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Now revised and updated to incorporate numerous new materials, this is the major source for researching American Christian activity in China, especially that of missions and missionaries. It provides a thorough introduction and guide to primary and secondary sources on Christian enterprises and individuals in China that are preserved in hundreds of libraries, archives, historical societies, headquarters of religious orders, and other repositories in the United States. It includes data from the beginnings of Christianity in China in the early eighth century through 1952, when American missionary activity in China virtually ceased. For this new edition, the institutional base has shifted from the Princeton Theological Seminary (Protestant) to the Ricci Institute for Chinese-Western Cultural Relations at the University of San Francisco (Jesuit), reflecting the ecumenical nature of this monumental undertaking.
Water and the Word focuses on a genre of literature written for the education of the Carolingian clergy: Carolingian baptismal instructions. This literature has never been brought together and studied collectively in the context of the books in which it circulated. This comprehensive study has three major objectives. One is to describe the codices in which the baptismal instructions are found, in order to show with what other kinds of material the baptismal tracts were associated and where, how, and by whom these codices were intended to be used. Another is to bring together the baptismal texts and study them systematically. Finally, a third objective is to interpret the Carolingian Reform in light of the baptismal instructions and the manuscripts in which they were copied. Volume 1 of this two-volume set is devoted to analysis and interpretation of the material in volume 2. It is divided into three parts. The first part is concerned with the manuscript context of the baptismal instructions. In the second, the baptismal expositions themselves are analyzed. Part 3 of volume 1 offers some conclusions about the Carolingian Reform. Volume 2 contains the Latin text of sixty-six manuscripts.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
"Formerly known as the International Citation Manual"--p. xv.