This book project traces the thought of several Roman Catholic Modernists (and one especially virulent anti-Modernist) as they confronted the intellectual challenges posed by the Great war from war from 1895 to 1907.

This book project traces the thought of several Roman Catholic Modernists (and one especially virulent anti-Modernist) as they confronted the intellectual challenges posed by the Great war from war from 1895 to 1907.

Catholic antimodern, 1920-1929 -- Anti-communism and paternal Catholicism, 1929-1944 -- Anti-fascism and fraternal Catholicism, 1929-1944 -- Rebuilding Christian Europe, 1944-1950 -- Christian democracy and Catholic innovation in the long 1950s -- The return of heresy in the global 1960s

This is the first book-length study to examine the interface between literary and theological modernisms. It provides a comprehensive account of literary responses to the modernist crisis in Christian theology from a transnational and interdenominational perspective. It offers a cultural history of the period, considering a wide range of literary and historical sources, including novels, drama, poetry, literary criticism, encyclicals, theological and philosophical treatises, periodical publications, and wartime propaganda. By contextualising literary modernism within the cultural, religious, and political landscape, the book reveals fundamental yet largely forgotten connections between literary and theological modernisms. It shows that early-twentieth-century authors, poets, and critics, including Rainer Maria Rilke, T. S. Eliot, and Czesław Miłosz, actively engaged with the debates between modernist and neo-scholastic theologians raging across Europe. These debates contributed to developing new ways of thinking about the relationship between religion and literature, and informed contemporary critical writings on aesthetics and poetics.

The First World War in Computer Games analyses the depiction of combat, the landscape of the trenches, and concepts of how the war ended through computer games. This book explores how computer games are at the forefront of new representations of the First World War.

From 1914 to 1918, religious believers and hopeful skeptics tried to find meaning and purpose behind divinely willed destruction. God on the Western Front is a history of lived religion across national boundaries, religious affiliations, and class during World War I, utilizing an expansive record of primary sources. Joseph F. Byrnes takes readers on a tour of the battlefields of France, listening to the words of German, French, and English soldiers; going behind the lines to hear from the men and women who provided pastoral and medical care; and reviewing the religious writings of priests, bishops, ministers, and rabbis as they tried to make sense of it all. The story begins with citizens at home as they responded to the obligation to make war and then focuses on the “God-talk” and “nation-talk” that soldiers used to express their foundational religious experiences. Byrnes’s study attends to the words of average men who struggled to articulate their religious sentiments, alongside the generals Helmuth von Moltke, Ferdinand Foch, and Douglas Haig and the soldier theologians Franz Rosenzweig, Paul Tillich, Pierre Teilhard de Chardin, and Geoffrey Studdert Kennedy. In doing so, he shows how religious and battle experience are intertwined and showcases the wide range of spiritual responses that emerged across boundaries. Going beyond the typical constraints of studies focused either on one nation or one confessional affiliation, Byrnes’s international and interfaith approach breaks new ground. It will appeal to scholars and students of modern European history, religious history, and the history of war.

By the time of his death in 1933 Henri Bremond, priest and member of the elite Académie française, had established himself in France, and increasingly in England and the United States, as a distinguished historian of Christian spirituality and as a Catholic modernist who helped to shake the church out of its dogmatic slumbers by embracing "pure love," artistic-poetic expression, and mystical prayer as the privileged manifestations of spiritual truth. Drawing on substantial new scholarship in France, that has resuscitated and reinterpreted Bremond's work for our own times, and that sees Bremond as an important precursor of current trends in literary interpretation as well as spirituality, Gorday surveys the entirety of Bremond's corpus of writing, setting his work in its context of his personal struggles, as well as the wider setting of French historical and cultural development.

This monograph studies the professionalization of History of religions as an academic discipline in late 19th and early 20th century France and Europe. Its common thread is the work of the French Modernist priest and later Professor of History of religions at the Collège de France, Alfred Loisy (1857-1940), who participated in many of the most topical debates among French and international historians of religions. Unlike his well-studied Modernist theology, Loisy’s writings on comparative religion, and his rich interactions with famous scholars like F. Cumont, M. Mauss, or J.G. Frazer, remain largely unknown. This monograph is the first to paint a comprehensive picture of his career as a historian of religions before and after his excommunication in 1908. Through a contextual analysis of publications by Loisy and contemporaries, and a large corpus of private correspondence, it illuminates the scientification of the discipline between 1890-1920, and its deep entanglement with religion, politics, and society. Particular attention is also given to the role of national and transnational scholarly networks, and the way they controlled the theoretical and institutional frameworks for studying the history of religions.

The Dancer's World 1920-1945 focuses on modern dancers as they saw themselves. Five chapters describe a narrative arc that encompasses Europe and the USA with a focus between 1920 and 1945. A final chapter considers contemporary relevance for dancers, dance artists, choreographers, dance students and scholars alike.

This book examines the use of book covers as marketing devices, asking what exactly they communicate to their readers and buyers, and what images they associate with a genre and create about a culture. Focusing on Indian women's writing in English, it combines the study of text with the study of materiality of the book.