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Premium, remanufactured toner cartridge is designed for use with Hewlett-Packard LaserJet 4000 Series and 4050 Series. Ultra-fine particle toner delivers crisp, black text and fine resolution. Manufactured with new aftermarket components, the sealing process ensures a leakproof cartridge. Cartridge yields approximately 6,000 pages. Elite Image is ISO certified.

Premium, remanufactured toner cartridge is designed for use with Canon PC140, PC170, CP320, P325, P420, PC428, PC430, PC720, PC730, PC740, PC760, PC770, PC790, PC860, PC880, PC920, PC921, PC950, PC980 and PC981. Made with new aftermarket components, it provides crisp, sharp text, graphics and ultra-fine resolution. Cartridge yields approximately 4,000 pages. Elite Image is ISO certified.

`This excellent text will introduce advanced students - and remind senior researchers - of the availability of a broad range of techniques available for the systematic analysis of social data that is not numeric. It makes the key point that neither quantitative nor qualitative methods are interpretive and at the same time demonstrates once and for all that neither a constructivist perspective nor a qualitative approach needs to imply abandonment of rigor. That the chapters are written by different authors makes possible a depth of expertise within each that is unusually strong′ - Susanna Hornig Priest, Texas A&M University; Author of `Doing Media Research′ Qualitative Researching with Text, Image and Sound off

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In the wake of controversies over printing or displaying images of the Prophet Muhammad, Christiane Gruber's aim is to bring back into scholarly and public discussion the 'lost' history of imagining the Prophet in Islamic cultures. By studying the various verbal and visual constructions of the Prophet's character and persona over the course of more than one thousand years, Gruber seeks to correct public misconceptions and restore to Islam its rich artistic heritage, illuminating the critical role Muhammad has played in Muslim constructions of self and community at different times and in various cultural contexts. The Praiseworthy One is an exploration of the Prophet Muhammad's significance in Muslim life and thought from the beginning of Islam to today. It pays particular attention to procedures of narration, veneration, and sacralization. Gruber stresses that a fruitful approach to extant textual and visual materials is one that emphasizes the harnessing of Muhammad's persona as a larger metaphor to explain both past and present historical events, to build and delineate a sense of community, and to help individuals conceive of and communicate with the realm of the sacred. The Praiseworthy One shows that Muhammad has served as a polyvalent symbol rather than a historical figure with fixed significance.

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Jan Huygen van Linschoten (1562-1611) was a Dutchman who, in 1596, penned the famous Itinerario, an account of his travel to the Indian Peninsula and its eastern surroundings that described the inhabitants of this vast region and quickly became a travel guide for everyone going there. Van Linschoten is held as a key eyewitness of the Portuguese-Asian empire at its height, and as one who worked to shift the center of European expansion from the Iberian peninsula and Italy to the Netherlands and England. In 1604 he published an abridged version, the Icones et Habitus Indorum, which contained 36 of the engravings from the Itinerario together with Latin captions.Divine and Spoiled Asia reproduces these engravings and their captions (in English), together with an extensive analysis of them by historian Ernst van den Boogaart. In addition to providing unparalleled insights into early modern European views of the East, the engravings also contain valua

Asmat Images from the Collection of the Asmat Museum of Culture and Progress: Text, Photographs and Drawings [Jan 01, 1985] Schneebaum, Tobias ...

Pauline Christianity sprang to life in a world of imperial imagery. In the streets and at the thoroughfares, in the market places and on its public buildings and monuments, and especially on its coins the Roman Empire's imperial iconographers displayed imagery that aimed to persuade the Empire's diverse and mostly illiterate inhabitants that Rome had a divinely appointed right to rule the world and to be honoured and celebrated for its dominion. Harry O. Maier places the later, often contested, letters and theology associated with Paul in the social and political context of the Roman Empire's visual culture of politics and persuasion to show how followers of the apostle visualized the reign of Christ in ways consistent with central themes of imperial iconography. They drew on the Empire's picture language to celebrate the dominion and victory of the divine Son, Jesus, to persuade their audiences to honour his dominion with praise and thanksgiving. Key to this imperial embrace were Colossians, Ephesians, and the Pastoral Epistles. Yet these letters remain neglected territory in consideration of engagement with and reflection of imperial political ideals and goals amongst Paul and his followers. This book fills a gap in scholarly work on Paul and Empire by taking up each contested letter in turn to investigate how several of its main themes reflect motifs found in imperial images.

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St. Anne was popular with representatives of various segments of society – from monks, nuns, members of the clergy, royal patrons, to church-goers of every rank. This book looks into both the public and private worship of this holy woman and brings to the surface some under-exposed aspects of it. It does so through the examination of manuscripts, monumental art, relics, sculpture, and texts of various genres. The contributors employ a historical as well as a theological perspective on how the cult of St. Anne (sometimes also with glimpses concerning that of Joachim) established itself, referring to areas in Europe which are not frequently discussed in English-language scholarship. This new contribution to the field of hagiography will be of interest to academics from a variety of research fields, including theologians, Byzantinists, art and church historians, and historians of a larger scope. 

The Eadwine Psalter (Cambridge, Trinity College MS R.17.1) is arguably the most ambitious manuscript produced in England in the twelfth century. Over a dozen scribes and artists combined to produce a book which contains five different version of the text of the Psalms, three in Latin, one in Old English, and one in Anglo-Norman, with a prologue, a commentary, and a concluding prayer to each Psalm. In addition, the most complex set of Psalter illustrations available, those from the ninth-century Utrecht Psalter, was adapted for the project; the largest known cycle of prefatory biblical pictorial narratives of the period was devised and happened as a pictorial preface; and every Psalm, prayer, and Canticle was given a set of fully illuminated major initials as well as gold and silver minor initials throughout. Several other noteworthy images feature in the book: a portrait of the 'Prince of Scribes', Eadwine himself, the depiction of a comet, and the two plans of the precinct waterworks of Canterbury Cathedral Priory installed c. 1160.In the past the various aspects of this complex compilation have been treated individually (or in some cases not at all). It is the aim of the present volume of studies to counteract the tendency of modern scholarship to fragment its subjects by bringing under scrutiny between two covers all the major components of the Eadwine Psalter. To this end, thirteen distinguished specialists representing all the fields of inquiry have collaborated over a number of years and have consulted each other, comparing notes and opinions. The result is a volume of communal endeavor which locates the manuscript within a particular milieu, at once monastic and proud, aware of contemporary scholarship but inherently conservative.

This is a study of the Eadwine psalter, considered one of the finest examples of Romanesque book production. It contains more than 400 illustrations, three versions of the Latin text of the Psalms, and a complete translation of the Psalms into Old English and Old French.

This textbook for advanced-level students of Japanese is organized into a series of narrarive texts about Japanese society. Contents include education, the role of women, youth culture, the working world, and the position of foreigners. Each chapter features reference materials and discussion questions. An accompanying volume provides vocabulary lists and exercises.

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In this annotated and illustrated translation of the book of Ruth, Ellen Davis and Margaret Adams Parker demonstrate how translation and art can be complementary forms of biblical interpretation. The three components of the book - translation, notes, and images - explore the story of Ruth as one of suffering and loss redeemed by steadfast faithfulness. The translation is loyal to the original; the notes reflect on Ruth's story, literary form, lexical choices, and theological meaning; and the woodcuts provide a stimulating running narrative.

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Elza Adamowicz presents an analysis of surrealist collage, both as a technique of cutting and pasting ready made material, and as a subversive and creative strategy. She considers verbal collage, pictorial collage, and the hybrids they generate, and discusses the works of Max Ernst and André Breton, as well as those of Aragon, Brunius, Eluard, Hugnet, Magritte, Péret, Styrsky and others. Focusing on the recycling of art-historical icons, the parodic reworking of narrative clichés, the concept of defamiliarisation of the banal, or the relations between part bodies and totalities, she offers close readings of individual collages, and links specific aspects of collage practice to central issues of surrealist aesthetic and political thought. Throughout this well illustrated study Adamowicz confronts the 'monstrous' nature of collage, grounded on excess and composed of irretrievable fragments and hovering signs.

Pauline Christianity sprang to life in a world of imperial imagery. In the streets and at the thoroughfares, in the market places and on its public buildings and monuments, and especially on its coins the Roman Empire's imperial iconographers displayed imagery that aimed to persuade the Empire's diverse and mostly illiterate inhabitants that Rome had a divinely appointed right to rule the world and to be honoured and celebrated for its dominion. Harry O. Maier places the later, often contested, letters and theology associated with Paul in the social and political context of the Roman Empire's visual culture of politics and persuasion to show how followers of the apostle visualized the reign of Christ in ways consistent with central themes of imperial iconography. They drew on the Empire's picture language to celebrate the dominion and victory of the divine Son, Jesus, to persuade their audiences to honour his dominion with praise and thanksgiving. Key to this imperial embrace were Colossians, Ephesians, and the Pastoral Epistles. Yet these letters remain neglected territory in consideration of engagement with and reflection of imperial political ideals and goals amongst Paul and his followers. This book fills a gap in scholarly work on Paul and Empire by taking up each contested letter in turn to investigate how several of its main themes reflect motifs found in imperial images.