Compiled by an international team of experts, each entry is given its complete range of interpretations - sexual and spiritual, official and subversive, cultural and religious - to bring meaning and insight to the symbol.

    Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. A work unique in its breadth and brilliance, Modernism presents a thrilling pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffiths; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years. Lavishly illustrated, Modernism is a superlative achievement by one of our greatest historians.

    David Lewis-Williams proposes that the explanation for this lies in the evolution of the human mind. Cro-Magnons, unlike the Neanderthals, possessed a more advanced neurological makeup that enabled them to experience shamanistic trances and vivid mental imagery. It became important for people to "fix," or paint, these images on cave walls, which they perceived as the membrane between their world and the spirit world from which the visions came. Over time, new social distinctions developed as individuals exploited their hallucinations for personal advancement, and the first truly modern society emerged.Illuminating glimpses into the ancient mind are skillfully interwoven here with the still-evolving story of modern-day cave discoveries and research. The Mind in the Cave is a superb piece of detective work, casting light on the darkest mysteries of our earliest ancestors while strengthening our wonder at their aesthetic achievements.

    Taking a broad and inclusive approach, this unique work spans over 2,500 years, featuring chapters on Buddhism's origins in India; Therav=ada and Mahayana Buddhism; and Buddhism in Southeast Asia, Tibet, China, Korea, and Japan. It also includes an extensive discussion of modern, socially engaged Buddhism and a concluding chapter on the spread of Buddhism to the West. Mitchell provides substantial selections of primary text material throughout that illustrate a great variety of moral, psychological, meditative, and spiritual Buddhist experiences. Buddhism features twenty-two boxed personal narratives provided by respected Buddhist leaders and scholars from around the world, including His Holiness the Dalai Lama, Dharma Master Sheng Yen, Dharma Master Cheng Yen, Jeffrey Hopkins, Sulak Sivaraksa, Rita M. Gross, Chatsumarn Kabilsingh, and Robert Aitken. These concise and intriguing essays give students a glimpse into what the topics discussed in the book actually mean in terms of human experience today. Ideal for courses in Buddhism, Asian religions, and Asian philosophy, Buddhism also incorporates helpful maps, numerous illustrations, a glossary, and suggestions for further reading.

    This phenomenally diverse tradition includes not only frescoes, relief carvings, colossal statues, silk embroideries and bronze ritual objects but also rock-cut shrines with a thousand Buddhas, the glorious stupas of South-East Asia and the pagodas of the Far East, the massive "mandala in stone" of Borobudur in Java and entire 13th-century temple complexes at Angkor in Cambodia. The author describes all the Buddhist schools and cultures, and explains their imagery, from Tibetan cosmic diagrams and Korean folk art to early Sri Lankan sites and Japanese Zen gardens.

    Fiske differentiates between mass culture - the cultural products put out by an industrialized, capitalist society, and popular culture - the ways in which people use, abuse, and subvert these products to create their own meanings and message. Companion volume to Reading the Popular, this book presents a radically different theory of what it means for culture to be popular: that is, literally, of the people.

    Craig has done a great work, and it is marvelous that now the philosophy of religion is engaging with the philosophy of science to the great benefit of both.--John R. LucasFellow of Merton College, Oxford University Time and Eternity offers a comprehensive discussion of the problems in the concepts of time and eternity on the basis of an extraordinary familiarity with a vast number of recent contributions to this issue from scientists and philosophers. The argument is subtle and precise. Particularly important are the sections on the impact of the different versions of relativity theory on the concept of time.... The book offers a plausible argument for a realistic conception of temporal process and for God's involvement in the temporal distinctions and processes because of His presence in His creation.--Wolfhart PannenbergProfessor of Systematic TheologyLudwig Maximilliens Universitaet-Muenchen, Germany As a scientist doing theoretical research in gravitational physics and quantum cosmology, I found Dr. Craig's thoughtful book highly interesting. He has carefully given arguments defending several different viewpoints for each of the many issues about time that he discusses, followed by critiques in which he emphasizes his own opinion. Reading Time and Eternity has forced me to develop better arguments for my own opinions (which differ considerably from Craig's).... I am certain that Time and Eternity will also stimulate your thinking about this fascinating subject and your appreciation for the God who created time as part of the marvelous universe He has given us.--Don N. PageProfessor of Physics and Fellow of the Cosmology and Gravitation Program of the Canadian Institute for Advanced ResearchUniversity of Alberta, Edmonton, Alberta, Canada William Lane Craig is one the leading philosophers of religion and one of the leading philosophers of time. In this book, he combines his expertise in these areas to produce an original, erudite, and accessible theory of time and God that will be of great interest to both the general public and scholars. It is a rewarding experience to read through this brilliant and well-researched book by one of the most learned and creative thinkers of our era.--Quentin SmithProfessor of Philosophy, Western Michigan University In Time and Eternity, William Lane Craig defends the remarkable conclusion that "God is timeless without creation and temporal since creation." Craig argues his case philosophically by carefully weighing evidence for and against divine temporality and personhood in light of dynamic versus static theories of time and their warrants, in turn, in a Lorentzian interpretation of special relativity and an objective, mind-independent theory of becoming, including fascinating excursions into Big Bang cosmology and the philosophy of mathematics. As the latest in his series of ground-breaking books, Time and Eternity summarizes and extends Craig's previous technical arguments and conveys them to a more general audience. It is a must-read for anyone seriously interested in the problem of time and eternity in Christian philosophy.--Robert RussellProfessor of Theology and ScienceGraduate Theological Union, Berkeley, Calif. The nature of time is a continuing source of puzzlement both to science and in everyday life. It is also an important issue in theological understandings of the nature of God. In this interesting book, Professor Craig tackles this complex set of topics in a clear way. His discussion of the interrelated scientific, philosophical, and theological issues clears up many previous misconceptions and proposes a plausible understanding of the relation of God to time and eternity that many will find helpful.--George EllisProfessor of Mathematics and Applied MathematicsUniversity of Capetown

    In this new intervention, Fredric Jameson—perhaps the most influential and persuasive theorist of postmodernity—excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive ‘modernity’ as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well.In this major new interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms—which can probably not be banished at this late date—helps us clarify our present political and artistic situations.

    Packed with beloved lines of verse, literary portraits, and illustrations — and statements from the bearers on their tattoos’ history and the personal significance of the chosen literary work — The Word Made Flesh is part photo collection, part literary anthology written on skin.

    His argument is a response to the atheist culture that is now growing around us, and also a defence of human uniqueness. He rebuts the claim that there is no meaning or purpose in the natural world, and argues that the sacred and the transcendental are 'real presences', through which human beings come to know themselves and to find both their freedom and their redemption. In the human face we find a paradigm of meaning. And from this experience, Scruton argues, we both construct the face of the world, and address the face of God. We find in the face both the proof of our freedom and the mark of self-consciousness. One of the motivations of the atheist culture is to escape from the eye of judgement. You escape from the eye of judgement by blotting out the face: and this, Scruton argues, is the most disturbing aspect of the times in which we live. In his wide-ranging argument Scruton explains the growing sense of destruction that we feel, as the habits of pleasure seeking and consumerism deface the world. His book defends a consecrated world against the habit of desecration, and offers a vision of the religious way of life in a time of trial.

    Since its 1970 s renaissance in the iconic album designs of bands such as the Grateful Dead, the skull has found its way into the visual vocabulary of urban life, adorning T-Shirts, badges and rock memorabilia as the ultimate symbol of anarchy and rebellion. Repurposed and recast by artists, illustrators and designers, it has become one of the most iconic cultural symbols of our time. In response to this cultural phenomenon, The Book of Skulls presents a cool visual guide to the skull, charting its rebirth through music and street fashion to become today s ultimate anti-establishment icon. From Black Sabbath to Cypress Hill, skater punk graffiti to Gothic tattoos, from high-couture to Hello Kitty and Dali to Damien Hirst, this book is the ultimate collection of cool and iconic skull motifs. Drawing together artwork from music, fashion, street art and graphic design The Book of Skulls is a celebration of one of today s most iconic cultural symbols.

    Conceived as an overarching primer on the practice of Zen, chapters in this volume address every aspect of practice: beginning practice, shikantaza, chanting, sesshin, working with Mu, and the nature of koans. In the intervening years since the publication of the earlier edition, countless books have appeared on Zen. Few, if any, have approached the strengths of On Zen Practice as a reference or teaching tool, and the book retains a lively, immediate quality that will appeal to today's readers.

    In Meditations on Living, Dying and Loss, Graham Coleman, the editor of Viking?s acclaimed unabridged translation of The Tibetan Book of the Dead, collects the most beautifully written passages, ones that draw out the central perspectives most relevant to modern experience: What is death? How can we help those who are dying? And how can we come to terms with bereavement? New to this edition are Coleman?s introduction and his brilliant and incisive essays, which preface each chapter and provide the seeker entrée to these ancient insights. With introductory commentary by His Holiness the Dalai Lama and a highly praised translation by Gyurme Dorje, this succinct but authoritative volume will convey the profundity of the original to those hungry for a better understanding of this life and the next.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    Fans of the hilarious essays that made up the author's first book, Zen Confidential, will find even more hilarity here--along with Zen insight applied to the things that happen in this thing called daily life. Whereas Shozan Jack Haubner's first book presented the Zen teaching in terms of outhouse-building, oyroki-bowl-stacking, and anatomy adjustment as one takes one seat on the zafu, this one goes deeper into experiences of love, death, and sex. And though the writing is still funny, it bears the mark of a guy who's been through the mill and who's come back to save all beings. The wide-ranging experiences of this funny and insightful monk--both inside and outside the monastery--include his memories of the dysfunctional Midwestern family life that led him ultimately to Zen practice (with a father resembling Mel Gibson on a bad day) and his confrontation with the everyday insanity that seems to arise whenever anyone declares, -I think I should be a monk!- Among the less-funny stuff is his harrowing brush with death from pancreatitis and his moving experience of the death of a dear friend. There's also a graphic account of the night he got stoned and went -over the wall- from the monastery to have some real fun. That he pulls it all off and it's still hilarious, moving, and profoundly expressive of Zen wisdom is a tribute to Haubner's gifts as a writer and humorist, but also to the sincerity of his practice. The insight makes the humor even funnier somehow, and the humor makes the insight hit home with much power.