Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternit?es arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.

Focusing on W.B. Yeats's ideal of mutual support between the arts and on the cultural production of the Yeats circle members, Karen Brown explores the artistic relationships and outcome of Yeats's vision in five case studies. In so doing, the author makes use of primary materials and fresh archival evidence, and delves into a variety of media, including embroidery, print, illustration, theatre, costume design, poetry, and painting.

One Man's lifelong journey to forgive his father. An honest (sometimes raw) account of the author's pain and search for reconciliation and peace. If you grew up in a broken home or have been hurt deeply and find it difficult to forgive, this book my be just what you need. Author, T. Walker Dee, tells on himself as he tells his story of overcoming betrayal and forgiving his father. Dee "earns the right" to speak and what he has to say is worth listening to.

Derek Mahon (1941–2020) is widely recognized as one of the most important Irish poets of his generation. This collection of new critical essays offers an important retrospective assessment of the nature of his poetic achievement. Bringing together many leading scholars of modern and contemporary Irish poetry, including a notable number of accomplished poet-critics, its contributors range widely across Mahon’s body of work. Their essays offer fresh considerations of the biographical, geographical and literary contexts that shaped his poetic voice. This includes paying attention not only to more familiar influences but also to previously little considered interlocutors. The stylistic and formal achievement of his voice is re-evaluated in ways that range from attentive close readings to considerations of his controversial practice of self-revision, and his engagements with music and experiments in translation. The politics of a poet often misleadingly considered apolitical are also reframed to take in the engagements of his early work through to the ecocritical commitment of his later poetry. Indeed, a notable aspect of this book is the consideration it gives to all the phases of Mahon’s career. As a whole, the collection opens up many new ways of reading and understanding Mahon’s important body of work.

Something happens at the eucharistic table. When Jesus' story meets Jesus' presence, Jesus happens there, and the hungry are fed. Christians' beliefs--that they believe and what they believe--are formed by Jesus happening. This book explores the theology inscribed on communities through their encounter with Jesus at the table. It begins with the theology of radical grace embodied in the invitation of everyone, baptized or not, to the table, and it addresses from this vantage the whole of the Christian life: the truth of Jesus, the work of the Spirit, the significance of baptism, and the integrity and mission of the church.

While Brother Seymour kept his head inside the old empty box in Azusa all was well. They later built a throne for him also. Today we have not one hierarchy but many. The Father must again be made King of each of our fleshly thrones. We are looking with great expectation for the latter rain of the Spirit of God - Azusa Revisited.NO REPENTANCE EQUALS NO REVIVAL! This book is for those that are genuinely interested in real revival. If you have been praying for the latter rain and have only experienced showers, this book will provide you with some very important principles of revival.Includes special dedication to the late Mrs. Elsie Mason, widow of Church of God in Christ founder, Charles Mason. She was the last living witness of the events that occurred at Azusa.

In the latter half of the twentieth century, The American upper class has become less like an aristocracy governing and guiding the nation and more like a caste, a privileged and closed body whose contribution to national leadership has steadily declined. This loss of power and authority has been the focus of the work of E. Digby Baltzell, whose 1964 work, "The Protestant Establishment, "analyzed the fate and function of a predominantly Anglo-Saxon and Protestant upper class in an ethnically and religiously heterogeneous democracy. After 27 years, Baltzell's theory of the structure and function of the establishment remains unique in the literature of class stratification and authority. Baltzell views an open and authoritative establishment as a necessary and desirable part of the process of securing responsible leaders in a democratic society. Such an establishment is the product of upper-class institutions that are open to talented individuals of varying ethnic and social backgrounds. The values of upper-class tradition include an aristocratic ethos emphasizing the duty to lead, as opposed to the snobbish ethos of caste that emphasizes only the right to privilege. Baltzell regards this as a protector of freedom in modern democratic societies, guaranteeing rules of fair play in contests of power and opinion. As Baltzell points out, historically, the alternatives to rule by establishments have been, rule by functionaries and demogogues, neither of which has proven satisfactory in protecting freedoms. As against Marxists, who see hegemony as a social evil, Baltzell, following Tocqueville, sees it as necessary to the well-being of society. Hegemonic establishments give coherence to the social spheres of greatest contest. They do not eliminate conflict, but prevent it from ripping society apart. Baltzell's work provides uncommon insight into the relationship of social class and personal power in contemporary America. This book will be of interest to sociologists, political scientists, historians of urban life, and American studies specialists.

Often seen as backward-looking and convention-bound, genre painting representing scenes of everyday life was central to the work of twentieth-century artists such as John Sloan, Norman Rockwell, Jacob Lawrence, and others, who adapted such subjects to an era of rapid urbanization, mass media, and modernist art. Re-envisioning the Everyday asks what their works do to the tradition of genre painting and whether it remains a meaningful category through which to understand them. Working with and against the established narrative of American genre painting’s late nineteenth-century decline into obsolescence, John Fagg explores how artists and illustrators used elements of the tradition to picture everyday life in a rapidly changing society, whether by appealing to its nostalgic and historical connotations or by updating it to address new formal and thematic concerns. Fagg argues that genre painting enabled twentieth-century artists to look slowly and carefully at scenes of everyday life and, on some occasions, to understand those scenes as sites of political oppression and resistance. But it also limited them to anachronistic ways of seeing and tied them to a freighted history of stereotyping and condescension. By surveying genre painting when its status and relevance were uncertain and by looking at works that stretch and complicate its boundaries, this book considers what the form is and probes the wider practice of generic categorization. It will appeal to students and scholars of American art history, art criticism, and cultural studies.

Proceedings of a symposium "The Synod of Diamper 400 Years After: Lessons of History," organized by and held at the Pontifical Oriental Institute, Rome, on November 18, 1999.