Nicky Hallett has uncovered a major new source of material by and about English nuns living in exile in the Low Countries during the seventeenth and eighteenth centuries. This volume presents the women's voices in unmediated form, direct in all their vibrancy, with an extensive introduction that provides historical and cultural contexts for an understanding of the Lives, their sources and their authors. Lives of Spirit draws upon several remarkable sets of papers compiled in enclosed convents between 1619 and 1794. These documents show that religious women developed an astute system of auto/biographical practice within a protean political situation, and that, even in exile and from within enclosure, they sought to shape a distinctive contribution to devotional change within a reforming church. This volume reveals how the women's Lives challenge, as well as affirm, notions of gendered spirituality, refiguring traditions of female life-writing that extend from Catherine of Siena (1347 - 80) through the work of the Carmelite reformer, Teresa of Avila (1515 - 82), into the later modern period. The newness of the material in this book allows a radical reappraisal of the self-representation of religious women and of paradigms of life-writing in, and beyond, the early modern period. This book is of significant interest to scholars interested in early modern women's writing, female spirituality, and auto/biography more widely as a genre.

The sensuous human form-elegant and eye-catching-is the dominant feature of premodern Indian art. From the powerful god Shiva, greatest of all yogis and most beautiful of all beings, to stone dancers twisting along temple walls, the body in Indian art is always richly adorned. Alankara (ornament) protects the body and makes it complete and attractive; to be unornamented is to invite misfortune. In The Body Adorned, Vidya Dehejia, who has dedicated her career to the study of Indian art, draws on the literature of court poets, the hymns of saints and acharyas, and verses from inscriptions to illuminate premodern India's unique treatment of the sculpted and painted form. She focuses on the coexistence of sacred and sensuous images within the common boundaries of Buddhist, Jain, and Hindu "sacred spaces," redefining terms like "sacred" and "secular" in relation to Indian architecture. She also considers the paradox of passionate poetry, in which saints praised the sheer bodily beauty of the divine form, and nonsacred Rajput painted manuscripts, which freely inserted gods into the earthly realm of the courts. By juxtaposing visual and literary sources, Dehejia demonstrates the harmony between the sacred and the profane in classical Indian culture. Her synthesis of art, literature, and cultural materials not only generates an all-inclusive picture of the period but also revolutionizes our understanding of the cultural ethos of premodern India.