak grew out of the grave of an allegedly innocent convicted murderer. You’ll explore new terrain—like how to join the city’s most spirited kayaking group, where to find Hippie Beach, and the best way to see the iconic Middle Bay Lighthouse and the cow that lived there. Intrigued? Local author Amy Delcambre is just getting started. She’ll be your storytelling guide to explore all of the unseen threads that make up the fabric of Mobile and help you dive in to untangle the facts and the legends that make up the best of Mobile’s secrets.
Key works of popular fiction are often rewritten to capitalize on their success. But what are the implications of this rewriting process? Such is the question addressed by this detailed study of several rewritings of Eugène Sue’s Mystères de Paris (1842-43), produced in the latter half of the nineteenth century, in response to the phenomenal success of Sue’s archetypal urban mystery. Pursuing a compelling analogy between city and text, and exploring the resonance of the palimpsest trope to both, Amy Wigelsworth argues that the mystères urbains are exemplary rewritings, which shed new light on contemporary reading and writing practices, and emerge as early avatars of a genre still widely consumed and enjoyed in the 21st century.
Neuroscience is revolutionizing our understanding of human psychology and behaviour. By showing how to apply this new understanding to how you recruit, manage, and develop your people, Brann is enabling you to deliver a step change in organizational performance and individual achievement.
A comprehensive review of clinical neurology for the equine practitioner! Topics will include: infectious diseases affecting the equine nervous system, advanced imaging of the nervous system, metabolic encephalopathies, neuro-ophthalmic disorders, cervical pain causing abnormal gait, neurologic or neuromuscular disorders, management of the downer horse, adverse drug reactions and toxins affecting the nervous system, neurologic conditions associated with guttural pouch disease, objective analysis of the equine gait and nervous system, and treatment of acute cervical injury in the horse.
The Long Island Lolita" recounts the details of her alleged affair with Joey Buttafuoco, her career as a teenaged prostitute, and the shooting of Mary Jo Buttafuoco
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.