Arboreal Symbolism in European Art, 1300--1800 probes the significance of trees in religious iconography of Western art. This book will interest scholars in art history, religion, humanities, and interdisciplinary studies.

Arboreal Symbolism in European Art, 1300–1800 probes the significance of trees in religious iconography of Western art. Based in the disciplines of art history, botany, and theology, this study focuses on selected works of art in which tree forms embody and reflect Christian themes. Through this triple lens, Brown examines trees that early modern artists rendered as sacred symbols—symbols with origins in the Old Testament, New Testament, Greek and Roman cultures, and early medieval legends. Tree components and wood depicted in works of art can serve as evidence for early modern artists’ embrace of biblical metaphor, classical sources, and devotional connotations. The author considers how artists rendered seasonal change in Christian narratives to emphasize themes of spiritual transformation. Brown argues that many artists and their patrons drew parallels between the life cycle of a tree and events in the Gospels with their respective annual, liturgical celebrations. This book will interest scholars in art history, religion, humanities, and interdisciplinary studies.

This study examines the theories of postmodern visuality and representation and identifies concepts that resonate with Orthodox theology and iconography. C.A. Tsakiridou frees the Orthodox icon from iconological precepts that limit its aesthetic and expressive range. The book’s key argument is that poststructuralist thought is not alien to Orthodox theology and iconography. Dissonance, liminality, and ambiguity are essential for conveying the paradoxes of Christian faith and recognizing the hagiopneumatic vitality and openness of the Orthodox tradition. Perichoresis or coinherence, a concept in patristic theology that defines the relationship between the three persons of the Holy Trinity and the two natures of Christ, acquires a feminine dimension in the person of the Theotokos. Like the ascetical concept of nepsis, it has aesthetic implications. Intermedial qualities present in iconography, photography, and cinema help explain how icons become hosts to transcendent realities and how their experience in Orthodox liturgy and devotion has anticipated and resolved the postmodern disorientation of visuality and representation. The book will be of interest to scholars working in art history, postmodernism, philosophy, theology, religion, and gender studies.

Praise for Structured Finance & Insurance "More and more each year, the modern corporation must decide what risks to keep and what risks to shed to remain competitive and to maximize its value for the capital employed. Culp explains the theory and practice of risk transfer through either balance sheet mechanism such as structured finance, derivative transactions, or insurance. Equity is expensive and risk transfer is expensive. As understanding grows, and, as a result, costs continue to fall, ART will continue to replace equity as the means to cushion knowable risks. This book enhances our understanding of ART." --Myron S. Scholes, Frank E. Buck Professor of Finance, Emeritus, Graduate School of Business, Stanford University "A must-read for everyone offering structured finance as a business, and arguably even more valuable to any one expected to pay for such service." --Norbert Johanning, Managing Director, DaimlerChrysler Financial Services "Culp's latest book provides a comprehensive account of the most important financing and risk management innovations in both insurance and capital markets. And it does so by fitting these innovative solutions and products into a single, unified theory of financial markets that integrates the once largely separate disciplines of insurance and risk management with the current theory and practice of corporate finance." --Don Chew, Editor, Journal of Applied Corporate Finance (a Morgan Stanley publication) "This exciting book is a comprehensive read on alternative insurance solutions available to corporations. It focuses on the real benefits, economical and practical, of alternatives such as captives, rent-a-captive, and mutuals. An excellent introduction to the very complex field of alternative risk transfer (ART)." --Paul Wohrmann, PhD, Head of the Center of Excellence ART and member of theExecutive Management of Global Corporate in Europe, Zurich Financial Services "Structured Finance and Insurance transcends Silos to reach the Enterprise Mountaintop. Culp superbly details integrated, captive, multiple triggers and capital market products, and provides the architectural blueprints for enterprise risk innovation." --Paul Wagner, Director, Risk Management, AGL Resources Inc.

Pliny's Natural History (A.D. 77-79) served as an indispensable guide to and exemplar of the ideals of art for Renaissance artists, patrons, and theorists. Bearing the imprimatur of antiquity, the Natural History gave permission to do art on a grand scale, to value it, and to see it as an incomparable source of prestige and pleasure. In Pliny and the Artistic Culture of the Italian Renaissance, Sarah Blake McHam surveys Pliny's influence, from Petrarch, the first figure to recognize Pliny's relevance to understanding the history of Greek art and its reception by the Romans, to Vasari and late 16th-century theorists. McHam charts the historiography of Latin and Italian manuscripts and early printed copies of the Natural History to trace the dissemination of its contents to artists from Donatello and Ghiberti to Michelangelo and Titian. Meanwhile, benefactors commissioned works intended to emulate the prototypes Pliny described, aligning themselves with the great patrons of antiquity. This is a richly illustrated, comprehensive reference work of social history, myth making, iconography, theory, and criticism.

The authors introduce Proto-Indo-European describing its construction and revealing the people who spoke it between 5,500 and 8,000 years ago. Using archaeological evidence and natural history they reconstruct the lives, passions, culture, society and mythology of the Proto-Indo-Europeans.

"This publication features current scholarly work undertaken by former pupils of Sarah Blake McHam and exhibits a wide ranging discussion of Italian art from the trecento to the early seventeenth century, covering works in various media but primarily sculpture"--Provided by publisher.

In this book, Suzanne Preston Blier examines the intersection of art, risk and creativity in early African arts from the Yoruba center of Ife and the striking ways that ancient Ife artworks inform society, politics, history and religion. Yoruba art offers a unique lens into one of Africa's most important and least understood early civilizations, one whose historic arts have long been of interest to local residents and Westerners alike because of their tour-de-force visual power and technical complexity. Among the complementary subjects explored are questions of art making, art viewing and aesthetics in the famed ancient Nigerian city-state, as well as the attendant risks and danger assumed by artists, patrons and viewers alike in certain forms of subject matter and modes of portrayal, including unique genres of body marking, portraiture, animal symbolism and regalia. This volume celebrates art, history and the shared passion and skill with which the remarkable artists of early Ife sought to define their past for generations of viewers.