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Combining scholarly essays with visual narratives and a conclusion in comics form, establishes graphic medicine as a new area of scholarship. Demonstrates that graphic medicine narratives offer patients, family members, and medical caregivers new ways to negotiate the challenges of the medical experience. Discusses comics as visual rhetoric.

An alphabetical guide to the deities of ancient Eastern Mediterranean civilizations. Discusses each deity's symbolism and imagery its connection to myths, rituals, and festivals described in texts.

Theologians and Old Testament scholars have been at odds with respect to the best interpretation of the imago Dei. Theologians have preferred substantialistic (e.g., image as soul or mind) or relational interpretations (e.g., image as relational personhood) and Old Testament scholars have preferred functional interpretations (e.g., image as kingly dominion). The disagreements revolve around a number of exegetical questions. How do we best read Genesis 1 in its literary, historical, and cultural contexts? How should it be read theologically? How should we read Genesis 1 as a canonical text? This book charts a path through these disagreements by offering a dogmatically coherent and exegetically sound canonical interpretation of the image of God. Peterson argues that the fundamental claim of Genesis 1:26-28 is that humanity is created to image God actively in the world. "Made in the image of God"? is an identity claim. As such, it tells us about humanity's relationship with God and the rest of creation, what humanity does in the world, and what humanity is to become. Understanding the imago Dei as human identity has the further advantage of illuminating humanity's ontology.

Considers the implications of the Anthropocene, the proposed geological epoch in which a human "signature" appears in the lithostratigraphic record, for literary history and critical method. Explores the status of reading in the history of geology, and of geohistory in literature.

Pentcheva demonstrates that a fundamental shift in the Byzantine cult from relics to icons, took place during the late tenth century. Centered upon fundamental questions of art, religion, and politics, Icons and Power makes a vital contribution to the entire field of medieval studies.

Focuses on how technologies mediate our actions and our world perceptions. Peter-Paul Verbeek examines the philosophy of technology formulated by Jaspers and Heidegger, and extends the work of more recent philosophers of technology. He shows how his "postphenomenological" approach applies to the technological practice of industrial designers.

In the Hebrew Bible, ?esed (steadfast love, loyalty, devotion) denotes an important concept that is relevant to interpersonal relationships in every generation. In this book, Karen Nelson investigates New Testament engagement with that concept and the exegetical value of recognizing such engagement. This investigation employs an original hybrid of two methodological approaches: intertextuality, used to consider how New Testament authors appropriate texts that evoke ?esed or ?asîd, and categorization, used to analyze and compare instances of the categories ?sd and ?syd within the Hebrew Bible and the New Testament. Nelson's work challenges assertions that the New Testament equivalent of ?esed is agape (love) or charis (grace). Rather, she contends that ?esed and ?asîd are more likely to be evoked by the terms with which they are most often rendered in the Septuagint: eleos and hosios, respectively. Nelson rereads selected New Testament pericopes in light of ?esed, highlighting points about ongoing devotion to kinship and covenantal relationships often overlooked in those contexts and showing how New Testament authors and figures utilize the ?esed tradition to critique the contemporary socioreligious situation and encourage belief, enduring commitment, and appropriately changed lifestyles. Addressing a topic that spans the Hebrew Bible and the New Testament, this study will be of value to biblical scholars, especially those who are interested in semantics.

African Venice is the first guidebook to the extensive historical and contemporary African presence in the city of the lagoons. A set of ten walking tours highlights images of Black people in Venetian art from the Middle Ages to the present, the afterlife of Shakespeare's Othello, the painful local legacies of slavery and Italian colonialism, and the remarkable visibility of African and Afro-descendant artists at the Venice Biennale. These tours are enriched by more than twenty essays, poems, and reflections that celebrate, question, and reimagine Venice's Black past and present. From premodern paintings and sculpture to contemporary artworks, African Venice will show you the city as you have never seen it. The book includes contributions from Giuseppina Bakhita, Marilena Umuhoza Delli, Rita Dove, Emiliano Guaraldo, Eddy L. Harris, Lorenzo Lazzarini, Ibrahima Lö, Vittorio Longhi, Olga Manente, Tony Mochama, Yvonne Adhiambo Owuor, Caryl Phillips, Sandra Stocchetto, Sami Tchak, Ngugi wa Thiong'o, and Alessandra Viola.

From Philadelphia to Erie, and from the shale fields to the coal mines, Keystone Poetry celebrates the varied landscapes and voices of Pennsylvania. This collection brings together the work of 182 poets who, with keen eyes and sharp language, commemorate the hometowns, history, traditions, and culture of the Commonwealth.Organized geographically, the poems traverse county lines, ancestral lineage, and thematic concerns--as well as gender, racial, and socioeconomic barriers. The poems in this collection seek to bring the reader close to home, while simultaneously fostering discovery of new places and a deeper understanding of all those who live in the Keystone state. Keystone Poetry also includes resources for teachers. Drawing from this collection of place-based literature, high school and college educators can use students' hometown experiences to make disciplines such as literature, composition, creative writing, history, geography, sociology, political science, and psychology more engaging and accessible. - To delve more deeply into class discussion, see "Let's Talk About It," a helpful aid for individual or group reflection.- To fuel creativity, access "Let's Write About It," a practical guide to inspire writers of all levels to create their own Pennsylvania journal.

Lesser Living Creatures examines literary and cultural texts from early modern England in order to understand how people in that era thought about-and with-insect and arachnid life. The conversations in this two-volume set address the collaborative, multigenerational research that produced early modern natural history and provide new insights into the old question of what it means to be human in a world populated by beasts large and small. Volume 2, Concepts, explores ideas that cut across species, insect and otherwise, both building on and invigorating critical vocabularies developed over nearly two decades of early modern animal studies. The contributors explore topics such as the medical and culinary consumption of insects; extermination campaigns; the auditory and emotive effects of a swarm; insects and politics; and notions of infestation, stinging, and creeping. Throughout, they illuminate how early modern science and literature worked as intersecting systems of knowledge production about the natural world and show definitively how insect life was, and remains, intimately entangled with human life. In addition to the editors, contributors to this volume include Lucinda Cole, Frances E. Dolan, Lowell Duckert, Andrew Fleck, Rebecca Laroche, Jennifer Munroe, Amy L. Tigner, Jessica Lynn Wolfe, Derek Woods, and Julian Yates.

The findings of Assyriology have been applied to biblical studies ever since the former emerged as a scholarly discipline in the mid-nineteenth century. Today, the scholarly flow from Assyriology to biblical studies continues, yet rarely are the fruits of biblical scholarship brought to bear on the study of ancient Assyria and Babylon. The present volume aims to reverse this unidirectional trend. Considering that the literature preserved in the Hebrew Bible is the product of a people who had significant contact with both Assyria and Babylonia, then surely the study of the Hebrew Bible has something to offer Assyriology. But what? The contributors approach this question from a variety of disciplinary perspectives, including intellectual history, museology, and religious and political history. The authors also offer broad methodological considerations and more focused, text-based case studies. Written by leading scholars in the fields of Assyriology and Hebrew Bible, Jehu's Tribute presents a fresh approach to the multifaceted relationship between Assyriology and biblical studies. In addition to the volume editors, the contributors include Céline Debourse, Jessie DeGrado, Eckart Frahm, Shalom E. Holtz, Gina Konstantopoulos, Alan Lenzi, Alice Mandell, Dustin Nash, Beate Pongratz-Leisten, Seth L. Sanders, Anthony SooHoo, and Abraham Winitzer.

"Examines the intersection of gender, race, and imperialism in Eugáene Delacroix's representations of Arab men from his famous trip to Morocco in 1832 as models of heroic masculinity and dignified autonomy"--

"Explores the importance of Câezanne's engagement with the art of the past, including the works of Poussin, Chardin, and Rubens, and argues that the influence of these earlier models is essential to understanding Câezanne's art"--

Some of the most striking examples of modernist architecture are churches, yet they have seldom been subject to extended critical analysis. In this book, Matthew Rampley provides just such an analysis, focusing on the Catholic church in interwar Austria, Czechoslovakia, and Hungary. A powerful institution in the Habsburg Empire, the Catholic Church continued to be a central social, political, and cultural agent after 1918, working in alliance with political parties and national governments to promote visions of a new national culture. As a result, church building took on an important ideological and political function. Rampley's study is set against the backdrop of two interrelated issues: the role of architecture in the Catholic Church's response to an increasingly secular modernity, and church architecture as part of the Church's attempts to shape social and political life in the states that emerged after the collapse of Austria-Hungary. Rampley also examines the aesthetic, cultural, and political contexts that informed architectural projects, including the conflict between Catholicism and social democracy, the embrace of fascism, Catholic theories of technology, and discourses of regionalism and ruralism. In bringing to light an untold chapter in the history of modern architecture, this book also engages in methodological reflection on the implications of the study of modern church architecture for the historiography of modernism. This book will appeal to students and scholars of architectural history, religious and political history, and interwar Central European history.

Christianity is often thought of as a tradition of belief, interpretation, teachings, and texts. However, a scholarly focus on ideas overlooks how early Christian doctrine interacted with social exchanges in lay spaces. Author Caroline Johnson Hodge fills this gap, shifting our attention from liturgical settings to religion as it was lived outside the prescriptions of congregations. Through a careful reading of the material record alongside print sources, Johnson Hodge shows that in the first through the early fourth centuries, Christians developed household rituals akin to traditional domestic cult practices around the Roman Empire, and this continuity contributed to the success of the new cult in the Roman world. Rather than a well-organized, universal domestic cult, Johnson Hodge finds that practices were flexible and varied, ranging widely from established household observances to unauthorized rituals, gravesite venerations, and the unpatrolled movements of women and slaves. Just as important as the official representations were the small gestures at hearths and doorways, the myriad ways in which followers of Christ incorporated their divine beings into the rituals of their households, shops, and tombs. In bringing the lived-religion approach to bear on this formative period, Johnson Hodge's study offers a fascinating portrait of a very "pagan" world within ancient Christianity. This book will be especially valuable to religious studies scholars and others interested in the origins of Christianity.

In the sixteenth century, unprecedented migration caused diseases to take hold in new locales, turning illness and the human body into battlegrounds for competing religious beliefs as well as the colonial agendas they were often ensnared in. This interdisciplinary volume follows the contours of illness, epidemics, and cures in the early modern British and Spanish Empires as these were understood in religious terms. Each chapter of this volume centers on a key moment during this period of remarkable upheaval, including Jesuit co-optation of Indigenous knowledge in Peru, the Catholic Church's dissemination of the smallpox vaccine across the Spanish Empire, Puritan collective fasting during smallpox outbreaks, and the practice of eating dirt as Obeah resistance among enslaved people in Jamaica. Throughout, the contributors explore how the porous geographical borders of the transatlantic world meant medicine and religion were translated through and against each other, over and over again. Residing at the nexus between two largely discrete areas of inquiry, this collection provides significant insight into the numerous points of juncture between medicine and religion in the Atlantic world. In addition to the editor, the contributors to this volume include Matthew James Crawford, Rana A. Hogarth, Crawford Gribben, Philippa Koch, Allyson M. Poska, Catherine Reedy, and Rebecca Totaro.

Trauma is an inescapable condition of Chaucer's works. From the ravaging of Troy and the abandonment of Dido to the devastating aftereffects of sexual assault, Chaucer portrayed the most unsettling, searing aspects of human experience. While the term "trauma" was not part of Chaucer's vocabulary, the author was assuredly aware of its causes and consequences, its victims and symptoms. This timely volume explores depictions of violence, victimhood, and overwhelming grief or loss in Chaucer's most ambitious texts, Troilus and Criseyde and the Canterbury Tales. The authors examine layers of deep emotional suffering in Chaucer's works, as well as those forces that perpetrate injustices against human beings. The essays scrutinize Chaucer's narratives through close textual analysis and modern theoretical approaches, offering original perspectives and treating subjects relevant to contemporary concerns-rape, domestic violence, slavery, forced consent, family separation, natural catastrophe, pandemic, and more. Written by leading voices in the field, Chaucer and Trauma is designed to introduce readers of Chaucer to a topic of intense present interest. Along with the volume editors, the contributors include Sarah Baechle, David K. Coley, Suzanne M. Edwards, Carissa M. Harris, Matthew W. Irvin, Kate Koppelman, Samuel F. McMillan, and Lynn Staley.

On May 4, 1380, Cecily Chaumpaigne filed a quitclaim with the Chancery in Westminster, releasing the poet Geoffrey Chaucer from any prosecution de raptu meo (on account of my rape). This legal document, lost for centuries, has haunted Chaucer studies since its rediscovery in 1873. Over the past 150 years since it reemerged, many Chaucer scholars have sought to discount, sanitize, or excuse the release. Through a careful examination of the long Chaucer historiography, Sarah Baechle shows how critics have read the question of Chaucer's potential culpability for rape through prevailing attitudes toward sexual violence. They did so, moreover, in ways that will be very familiar to contemporary readers versed in rape culture-practices that dismiss sexual violence by centering and promoting accused perpetrators, erasing or attacking the victim-survivor, and minimizing the violence of the crime. Baechle pairs the necessary excavation of this critical history with reparative readings of the poet's narratives of sexual violence, including the Miller's Tale, the Reeve's Tale, the Wife of Bath's Tale, and Troilus and Criseyde, and she theorizes "assailant speech" as a counterpart to survivor speech, proposing it as a new means of understanding Chaucer's place in feminist studies of the Middle Ages. Father Chaucer and the Apologists is an urgently needed examination of the discourse surrounding Chaumpaigne's quitclaim that reveals the ties between Chaucer studies and the persistence of rape culture. This book will appeal to students and scholars of Chaucer and of gender and sexual violence more broadly.

Global Germany Circa 1800 asks two interrelated questions: How did Germans participate in the European conquest of the world, and how were they different from other imperial powers? In other words, what is the relation between the German form of empire, the old Reich, and the modern European empires that emerged in the global age?In this book, Todd Kontje presents a revisionist literary and intellectual history, inviting readers to consider how we might understand "Germany" at the turn of the nineteenth century if we remove the nation-state as the inevitable goal of cultural and political development. Focusing on the pivotal era around 1800, when many of the concepts that define the modern era first came into being, Kontje investigates how thinkers in and around Weimar-from Goethe, Schiller, and Kant to Georg Forster, Heinrich von Kleist, and Alexander von Humboldt-worked within existing political structures to make sense of the region's place in the world. Ultimately, he reveals how Weimar, a remote artist hub long thought to exemplify the insularity of a soon-to-be-unified nation, was in fact utterly worldly, and in a manner very different from the political capitals of imperial nation-states like London and Paris. Accessible and entertaining, this literary history is essential reading for German studies students and scholars, and it will appeal to audiences in world history, empire studies, intellectual history, and comparative literature.

In the early nineteenth century, the most consequential developments in Ottoman architecture were taking place not in Istanbul but in the farthest reaches of imperial territory. Emily Neumeier investigates this wider phenomenon through a consideration of the architecture of Ali Pasha of Ioannina, one of the most prolific patrons in the history of the Ottoman Empire, who undertook a building program so ambitious that it ultimately got him killed. Ali Pasha is still a household name in present-day Greece and Albania, where he served as Ottoman governor from 1788 to 1822. To consolidate his rule over an incredibly diverse population, the governor set out on a sweeping building program that included mosques, palaces, military fortifications, dervish lodges, and even Orthodox Christian monasteries. Drawing upon a wealth of primary sources, Neumeier reveals how Ali Pasha's buildings shifted the sociopolitical order by testing the standards of patronage established by the imperial court and relocating administrative authority from center to province. To reconstruct the world that Ali Pasha built, Neumeier draws from both extensive fieldwork and abundant archival material, whose far-flung nature-from Istanbul to London-reflects the impressively wide scope of Ali Pasha's influence. Rigorously researched and packed with fascinating stories, this book presents an innovative spatial history of the Ottoman frontier during the age of revolutions, a pivotal period in the late eighteenth and early nineteenth centuries when there was no obvious blueprint for power. It will be of interest to specialists in art and architectural history, the Ottoman Empire, and Mediterranean, Islamic, and Modern Greek studies.

Lies of the Land examines the often-overlooked artistic roots of mapmaking practice in early modern France, offering an original perspective on discourses of accuracy and their relationship to the pictorial origins of modern mapmaking. Until the seventeenth century, most mapmakers in France were painters. Schooled in techniques of drawing and perspective-and in the careful study of nature that we associate with early modernity-they also learned the more expressive and imaginative Mannerist forms that dominated French painting in this period. Their maps draw on conventions of both painting and mapmaking to create beautiful, informative, and persuasive images for a wide variety of contexts and purposes. In this book, Camille Serchuk explores the strategies these cartographers deployed to weave together accuracy, ornament, and artifice in maps at all scales. Looking beyond the techniques of measurement and perspective, Serchuk shows how painterly interventions framed and manipulated the appearance and reception of cartographic objects. Lies of the Land is an important new assessment of the character and status of early modern cartography that challenges binary distinctions between art and science and between decorative and epistemic images. It will appeal especially to art historians and historians of sixteenth-century France as well as scholars of map history.

Megiddo VII reports in meticulous detail the archaeological findings from two elite, interrelated tombs from the Late Bronze I, both exceptionally preserved and richly furnished: Tomb 16/H/50, a monumental masonry-constructed chamber tomb from the Middle Bronze III, and Burial 16/H/45, a simpler pit within the former's mausoleum. Carefully excavated under unusually pristine conditions, these tombs afford a unique opportunity for in-depth study. Directed by experts from Tel Aviv University and supported by an international consortium of institutions, the excavation employed cutting-edge techniques, documentation, and analytical methods to capture, preserve, and study archaeological data. Presented in twenty-four chapters, the report deploys an arsenal of archaeological scientific methods on a targeted area of the mound. It chronicles the architectural and artifactual finds and situates them within their broader temporal, spatial, and cultural contexts. Presenting fresh insights into the funerary practices and societal structures of the Middle and Late Bronze periods, this volume is indispensable for researchers in the fields of Near Eastern archaeology and archaeological science and for those interested in the complexities of ancient funerary practices.

The American Institute of Iranian Studies is the preeminent organization devoted to fostering research in the field of Iranian Studies and promoting scholarly exchange between the United States and Iran. This collection of essays documents the history and development of Iranian Studies in the United States and the pivotal role of the Institute in furthering research in the field. The purview of the Institute is vast, covering Iranology-the study of Iranian peoples and cultures-and various forms of the Persian language spoken in Central and South Asia and the Middle East. In keeping with the Institute's dedication to facilitating research in Iran, the chapters in this volume represent fields of inquiry that have benefited from direct access to materials in the country. The essays describe the founding and work of the Institute, the emergence of Iranian Studies in American universities, the Encyclopædia Iranica, early archaeological research in Iran by the University of Pennsylvania and the University of Chicago, the birth and development of American museum collections of art from Iran, and case histories of areas of Iranian Studies that have been the traditional focus of Institute-sponsored research, including art history, history, philology, religion, and sociology. The contributors to this volume are Ahmad Ashraf, Shiva Balaghi, Medhi Bozorgmehr, Elton L. Daniel, Erica Ehrenberg, Carl W. Ernst, Stephen C. Fairbacks, Prudence O. Harper, Linda Komaroff, Judith A. Lerner, Franklin D. Lewis, Beatrice Forbes Manz, Alessandro Pezzati, Holly Pittman, D. T. Potts, Richard L. Spees, Mathew W. Stolper, Keyvan Tabari, and Christopher Thorton.

In the early seventeenth century, Spanish rulers were confronted by an avalanche of political satires. Beware the Poetry shows how these poetic libels helped articulate an early form of the public sphere, profoundly transforming political culture. Exploring a rich trove of mostly anonymous satirical works, together with newsletters, sermons, and plays, Javier Castro-Ibaseta reconstructs the experiences of Madrilenians during the reigns of Philip III and Philip IV. Castro-Ibaseta proposes an original theory of political publics that corrects approaches that assume early modern Spain's public sphere mirrored the politics of England or France. Instead, he shows that in Spain publicness was distinct because the satires-about the king's favorite, and even about the king himself-were consumed for pleasure and entertainment. But they did not create political communities or stir rebellious movements. Read diachronically, the long, continuous, evolving collection of satires reveals not just the opinions of the poets but something far more difficult to reconstruct: the shifting demands, interests, uncertainties, and worldviews of the audience-that is, the structure and dynamics of Madrid's emerging public sphere. Applying an interdisciplinary approach of literary criticism and historical method, Beware the Poetry presents an exciting new take on politics and poetry during the period often referred to as the Spanish Decadence. It will be of special interest to scholars of early modern politics and Spanish literature and culture.

Depicting the Holy War examines the impact that crusades in the Middle East had on societies in western Europe through the analysis of a heretofore largely ignored type of source: mural paintings. In this book, Elizabeth Lapina analyzes five programs of mural paintings from the early twelfth to the late thirteenth century in what is today France and England-in Hardham, Berzé-la-Ville, Poncé-sur-le-Loir, Cressac, and Tour Ferrande. These images provide rare sources of information about attitudes toward crusades in locations that have produced next to no written evidence about the subject, such as rural parishes. Four of the murals are found in ecclesiastical structures, themselves sacred and made more so as the location of the celebration of mass. This sacralization of violence, Lapina argues, led to changing attitudes toward the enemy and depictions of battles as "holy wars" between the forces of good and evil. The mural paintings come from England, Normandy, Aquitaine, Provence, and Burgundy, areas that supplied both numerous crusaders and ideas related to crusades. Taken together, the murals show a trend toward an acceptance and celebration of increasingly varied types of violence across the period. This pathbreaking study employs new methods to open a window onto perceptions and representations of crusades in strata of society about which we know relatively little. It will be indispensable to historians and art historians who study crusades, warfare, and violence in medieval England and France.

The Middle Ages provide us with one of the richest repositories of art in the West. Yet the rise in the production of art made for and by Jews-especially in the form of illuminated manuscripts-is often neglected in general surveys or viewed as a mere emulation of Christian art during this period. In People of the Image, Marc Michael Epstein demonstrates how medieval Jews transformed their visual art into a vital site of critical commentary. Through bold speculation and radical interpretation, Epstein considers how viewers might have empathized with depicted emotions, how they envisioned the relationship between the monstrous and the human, and how they could effectively perpetrate subversive acts merely by anticipating what might occur next in a given image were it to be set in motion. Examining these artworks and imagining the circumstances of their production and reception, Epstein uncovers otherwise inaccessible social, political, and theological perceptions among Europe's major medieval minority. He goes on to illuminate the afterlives of medieval Jewish art in its reimaginings by postmodern Jews struggling to establish a conceptual as well as a political space for themselves as a minority in majority society. Bringing together diverse currents from various fields and bodies of literature, People of the Image reveals how medieval Jews understood themselves, the world, and God. Provocative and engagingly written, the book will appeal to audiences across medieval studies, cultural studies, art history, and Jewish studies.