A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints, ' 'Sinners, ' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints, ' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

Four women seeking the promise of salvation and prosperity in a new land.

The war is on. The Devil plots to defeat you. Meet some battle-tested warriors who fight at your side. Satan is real. He’s a formidable foe who wants to snatch us away from God, and the thought of doing battle with him can seem daunting. Even so, the saints who have gone before us have engaged the Devil, armed with the power of Christ … and emerged victorious! These fellow warriors in heaven now fight on our behalf. In Saints Who Battled Satan, Paul Thigpen, author of Manual for Spiritual Warfare, details the heroic combat of 17 saints who defeated the Enemy. In Saints Who Battled Satan, discover: How Satan attacks us through extraordinary assaults and everyday temptations. How these 17 saints used prayer, Scripture, the sacraments, and other spiritual weapons against the Enemy.How the virtues served these saints as combat armor. How these victorious saints now offer their aid to those of us still battling on earth. Read the inspiring and triumphant stories of Padre Pio, Francis of Assisi, Catherine of Siena, Teresa of Avila, John Vianney, and a dozen other saints who battled Satan. You’ll find the strength, the courage, and the faith to win your own war against the Enemy.

History has, until recently, minimized the role of nuns over the centuries. In this volume, their rich lives, their work, and their importance to the Church are finally acknowledged. Jo Ann Kay McNamara introduces us to women scholars, mystics, artists, political activists, healers, and teachers - individuals whose religious vocation enabled them to pursue goals beyond traditional gender roles.

"Nuns became the nation's first cadre of independent, professional women. Some nursed, some taught, and many created and managed new charitable organizations, including large hospitals and colleges ... [This book] reveals the spiritual wealth that these women invested in America"--Back cover.

Saints were not simply superstar Christians with otherworldly piety. When we take a closer look at the lives of these spiritual heavyweights, we learn that they're not all that different from you and me. With humor and vulnerability, Karen Marsh introduces us afresh to twenty-five brothers and sisters who challenge and inspire us with their honest faith.

Just like any dysfunctional family reunion, loyalty, love, and good times soon turn to bitterness, regret, and promises to never see one another again. At the end of the day, the Banks sisters are no different than any other family in the city of Richmond—other than the fact that they are rotten to the core. Sure, the girls are bonded by D.N.A, but they’re also tied together because of their past of robbing banks, extortion, drug dealing, and even cold-blooded murder. However, that bond means absolutely nothing to them. When it comes down to it, it is every sister for herself, even if it means throwing her siblings underneath the bus to avoid the consequences of their many crimes. Sisterly love be damned; this is survival!