Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin's writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen's Library Edition of the Works of John Ruskin. Volume 39, general index.

Three of Olivier Messiaen's later works, La Transfiguration de Notre-Seigneur Jésus-Christ, Méditations sur le mystère de la Sainte Trinité, and Saint François d'Assise, are linked by the fact that the composer refers to and quotes from Thomas Aquinas. The composer's reception of Thomistic texts is one of the principles guiding the interpretations in this study. On the one hand, Messiaen had been pondering Thomas's thoughts on the role of music in the life of a Christian and on music's possible spiritual content all through his professional life; on the other hand, the oratorio, the organ meditations, and the opera are the only works in which Messiaen quotes extensive Thomistic sentences addressing purely theological subject matter. The first aspect, Messiaen's appropriation of or felicitous congruence with the medieval theologian's views on music underlies all analyses as a kind of background fabric. The second aspect, Messiaen's quotations from the Summa theologica and their musical translation, determines segments of a larger discussion that, in the book's three main chapters, attempts to do justice to the compositions as a whole. While Thomas' theological aesthetics appears as a thread woven through a texture in a way that brings it only periodically to the foreground, the statements from Thomas's writings provide essential foundations determining the works' content and its musical rendering. This book is part of Siglind Bruhn's Messiaen Trilogy.

Brings together a series of essays by a group of highly regarded philosophers on the role of God and spirituality in their lives and in their philosophies.

The Art of the Cycling Jersey celebrates the cycling jersey in all its forms. Cycling enthusiast and author Chris Sidwells explores the most important designs in cycling history, as well as the teams, riders, and races where each piece was worn. Organized chronologically, this is the story of the cycling jersey from the first simple garments that early cyclists wore in the 1900s, to the technology-laden jerseys top riders and Tour de France winners wear today. Cycling jerseys represent many different things. For a cyclist they must be functional. For team sponsors they must stand out and increase brand awareness. For cycling fans they help pick out their favorite riders and identify a race or competition leader. Jerseys show who is a world or a national champion, and in some races, jerseys represent a competitor's nationality. But cycling jerseys have evolved into something bigger. They can evoke good times or bad times, success or failure. Above all, jerseys mark the great occasions of cycling and speak of its history, personalities, and style. With more than 200 color photographs and insightful commentary, The Art of the Cycling Jersey is a must-have book for any style-conscious, road-racing enthusiast.

Rejecting both the notion that Horace fails as a love poet because he undermines the romantic ideal that love conquers time and the notion that he succeeds because he eschews illusions about love's ability to endure, this book challenges the assumption that temporality must inevitably pose a threat to the erotic. The author argues that temporality, understood as the contingency the male poet/lover wants to but cannot control, explains why love "fails" in Horace's Odes.

"The study discusses all the key ancient sources for pantomime, and includes an appendix of selected source texts with translations keyed to the essays. It also prints a newly updated English translation of Jacob of Sarugh's Homilies on the Spectacles of the Theatre, one of the most important, though neglected, pieces of evidence for pantomime."--BOOK JACKET.