Through vivid accounts of successful innovators ranging from glass artist Dale Chihuly to physicist Richard Feynman to the country/rock trio the Dixie Chicks, Berns reveals the inner workings of the iconoclast’s mind with remarkable clarity. Each engaging chapter goes on to describe practical actions we can each take to understand and unleash our own potential to think differently—such as seeking out new environments, novel experiences, and first-time acquaintances.
Spooked by some ball lightning on his wedding night, repressed young Catholic Griffith Smolders interprets this as a sign and abandons his conjugal responsibilities by escaping through the window, enduring a series of misadventures along the way involving, among others, con men, murderesses, shipwrecks, and autodidact biologist hermits. Giving chase, his betrothed, Avice Drinkwater, finally runs Grif aground in a tiny island community, and prepares to exact her revenge. Set in the rough-and-tumble late nineteenth century backwoods, The Iconoclast’s Journal is wildly kinetic, a madcap picaresque and comic anti-romance by one of the most inventive writers at work today.
Law was central to the ancient Roman conception of themselves and their empire. Yet what happened to Roman law and the position it occupied ideologically during the turbulent years of the Iconoclast era, c.680-850, is seldom explored and little understood. This volume uses Roman law and canon law to chart the various responses to these changing times - especially the rise of Islam, from Justinian II's Christocentric monarchy to the Old Testament-inspired Isauriandynasty - and the transformation from the late antique Roman Empire to medieval Byzantium.
Iconoclasm, the debate about the legitimacy of religious art that began in Byzantium around 730 and continued for nearly 120 years, has long held a firm grip on the historical imagination. Byzantium in the Iconoclast Era is the first book in English to survey the original sources crucial for a modern understanding of this most elusive and fascinating period in medieval history. It is also the first book in any language to cover both the written and the visual evidence from this period, a combination of particular importance to the iconoclasm debate. The authors, an art historian and a historian who both specialise in the period, have worked together to provide a comprehensive overview of the visual and the written materials that together help clarify the complex issues of iconoclasm in Byzantium.
Why, Salmond asks, would nineteenth-century Hindus who come from an iconic religious tradition voice a kind of invective one might expect from Hebrew prophets, Muslim iconoclasts, or Calvinists? Rammohun was a wealthy Bengali, intimately associated with the British Raj and familiar with European languages, religion, and currents of thought. Dayananda was an itinerant Gujarati ascetic who did not speak English and was not integrated into the culture of the colonizers. Salmond’s examination of Dayananda after Rammohun complicates the easy assumption that nineteenth-century Hindu iconoclasm is simply a case of borrowing an attitude from Muslim or Protestant traditions. Salmond examines the origins of these reformers’ ideas by considering the process of diffusion and independent invention—that is, whether ideas are borrowed from other cultures, or arise spontaneously and without influence from external sources. Examining their writings from multiple perspectives, Salmond suggests that Hindu iconoclasm was a complex movement whose attitudes may have arisen from independent invention and were then reinforced by diffusion. Although idolatry became the symbolic marker of their reformist programs, Rammohun’s and Dayananda’s agendas were broader than the elimination of image-worship. These Hindu reformers perceived a link between image-rejection in religion and the unification and modernization of society, part of a process that Max Weber called the “disenchantment of the world.” Focusing on idolatry in nineteenth-century India, Hindu Iconoclasts investigates the encounter of civilizations, an encounter that continues to resonate today.
