And she argues that political figures used this definitional power of the Inquisition to control local populations and to increase their own authority.".

On June 11, 1485, in the pilgrimage town of Guadalupe, the Holy Office of the Inquisition executed Alonso de Paredes--a converted Jew who posed an economic and political threat to the town's powerful friars--as a heretic. Wedding engrossing narratives of Paredes and other figures with astute historical analysis, this finely wrought study reconsiders the relationship between religious identity and political authority in late-Medieval and early-modern Spain. Gretchen Starr-LeBeau concentrates on the Inquisition's handling of conversos (converted Jews and their descendants) in Guadalupe, taking religious identity to be a complex phenomenon that was constantly re-imagined and reconstructed in light of changing personal circumstances and larger events. She demonstrates that the Inquisition reified the ambiguous religious identities of conversos by defining them as devout or (more often) heretical. And she argues that political figures used this definitional power of the Inquisition to control local populations and to increase their own authority. In the Shadow of the Virgin is unique in pointing out that the power of the Inquisition came from the collective participation of witnesses, accusers, and even sometimes its victims. For the first time, it draws the connection between the malleability of religious identity and the increase in early modern political authority. It shows that, from the earliest days of the modern Spanish Inquisition, the Inquisition reflected the political struggles and collective religious and cultural anxieties of those who were drawn into participating in it.

The figuration of the Virgin Mary was often contradictory in medieval texts and theological, philosophical and social perceptions of her greatly influenced both sacred and secular literature.

Independence in the Albanian mountains means a vow to become a man--independence in America means reclaiming her womanhood.

These stories of myth and resurrection, of uncanny events and violent impulse, were with one exception written and published in the latter half of the 1920s.

Looks at the depiction and meaning of shadows in the history of Western art

In 1878, the author Marius Roux, a noted friend of Emile Zola and Paul Cézanne, published La proie et l’ombre, a little-known roman à clef featuring a thinly disguised Cézanne as the main character, Germain Rambert. The text prominently features several conversations drawn from famous Impressionist discussions on the nature of art. La proie et l’ombre offers a unique insight into the thoughts and lives of the Impressionists. Cézanne scholar Paul Smith has resurrected this all-but-forgotten novel, recognizing its value in expanding our understanding of the Impressionists’ world in general and Cézanne’s in particular. This translation, titled The Substance and the Shadow, also brings to the foreground the effects of a burgeoning capitalist economy on the artistic practices of the period. With changes in the Salon and the dealer system, art in France was no longer reserved for the privileged few, and artists increasingly found themselves attempting to appeal to the merchant classes. Art had become a commercial endeavor in ways never before imagined, and the story details Rambert’s—and, by extension, Cézanne’s—attempts to cope with the shift. In a substantial introductory essay, Paul Smith discusses the nature of the roman à clef and its use as a historical document, and provides an examination of the relationship between Roux’s characters and their real-life counterparts.

A lost child in a deadly lottery . . . A frightened child approaches Roman informer Marcus Didius Falco, pleading for help. Nobody believes Gaia's story that a relation wants to kill her - and neither does he. Beset by his own family troubles, by his new responsibilities as Procurator of the Sacred Poultry, and by the continuing search for a new partner, he turns her away. Immediately he regrets it. Gaia has been selected as the new Vestal Virgin, and when she disappears Falco is officially asked to investigate. Finding Gaia is then a race against time, ending in Falco's most terrifying exploit yet . . . Praise for Lindsey Davis 'Lindsey Davis has seen off all her competitors to become the unassailable market leader in the 'crime in Ancient Rome' genre . . . Davis's squalid, vibrant Rome is as pleasurable as ever' - Guardian 'Davis's prose is a lively joy . . . sinister and gloriously real' - The Times on Sunday 'For fans of crime fiction set in the ancient world, this one is not to be missed' - Booklist 'Davis's books crackle with wit and knowledge . . . She has the happy knack of making the reader feel entirely immersed in Rome' - The Times