Although many scholars have addressed the central problems of interpretation in the work of James Joyce, less attention has been given to Joyce as a writer working within a specific literary and social context. This volume of 18 essays, distilled from a conference on Joyce and his contemporaries, focuses on Joyce's work from a variety of perspectives and examines his relationship to the Irish literary milieu and his connections to other writers and public figures of the period. The first group of essays explores questions relating to narrative and characterization in The Dead, Finnegans Wake, Ulysses, and A Portrait of the Artist as a Young Man. In the second part, the authors look at Joyce's use of fiction as a forum for statements on issues such as the role of the artists in society, Catholicism, economics, nationalist politics, and social reform. The third part traces Joyce's literary connections to Oscar Wilde, George Bernard Shaw, and Sean O'Casey, and the fourth discusses his influence on contemporary Irish poets and writers of fiction. The final chapters deal with several of Joyce's contemporaries, including the writers James Stephens and Padraic O'Conaire and the nationalist political leader Eamon de Valera. Illuminating both Joyce's work and the field of Irish letters in general, this collection will be a valuable resource or text for courses on Joyce, twentieth-century Irish literature, and modern fiction.

In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. Kevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. Traditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.

Can contemporary art say anything about spirituality? John Updike calls modern art "a religion assembled from the fragments of our daily life," but does that mean that contemporary art is spiritual? What might it mean to say that the art you make expresses your spiritual belief? On the Strange Place of Religion in Contemporary Art explores the curious disconnection between spirituality and current art. This book will enable you to walk into a museum and talk about the spirituality that is or is not visible in the art you see.

★ Publishers Weekly starred review One of the Top 100 Books and One of the 5 Best Books in Religion for 2019, Publishers Weekly Christianity Today 2020 Book Award Winner (Spiritual Formation) Outreach 2020 Resource of the Year (Spiritual Growth) Foreword INDIES 2019 Honorable Mention for Religion This is not a book about Saint Augustine. In a way, it's a book Augustine has written about each of us. Popular speaker and award-winning author James K. A. Smith has spent time on the road with Augustine, and he invites us to take this journey too, for this ancient African thinker knows far more about us than we might expect. Following Smith's successful You Are What You Love, this book shows how Augustine can be a pilgrim guide to a spirituality that meets the complicated world we live in. Augustine, says Smith, is the patron saint of restless hearts--a guide who has been there, asked our questions, and knows our frustrations and failed pursuits. Augustine spent a lifetime searching for his heart's true home and he can help us find our way. "What makes Augustine a guide worth considering," says Smith, "is that he knows where home is, where rest can be found, what peace feels like, even if it is sometimes ephemeral and elusive along the way." Addressing believers and skeptics alike, this book shows how Augustine's timeless wisdom speaks to the worries and struggles of contemporary life, covering topics such as ambition, sex, friendship, freedom, parenthood, and death. As Smith vividly and colorfully brings Augustine to life for 21st-century readers, he also offers a fresh articulation of Christianity that speaks to our deepest hungers, fears, and hopes.

In this study, James Turner Johnson refocuses the moral analysis of war on the real problems of today's armed conflicts. He argues that moral debates about nuclear war and annihilation fail to address the problems of using of military force.

In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. Kevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. Traditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.