Legends of the monastic orders, as represented in the fine arts : forming the second series of sacred and legendary art /

Mode of access: Internet.

Saturday review of politics, literature, science and art.

Title from caption.

An Introduction to the art of fortification, containing draughts of all the common works used in military architecture, and of the machines and utensils necessary either in attacks or defences : also a military dictionary, wherein the said works and machines are not only more fully described, but all other technical terms and phrases made use of in the science of war are distictly [sic] explained.

A separate issue of the title appended to The theatre of the present war in the Netherlands and upon the Rhine (London : J. Brindley, 1745).

Rodin; the man and his art, with leaves from his notebook,

The career of Rodin -- Rodin and the Beaux-Arts -- Sojourn in Belgium : "The man who awakens nature" : realism and plaster casts. -- Flemish painting : journeys in Italy and France -- Rodin's notebook. Ancient workshops and modern schools -- Scattered thought on flowers -- Portraits of women -- An artist's day -- The line and the structure of the gothic -- Art and nature -- The gothic genius -- The work of Rodin : the study of the cathedrals -- Influence of the gothic on the art of Rodin -- "Saint John the Baptist" (1880) -- "The gate of hell" ; "The burghers of Calais" (1889) -- Rodin and Victor Hugo -- The statute of Balzac (1898).

Hannibal; a history of the art of war among the Carthaginians and Romans down to the battle of Pydna,

Mode of access: Internet.

Lowell lectures, on the application of metaphysical and ethical science to the evidence of religion;

Mode of access: Internet.

Alexander; a history of the origin and growth of the art of war from the earliest times to the battle of Ipsus, B. C. 301 ...

Mode of access: Internet.

Literary and historical miscellanies.

Essays: i. The doctrine of temperaments, 1824. ii. Ennui, 1830. iii. The ruling passion in death, 1833.--Studies in German literature, 1824 and following years: i. General characteristics. ii. The revival of German literature. iii. Men of science and learning. iv. The age of Schiller and Goethe. v. Translations, 1818-1824.--Studies in history: i. Economy of Athens, 1831. ii. Decline of the Roman people, 1834. iii. Russia, 1829.--Occasional addresses: i. A word on Calvin the reformer, Oct. 1834. ii. The office of the people in art, government and religion, 1835. iii. In memory of Wm. Ellery Channing, 1842. iv. Oration commemorative of Andrew Jackson, 1845. v. The necessity, the reality, and the promise of the progress of the human race, 1854.

A handbook of Christian symbols : and stories of the saints as illustrated in art, /

Includes index.

The history, principles and practice of symbolism in Christian art,

Mode of access: Internet.

Art museums and schools; four lectures delivered at the Metropolitan museum of art,

"The following lectures were delivered at the Metropolitan museum of art in the spring of last year as a course for teachers."--Pref.

Medical writing; the technic and the art

An extensive revision of the Art and practice of medical writing, by George H. Simmons and Morris Fishbein. cf. Pref.

Youth, Religion and Participation : Theoretical and Methodological Approaches

This roundtable session focus on religious and social change as well as democracy and political culture, startingfrom the role of youth in these processes. The role of religion in young people’s participation is a key theme inthe cross-disciplinary network “youth and religion��� connected to the Impact program. Participation here includesboth citizens’ “vertical” capacities to make their voices heard and influence decision-makers in the political system(e.g. via elections or civic organizations and social movements) and their “horizontal” capacities to communicateand cooperate with other people (within society at large or certain associations/communities). The participants ofthe session will present influential theories and methodologies used to study participation among youth within theresearch disciplines they represent (i.e. sociology of religion; theology; ethnology; political science). This will befollowed by a joint discussion of how these theories and methodologies have approached religious involvement witha particular focus on youth’s participation in politics, civil society as well as social media and the internet. The aim ofthe session is to look for common themes and new issues that can guide contemporary studies of participation in thefield of youth and religion. The session is open to conference participants interested in the issues discussed.

Evolutionary neurobiology and art

In his important book on evolutionary theory, Darwin's Dangerous Idea, Daniel Dennett warns that Darwin's idea seeps through every area of human discourse like a "universal acid" (Dennett, 1995). Art and the aesthetic response cannot escape its influence. So my approach in this chapter is essentially naturalistic. Friedrich Nietzsche writes of observing the human comedy from afar, "like a cold angel...without anger, but without warmth" (Nietzsche, 1872, p. 164). Whether Nietzsche, of all people, could have done this is a matter of debate. But we know what he means. It describes a stance outside the human world as if looking down on human folly from Mount Olympus. From this stance, humans, their art and neurology are all part of the natural world, all part of the evolutionary process, the struggle for existence. The anthropologist David Dutton, in his contribution to the Routledge Companion to Aesthetics, says that all humans have an aesthetic sense (Dutton, 2001). It is a human universal. Biologists argue that such universals have an evolutionary basis. Furthermore, many have argued that not only humans but also animals, at least the higher mammals and birds, have an appreciation of the beautiful and the ugly (Eibl-Eibesfeldt, 1988).11Charles Darwin indeed writes "Birds appear to be the most aesthetic of all animals, excepting, of course, man, and they have nearly the same sense of the beautiful that we have" (1871, The Descent of Man and Selection in Relation to Sex, London: John Murray, vol.2, xiii, 39). This again suggests that aesthetics has an evolutionary origin. In parenthesis here, I should perhaps say that I am well aware of the criticism leveled at evolutionary psychology. I am well aware that it has been attacked as just so many "just-so" stories. This is neither the time nor the place to mount a defense but simply just to say that I believe that a defense is eminently feasible. © 2006 Elsevier Inc. All rights reserved.