Between The Monster And The Saint

Being human isn’t easy. We might think that consciousness and free will give us control over our lives but our minds are unpredictable places. We are susceptible to forces we don’t understand. We are capable of inflicting immense cruelty on one another and yet we also have the capacity to be tender, to empathise, to feel. In his thought-provoking new book Richard Holloway holds a mirror up to the human condition. By drawing on a colourful and eclectic selection of writings from history, philosophy, science, poetry, theology and literature, Holloway shows us how we can stand up to the seductive power of the monster and draw closer to the fierce challenge of the saint.

The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological, and cultural value. Monstrosity is bound up with questions of body image and deformity, nature and knowledge, hybridity and horror. To explore a culture's attitudes to the monstrous is to comprehend one of its most important symbolic tools. The Monstrous Middle Ages looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writings and mystical texts to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gender and sexual identity, religious symbolism, and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. The Monstrous Middle Ages will be essential reading for anyone interested in the concept of monstrosity and its significance for both medieval cultural production and contemporary critical practice.

Fifteen-year-old Janna Yusuf, a Flannery O'Connor-obsessed book nerd and the daughter of the only divorced mother at their mosque, tries to make sense of the events that follow when her best friend's cousin--a holy star in the Muslim community--attempts to assault her at the end of sophomore year.

This study centers on issues of marginality and monstrosity in medieval England. In the middle ages, geography was viewed as divinely ordered, so Britain's location at the periphery of the inhabitable world caused anxiety among its inhabitants. Far from the world's holy center, the geographic margins were considered monstrous. Medieval geography, for centuries scorned as crude, is now the subject of several careful studies. Monsters have likewise been the subject of recent attention in the growing field of monster studies, though few works situate these creatures firmly in their specific historical contexts. This book sits at the crossroads of these two discourses (geography and monstrosity), treated separately in the established scholarship but inseparable in the minds of medieval authors and artists.

The third young master of the Divine Sword Villa had reincarnated into the useless third son of the Long family. Furthermore, he wanted to see how the Soaring Dragon had managed to survive in this foreign world. Thanks for everyone's support. We're cheering for you today. The group number is 81332675. 

Leviathan, a manifestation of one of the oldest monsters in recorded history (3rd millennium BCE), and its sidekick, Behemoth, have been the object of centuries of suppression throughout the millennia. Originally cosmic, terrifying creatures who represented disorder and chaos, they have been converted into the more palatable crocodile and hippo by biblical scholars today. However, among the earliest Jews (and Muslims) and possibly Christians, these creatures occupied a significant place in creation and redemption history. Before that, they formed part of a backstory that connects the Bible with the wider ancient Near East. When examining the reception history of these fascinating beasts, several questions emerge. Why are Jewish children today familiar with these creatures, while Christian children know next to nothing about them? Why do many modern biblical scholars follow suit and view them as minor players in the grand scheme of things? Conversely, why has popular culture eagerly embraced them, assimilating the words as symbols for the enormous? More unexpectedly, why have fundamentalist Christians touted them as evidence for the cohabitation of dinosaurs and humans?

This superb book, originally published in 1899, has been completely reset for this new edition. Whether it be at the Louvre or a thousand museums, churches or shrines, visitors cannot escape being struck by the presence of the saints in the pictures. But why are they there and what does the presence of this or that saint mean to the viewer? What was the artist attempting to convey? Ms. Clement brings to life both historical and devotional pictures, explaining what the saint's presence brings to the pictures, be it scriptural or legendary. She paints a picture with words which readers find enlightening in the broadest sense. Light is shed on the meaning of the presence of a single saint in a picture versus a group of saints. What was the intention of the artist? To convey charity, benevolence, love of God, piety or certain miracles? In an age when Madison avenue cravens attack our senses with visual commercials on almost everything our eyes fall upon, it is refreshing to read that there are pictures which call for our contemplation and not our money.