Professor Clark explores the reasons of why humans value precious metals, gems, ivory and pearls so highly.

This classic encyclopedia of symbols by the renowned Spanish poet illuminates the imagery of myth, modern psychology, literature, and art. J. E. Cirlot’s A Dictionary of Symbols is a feat of scholarship, an act of the imagination, and a tool for contemplation, as well as a work of literature—a reference book that is as indispensable as it is brilliant and learned. Cirlot was a composer, poet, critic, and champion of modern art whose interest in surrealism helped introduce him to the study of symbolism. This volume explores the space between the world at large and the world within, where nothing is meaningless, and everything is in some way related to something else. Running from “abandonment” to “zone” by way of “flute” and “whip,” spanning the cultures of the world, and including a wealth of visual images to further bring the reality of the symbol home, A Dictionary of Symbols is a luminous and illuminating investigation of the works of eternity in time.

How do Christians understand the Trinity? How does this understanding relate to other Christian teachings? In conversation with key thinkers in contemporary and classical theology, particularly Henri de Lubac, Karl Rahner, Thomas Aquinas and Augustine, this book argues that a theology of symbols can help us glimpse the mystery of the Trinity and see how this central Christian teaching corresponds to Christian understandings of creation, humanity and the church. A symbol is not here understood as an arbitrary sign, but as a sign that mediates the presence of the symbolized. Joshua Mobley examines the understanding of the Father as “symbolized” in the Son who is the “symbol” of the Father by the “symbolism” of the Spirit, the personal agent of unity between Father and Son. These trinitarian relations then structure creaturely relations to God: God is symbolized in creation, which is a symbol of God by participation in the Son, and the church is symbolism, the union of creation with God by the power of the Spirit. Mobley thus argues that a theology of symbol helps coordinate trinitarian theology with key themes in Christian dogmatics.

This volume examines the ways that sovereign rulers have employed well-defined symbols, attributes, and stereotypes to convey their power to their subjects and rivals, as well as to leave a legacy for subsequent generations to admire. Legendary rulers from antiquity such as Alexander the Great, Julius Caesar, and Constantine have been looked to as models for their display of imperial power by the rulers of later eras. From medieval sovereigns such as Charlemagne and France's Louis IX to the tsars of Russia and the great European royal dynasties of the Hapsburgs, the Bourbons, and the Tudors, the rulers of each period have appropriated and often embellished the emblems of power employed by their predecessors. Even the second-tier lords who ruled parts of France and Italy during the Renaissance, such as the dukes of Burgundy, the Gonzaga of Mantua, and the Medici of Florence became adept at manipulating this imagery. The final chapter is reserved for Napoleon I, perhaps the ultimate master of symbolic display, who assumed the attributes of Roman emperors to project an image of eternal and immutable authority. The author examines not only regal paraphernalia such as crowns, scepters, thrones, and orbs, but also the painted portraits, sculptures, tapestries, carved ivories, jewelry, coins, armor, and, eventually, photographs created to display their owner's sovereign power, a vast collection of works that now forms a significant portion of the cultural heritage of Western civilization.

Collection of 10 articles previously published on various aspects of ritual symbolism among the Ndembu of Zambia; p.83-4; brief mention of C.P. Mountford on Aboriginal colour symbolism; Primarly for use in cultural comparison.

The unvarying essential meanings of around 1,000 symbols and symbolic themes commonly found in the art, literature and thought of all cultures through the ages are clarified.

The core of the book is a full classification of all the trade marks covering pictures, names and abbreviations. The author analyses and describes the history of trademarks and shows how they have transcended barriers of language and time.

A selection of key writings from the French religious philosopher, Jean Borella.

This original, provocative study, first published in 1973, presents a new method of interpretation of mythology, and reveals the wide-ranging implications of this universal phenomenon for many disciplines. The volume begins with a sympathetic but critical examination of Lévi-Strauss’s interpretation of mythology. Professor Munz points out the deficiencies in structuralist interpretations, and takes Lévi-Strauss’s neglect of the historicity of all myths as a starting-point for an alternative approach to mythology. Myths, he argues, come in typological series. If the whole series is read forward to the most specific version, the myths will reveal their inherent meaning typologically.