Because the Catholic Epistles focus on orthodox faith and morals, the Fathers drew on them as a means of defense against the rising challenge of heretics and as a manual for spiritual warfare. This ACCS volume opens up a treasure house of ancient wisdom that allows these faithful witnesses to speak with eloquence and intellectual acumen to the church today.

Henry James is famed for the psychological depth of his characters and his remarkable ability to penetrate the inner life, yet the story of his own inner life remains curiously obscure— until now The best known facts about James— his illustrious, wealthy family and famous siblings; his prolific literary output with its numerous quirky female heroines; his long-term bachelorhood and the rumors that accompanied it; and his flamboyant adoption of British citizenship in 1915— have created a certain mythology surrounding the author. In this succinct new biography, Hazel Hutchison examines the man behind the writing. Exploring the author's life, works, and critical heritage, this fresh take on one of the central figures in the English canon is perfect for both the general reader as well as the James enthusiast.

Telling in Henry James argues that James's contribution to narrative and narrative theories is a lifelong exploration of how to "tell," but not, as Douglas has it in "The Turn of the Screw" in any "literal, vulgar way." James's fiction offers multiple, and often contradictory, reading (in)directions. Zwinger's overarching contention is that the telling detail is that which cannot be accounted for with any single critical or theoretical lens-that reading James is in some real sense a reading of the disquietingly inassimilable "fictional machinery." The analyses offered by each of the six chapters are grounded in close reading and focused on oddments-textual equivalents to the “particles” James describes as caught in a silken spider web, in a famous analogy used in “The Art of Fiction” to describe the kind of “consciousness” James wants his fiction to present to the reader. Telling in Henry James attends to the sheer fun of James's wit and verbal dexterity, to the cognitive tune-up offered by the complexities and nuances of his precise and rhythmic syntax, and to the complex and contradictory contrapuntal impact of the language on the page, tongue, and ear.

Henry James Framed is a cultural history of Henry James as a work of art. Throughout his life, James demonstrated an abiding interest in--some would say an obsession with--the visual arts. In his most influential testaments about the art of fiction, James frequently invoked a deeply felt analogy between imaginative writing and painting. At a time when having a photographic carte de visite was an expected social commonplace, James detested the necessity of replenishing his supply or of distributing his autographed image to well-wishing friends and imploring readers. Yet for a man who set the highest premium on personal privacy, James seems to have had few reservations about serving as a model for artists in other media and sat for his portrait a remarkable number of twenty-four times. Surprisingly few James scholars have brought into primary focus those occasions when the author was not writing about art but instead became art himself, through the creative expression of another's talent. To better understand the twenty-four occasions he sat for others to represent him, Michael Anesko reconstructs the specific contexts for these works' coming into being, assesses James's relationships with his artists and patrons, documents his judgments concerning the objects produced, and, insofar as possible, traces the later provenance of each of them. James's long-established intimacy with the studio world deepened his understanding of the complex relationship between the artist and his sitter. James insisted above all that a portrait was a revelation of two realities: the man whom it was the artist's conscious effort to reveal and the artist, or interpreter, expressed in the very quality and temper of that effort. The product offered a double vision--the strongest dose of life that art could give, and the strongest dose of art that life could give.

A Commentary on the Book of James in the New Testament is not just your typical Commentary on the Book of James. Because it gives reader a refreshing scholarly, practical, and in-depth look into having godly behavior and obedience to the Word of God in such times like these, in the twenty-first century. James is writing a letter to the early Christian (Jewish Christian) about putting their faith into action. This commentary lets the reader see a verse-to-verse breakdown of the Word of God from the book of James to let it readers know that blessed is the man or woman who perseveres under trials, for they shall receive the crown of life (James 1:12). To those who persevere under trials, every trial we overcome helps us mature as Christians (James 2). In this Commentary on the Book of James in the New Testament, I tried to give human applications and illustrations to the reader. After each chapter to let the reader of this commentary--whomever is facing heartaches, trials, setbacks, drug abuse, sex abuse, having financial problems, health problems, mental issues, family and even marriage problems--know that God is the only one that can fix their problem or situation. You have to have faith in Almighty God. He is the only one that can get us out of the mess or situation or fix the circumstances that we face as Christians. We know as Christians that the book of James says God is not the author of evil. James says, "Show me Your Faith and I will show you my Faith by my works" (James 2:18). Work goes hand in hand with faith as we do our part on this Christian journey. God is our helper. This Commentary on the Book of James in the New Testament, I hope will inspire you after you have picked it up, read it, and know that you have to do your part, which is to pray and then step out in faith and get off the couch from your comfort zone to do whatever you need to do on your part regarding the circumstance God will help. I'm a witness! We serve a prayer-answering God. James 1:4 says, "But let patience have its perfect work, that you may be perfect and complete, lacking nothing." And, reader, if you haven't confessed the Lord Jesus as your Savior, say a prayer of faith today. Say, "Jesus save me. I believe You died for my sins. Come into my heart today. Amen." Romans 10:9 says that if you confess with your mouth the Lord Jesus and believe in your heart that God raised Him from the dead, you will be saved.

Henry James criticized the impressionism which was revolutionizing French painting and French fiction, and satirized the British aesthetic movement, which championed impressionist criticism. Yet time and again he used the word 'impression' to represent the most intense moments of consciousness of his characters, as well as the work of the literary artist. Henry James and the Art of Impressions argues that the literary art of the impression, as James practised it, places his work within the wider cultural history of impressionism. Henry James and the Art of Impressions offers an unprecedentedly detailed cultural and intellectual history of the impression. It draws on philosophy, psychology, literature, critical theory, intellectual influences and aesthetics to study James's early art criticism, literary criticism, travel writing, prefaces, and the three great novels of his major phase, The Ambassadors, The Wings of the Dove, and The Golden Bowl. It argues that the coherent philosophical meanings of the Jamesian impression emerge when they are comprehended as a family of related ideas about perception, imagination, and aesthetics - bound together by James's attempt to reconcile the novel's value as a mimetic form and its value as a transformative creative activity. Henry James and the Art of Impressions traces the development of the impression across a range of disciplines to show how James's use of the word owes them cultural and intellectual debt. It offers a more philosophical account of James to complement the more historicist work of recent decades.

Widely regarded as the father of American psychology, William James is by any measure a mammoth presence on the stage of pragmatist philosophy. But despite his indisputable influence on philosophical thinkers of all genders, men remain the movers and shakers in the Jamesian universe—while women exist primarily to support their endeavors and serve their needs. How could the philosophy of William James, a man devoted to Victorian ideals, be used to support feminism? Feminist Interpretations of William James lays out the elements of James’s philosophy that are particularly problematic for feminism, offers a novel feminist approach to James’s ethical philosophy, and takes up epistemic contestations in and with James’s pragmatism. The results are surprising. In short, James’s philosophy can prove useful for feminist efforts to challenge sexism and male privilege, in spite of James himself. In this latest installment of the Re-Reading the Canon series, contributors appeal to William James’s controversial texts not simply as an exercise in feminist critique but in the service of feminism. Along with the editors, the contributors are Jeremy Carrette, Lorraine Code, Megan Craig, Susan Dieleman, Jacob L. Goodson, Maurice Hamington, Erin McKenna, José Medina, and Charlene Haddock Seigfried.

In this guide Margaret Aymer introduces the letter of James, countering arguments that it is of limited theological value and significance for early Christianity. Aymer focuses on James' theology of God's divine singularity and immutability, and of God's relationship to the community as father and benefactor. These are theological foundations for its emphasis on community actions of belief, humility and mutual care. Aymer introduces and examines the letter's stand against empire, not least in regard to wealth. Divine power is envisioned as an alternative power to that of the Romans, though in some respects it can seem equally brutal. Aymer concludes by focusing on those addressed by James's homily, the exiles in diaspora. Engaging the psychology of migration, she unpacks the migrant strategy underlying James's call to living 'unstained'. Finally, Aymer encourages student to ask what it might mean now for twenty-first-century people to take seriously a separatist migrant discourse not only as an interesting ancient writing but as a scripture, a lens through which its readers can glimpse the possibilities for how lives are to be lived, and how contemporary worlds can be interpreted and engaged?

The first modern history of St James's Palace, shedding light on a remarkable building at the heart of the history of the British monarchy that remains by far the least known of the royal residences In this first modern history of St James's Palace, the authors shed new light on a remarkable building that, despite serving as the official residence of the British monarchy from 1698 to 1837, is by far the least known of the royal residences. The book explores the role of the palace as home to the heir to the throne before 1714, its impact on the development of London and the West end during the late Stuart period, and how, following the fire at the palace of Whitehall, St James's became the principal seat of the British monarchy in 1698. The arrangement and display of the paintings and furnishings making up the Royal Collection at St James's is chronicled as the book follows the fortunes of the palace through the Victorian and Edwardian periods up to the present day. Specially commissioned maps, phased plans, and digital reconstructions of the palace at key moments in its development accompany a rich array of historical drawings, watercolors, photographs, and plans. The book includes a foreword by His Royal Highness The Prince of Wales. Published in association with Royal Collection Trust