Each period has its own view of the human figure. This book covers the 20th century view, reflecting the anxieties of the time.

What does it mean to be a man? What does it mean to be manly? How has our notion of masculinity changed over the years? In this book, noted historian George L. Mosse provides the first historical account of the masculine stereotype in modern Western culture, tracing the evolution of the idea of manliness to reveal how it came to embody physical beauty, courage, moral restraint, and a strong will. This stereotype, he finds, originated in the tumultuous changes of the eighteenth century, as Europe's dominant aristocrats grudgingly yielded to the rise of the professional, bureaucratic, and commercial middle classes. Mosse reveals how the new bourgeoisie, faced with a bewildering, rapidly industrialized world, latched onto the knightly ideal of chivalry. He also shows how the rise of universal conscription created a "soldierly man" as an ideal type. In bringing his examination up to the present, Mosse studies the key historical roles of the so-called "fairer sex" (women) and "unmanly men" (Jews and homosexuals) in defining and maintaining the male stereotype, and considers the possible erosion of that stereotype in our own time.

This is a print on demand book and is therefore non- returnable. This study in theological anthropology considers man as the image of God, the meaning of the image, immortality, and human freedom, dealing always with living, actual man and his inescapable relation to God.

God created man in his own image, and the profound implications of this assertion are the subject of this book. Drawing on philosophy, theology, science, Scripture and art, Cardinal Schnborn reflects on man as the greatest of Gods creatures and on the Christian understanding of his incomparable dignity that flows from this truth. According to the Christian faith, all the works of God converge toward man, and find their goal in him. The world was made for man, and man was made for God. This anthropocentrism resounds like good news at a time when many find it hard to believe in Gods special and personal providence for man. It is good news, indeed, that man has worth and his life has meaning because God bears an infinite love for him a love which is the very origin of creation and is the reason for the work of redemption. Among the topics Cardinal Schonborn addresses are: Christ-the Loveliest of Men, The Exaltation of Man, The Basis of Mans Dignity, Faith in Art, God with a Human Face.

The World Created in the Image of Man investigates the development of the third dimension in painting from the dramatic moment when spatial construction becomes charged with an external force antagonistic to the effort of forms, or human figures, to preserve their permanence. The competitive contact between the external and internal worlds represented in the picture brings a vital element to the unfolding of art as it occurs in both the West and the East. As the analysis of masterpieces from different historical periods and cultures demonstrates here, this vital impulse becomes a necessary part of pictorial composition and the measure of the quality of the work of art. It can reveal itself in a limitless and disparate variety of subject matter: a scene from Japanese court life, as depicted in the illustrations of the early twelfth century to the novel The Tale of Genji; a representation of the maternal feeling of the Virgin anticipating the fate of her child in Byzantine icon painting; Raphael's «universal interior» in The School of Athens; Rembrandt's allegory of historic continuity in Aristotle with the Bust of Homer. The progression of this dynamic eventually leads to the surrender of form to space with the Impressionists; and to the conclusion of the book, which considers Postmodern art in the form of the installation, where the emphasis is put on the unprecedented role of the viewer as a component of the work, and which suggests an environment that is totally alien, or even hostile to him. Art historians, students of art history and the educated general reader with an interest in painting will find this book a rewarding and stimulating read.