The accidental pilgrim

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Cath Senker

Discusses the key themes, signs, and symbols of Christianity using lively stories, folktales, songs, poems, recipes and activities.

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Graciela María Viñuales ... [et al

"Splendid multiauthored volume is an important addition to Ediciones Encuentro of the Biblioteca Quinto Centenario. Fourteen erudite chapters offer comparative visions of the development of architecture and urbanism in the Spanish and Portuguese American colonies, emphasizing the viceroyalties of Mexico and Peru. Selected studies reflecting a variety of methodological approaches to the subject include 'Nuevos espacios para el culto' by Viñuales, 'El convento urbano' by Gutiérrez and Maeder, and 'Santuarios de peregrinación' by Nicolini. Excellent visual material consisting of color plates, b/w photographs, and architectural drawings accompanies the texts. Includes a comprehensive bibliography arranged by chapter"--Handbook of Latin American Studies, v. 58.

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Frey Haymanot

"The author has written a short but comprehensive guide to the history of the bible and how the wider world was shaped by the development and translation of the first bible used by early worshippers up to the modern day bible that most Christians know and use in their everyday lives. It explains the politics and how empires were built and lost and gives a timeline and insight to the different perspectives that it gave to the different religious factions"-- Back cover.

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Lillian Schacherl

Edgar Degas was one of the most obsessive painters of the female body in the entire history of art. He produced some six hundred images of ballet dancers alone, and the nudes that dominate his late work are scarcely less numerous. The wealth of carefully chosen illustrations in this volume provides a multi-faceted survey of these two aspects of Degas' oeuvre. The iconographical variety of the imagery is complemented by the wide range of media employed by the artist. Oils and pastels, prints and drawings, sculptures - all are included here. Lillian Schacherl brings to life the world inhabited by these women. She rejects the interpretation of the images as voyeuristic by the moralists among Degas' contemporaries and by some present-day writers. The artist's intention, she argues, was neither to glorify the glamorous world of the ballet nor to revel in the beauty of the female form. Rather, he sought to capture fleeting moments of classically perfect movement and spontaneous, unselfconscious gesture. The author shows that, in their synthesis of classical values and more modern artistic concerns, Degas' ballet dancers and late nudes constitute one of the peaks of nineteenth-century art.