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This is an extremely ambitious, thought-provoking, challenging and inspiring book.
At the height of the Greek financial crisis, reports from colleagues based in Athens painted a sorry picture of respectable citizens who had fallen upon hard times desperately rummaging in dustbins to supplement their dwindling larders. The statistics told an even grimmer story – between 2010 and 2011, suicide rates in Greece rose by 40 per cent.(1)
Frances Yates’ seminal book Giordano Bruno and the Hermetic Tradition (1964), which established a longstanding scholarly orthodoxy that Renaissance magic derived from interpretations of the Hermetic Corpus, has been challenged in its details by Bruno scholars and others.
This collection of ten articles was inspired by an interdisciplinary conference held at the University of Manchester in 2005 on ‘The Peace in the Feud: History and Anthropology, 1955–2005’.
This book is concerned with the paradoxes and oxymora (p. 80) inherent in a longue-durée of Western thought, rooted in Christian theology, about political and religious violence: liberty and coercion; violence and peace; cruelty and mercy; shedding blood to achieve peace; violence and martyrdom, election and universalism, old and new, and even, in a sense, the state and the church.
Triumph in the West is the triumphant conclusion of J. G. A. Pocock’s series on Edward Gibbon and the Decline and Fall of the Roman Empire (1776–89).
This is a very welcome addition to the study of dress in antiquity. While studies of clothing, bodily adornment and the body language of antiquity are becoming more frequent, a volume that considers the role of religious dress and the religious meanings of dress among Jews and Christians takes this research in new directions.
As its title implies, Peter Bell’s monograph applies structures derived from sociology, specifically those focusing on conflict theory and resolution, to the Eastern Roman Empire in the sixth century.
The monumental importance of the exhibition Life and Death in Pompeii and Herculaneum lies not least in the staggering number of people it has reached.
Silence speaks as a visual conceit through the serene icon of Mary Magdalene, chosen to illustrate the dust jacket enfolding Silence: A Christian History, foreshadowing themes in Diarmaid MacCulloch’s magisterial study.