Animals in Religion explores the role of animals within a wide range of religious traditions. Exploring countless stories and myths passed down orally and in many religious texts, Barbara Allen—herself a practicing minister—offers a fascinating history of the ways animals have figured in our spiritual lives, whether they have been Christian, Jewish, Muslim, or any number of lesser-known religions.
           
Some of the figures here will be familiar, such as St. Francis of Assisi, famous for his accord with animals, or that beloved remover of obstacles, Ganesha, the popular elephant god in the Hindu pantheon. Delving deeper, Allen highlights the numerous ways that our religious practices have honored and relied upon our animal brethren. She examines the principle of ahimsa, or nonviolence, which has Jains sweeping the pathways before them so as not to kill any insects, as well as the similar principle in Judaism of ts’ar ba’alei chayim and the notion in some sects of Islam that all living creatures are Muslim. From ancient Egypt to the Druids to the indigenous cultures of North America and Australia, Allen tells story after story that emphasizes the same message: all species are spiritually connected. 

During the 1830s, the small state of Rhode Island flourished as a center of radical abolitionism. Inspired by William Lloyd Garrison's call for immediate emancipation, some twenty-five anti-slavery societies were formed under the leadership of the African American communities in Providence and Newport, several energetic Baptist and Congregational clergymen, and the wealthy elder statesman of the New England Friends, Moses Brown.

Despite the efforts of these groups, by 1842 the antislavery movement in Rhode Island was nearly moribund, the unified hopes of earlier years having fallen victim to political wrangling. A year later the largest auxiliary in the state, the Providence Antislavery Society, turned its funds over to Amarancy Paine, who in concert with other women not only revived the abolitionist movement in the state but kept it running for another ten years.

This detailed study explores how and why women like Paine emerged from the background to resuscitate and lead the antislavery cause in Rhode Island. It suggests that women more than men were accustomed to working behind the scenes, informally and without much public recognition.

The crumbling of the male-centered organization revealed a previously invisible female-based structure of personal ties on which leaders were able to build the Rhode Island State Anti-Slavery Society. Because these informal ties crossed traditional racial, geographic, and gender-role boundaries, they were often tenuous and fragile. Nevertheless, by developing this network among themselves and then extending it to national leaders, a few dedicated women managed to continue a program of antislavery petitioning, meetings, and literature circulation.

India's folklore and classical literature abound with stories of parents who sacrifice their children. In The Hungry God, David Shulman examines one set of such tales—Hindu texts that bear similarities to the biblical aqedah, the account of Abraham's near-sacrifice of Isaac. In all the stories that Shulman explores, the sacrifice proceeds from a divine command and has no utilitarian explanation or rationale.

Icon and Devotion offers the first extensive presentation in English of the making and meaning of Russian icons. The craft of icon-making is set into the context of forms of worship that emerged in the Russian Orthodox Church in the mid-seventeenth century. Oleg Tarasov shows how icons have held a special place in Russian consciousness because they represented idealized images of Holy Russia. He also looks closely at how and why icons were made. Wonder-working saints and the leaders of such religious schisms as the Old Believers appear in these pages, which are illustrated in halftones with miniature paintings, lithographs and engravings never before published in the English-speaking world.

By tracing the artistic vocabulary, techniques and working methods of icon painters, Tarasov shows how icons have been integral to the history of Russian art, influenced by folk and mainstream currents alike. As well as articulating the specifically Russian piety they invoke, he analyzes the significance of icons in the cultural life of modern Russia in the context of popular prints and poster design.

Yusuf and Zulaykha. Khusrau and Shirin. Layla and Majnun. For hundreds of years, Persian poets have captivated audiences with recitations and reinterpretations of timeless tales of earthly and spiritual love. These tales were treasured not only in Iran, but also across the neighboring Mughal and Ottoman Empires.

In Love and Devotion, leading specialists in literature, art history, and philosophy reveal new perspectives on these evocative stories and the exquisite illustrated manuscripts that convey them. Particularly in courtly settings, poetry was a key component of Persian cultural life from the fourteenth through the eighteenth century, and elite patrons commissioned copies of lyrical poems and epics told in verse. Beautifully presented here in full-page reproductions are more than one hundred folios from these illustrated manuscripts, representing masterful works from Hafiz, Rumi, and many others. Echoes of works by Persian poets are manifest across European literature from Dante and Shakespeare to the present, and this lavishly illustrated book reveals new perspectives on the universal theme of love.

From its origins in the mid-seventeenth century visions of the French nun Margaret Mary Alacoque (1647–90) to its continuing employment in worship today, the Devotion to the Sacred Heart of Jesus has been controversial. Vigorously promoted by Jesuit spiritual directors, embroiled in the controversies of Jansenist writers, closely associated with Royalist political causes in France, and taken around the world by Sister Sophie Barat in the nineteenth century, the Devotion’s practices took on the shape of its evolving visual culture and iconography. This volume traces the unfolding visual biography of the sacred heart and shows how imagery documents the Devotion’s remarkable evolution.

In this interdisciplinary study of drama, arts, and spirituality, Gail Gibson provides a provocative reappraisal of fifteenth-century English theater through a detailed portrait of the flourishing cultures of Suffolk and Norfolk. By emphasizing the importance of the Incarnation of Christ as a model and justification for late medieval drama and art, Gibson challenges currently held views of the secularization of late medieval culture.