Table of Contents
Introduction
| Editorial Introduction | |
| Serena Keshavjee | 5–10 |
| Mot de la rédactrice | |
| Serena Keshavjee | 11–17 |
Articles
| Into the Primeval Slime: Body and Self in Redon's Evolutionary Universe | |
| Martha Lucy | 18–29 |
| Mapping the Body and the Brain: Neurology and Localization Theory in the Work of Rodin | |
| Barbara Larson | 30–40 |
| The Brush Stroke as Catastrophe: Gasquet's Cézanne and the Paintings of Bibémus Quarry | |
| Anne Byrd | 41–52 |
| Joséphin Péladan: Occultism, Catholicism, and Science in the Fin de Siècle | |
| Maria E. Di Pasquale | 53–61 |
| L’Art Inconscient: Imaging the Unconscious in Symbolist Art for the Théâtre d’art | |
| Serena Keshavjee | 62–76 |
| Symbolism, Mediumship, and the “Study of the Soul that has Constituted Itself as a Positivist Science” | |
| Allison Morehead | 77–85 |
| Occult Chemistry and the Theosophical Aesthetics of the Subatomic World | |
| Mark Morrisson | 86–97 |
Livres / Books
| Anthony Vidler, Histories of the Immediate Present: Inventing Architectural Modernism | |
| Keith Bresnahan | 98–100 |
| Margaret Iversen, Beyond Pleasure: Freud, Lacan, Barthes | |
| Kathryn Simpson, | 100–102 |
| Peter Richardson and Douglas Richardson, Canadian Churches: An Architectural History | |
| Malcolm Thurlby | 102–104 |
© Universities Art Association of Canada / Association d'art des universités du Canada