Nancy sets out to locate a kidnapped actress and to clear one of her father's clients, a renowned photographer, accused of stealing ideas for his images.

According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.

The central contention of Christian faith is that in the incarnation the eternal Word or Logos of God himself has taken flesh, so becoming for us the image of the invisible God. Our humanity itself is lived out in a constant to-ing and fro-ing between materiality and immateriality. Imagination, language and literature each have a vital part to play in brokering this hypostatic union of matter and meaning within the human creature. Approaching different aspects of two distinct movements between the image and the word, in the incarnation and in the dynamics of human existence itself, Trevor Hart presents a clearer understanding of each and explores the juxtapositions with the other. Hart concludes that within the Trinitarian economy of creation and redemption these two occasions of ’flesh-taking’ are inseparable and indivisible.

Paris at the turn of the 20th century was obsessed with the interrelations of the arts. It was a time when artists and writers spoke of poetry as music, sounds as colors, and paintings as symphonies. The music of Claude Debussy, with its unique textures and dazzling colors, was the perfect counterpart to the bold new styles of painting in France. Paul Roberts probes the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. He also draws on his own performing experience to touch on all the principal technical problems for a performer of Debussy's piano music. His many suggestions about interpreting the music will be particularly valuable to performers as well as listeners.

This book explores the unprecedented surge or oceanic feeling in the aesthetic expression of the romantic century. As secular thought began to displace the certainties of a sacral universe, the oceans that give life to our planet offered a symbol of eternity, rooted in the experience of nature rather than Biblical tradition. Images of the sea permeated the minds of the early Romantics, became a significant ingredient of romantic expression, and continued to emerge in the language, literature, art, and music of the nineteenth century. These pages document the evidence for this oceanic consciousness in some of the most creative minds of that century.

This anthology focuses on three areas in the theory of knowledge: epistemic justification; analyses of knowledge and scepticism; and recent developments in epistemology. Each of the three sections includes a brief introduction to the readings, a series of study questions, and a list of suggested readings. Section 1 deals with coherentism, foundationalism, reliabilism, and includes articles by Chisholm, BonJour, Audi, Goldman, and Fumerton. Section 2 deals with the analysis of knowledge and Gettier problems, and a variety of forms and responses to scepticism; it includes articles by Gettier, Conee, Feldman, Putnam, Nagel, and Stroud. Section 3 introduces the reader to recent developments in naturalized, feminist, and social epistemology, and includes articles by Quine, Almeder, Putnam, Anderson, Harding, Longino, Hardwig, Rorty, and Kitcher.