Sacred Profane

Famed historian of religion Mircea Eliade observes that even moderns who proclaim themselves residents of a completely profane world are still unconsciously nourished by the memory of the sacred. Eliade traces manifestations of the sacred from primitive to modern times in terms of space, time, nature, and the cosmos. In doing so he shows how the total human experience of the religious man compares with that of the nonreligious. This book serves as an excellent introduction to the history of religion, but its perspective also emcompasses philosophical anthropology, phenomenology, and psychology. It will appeal to anyone seeking to discover the potential dimensions of human existence. -- P. [4] of cover.

A journal of contemporary free verse poetry by Australian and international poets, on the topic of the sacred and profane aspects of life; poems about madness, beauty, memory, love and loss.

Available for the first time in a Premium edition, one of New York Times and USA Today bestselling author Faye Kellerman’s fan-favorite Decker/Lazurus novels.

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The Sacred is the Profane collects nine essays by William Arnal and Russell McCutcheon that advance current scholarly debates on secularism-debates. The essays return, again and again, to the question of what "religion"—word and concept—accomplishes, now, for those who employ it, whether at the popular, political, or scholarly level. The focus here is on the efficacy, costs, and the tactical work carried out by dividing the world between religious and political, church and state, sacred and profane.

Michelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters. The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. On the streets surrounding the churches and palaces, brawls and swordfights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes. Andrew Graham-Dixon's exceptionally illuminating readings of Caravaggio'spictures, which are the heart of the book, show very clearly how he created their drama, immediacy and humanity, and how completely he departed from the conventions of his time.