A discussion of the zodiac from a biblical perspective.

An astonishing and revelatory history that re-presents God as he was originally envisioned by ancient worshippers—with a distinctly male body, and with superhuman powers, earthly passions, and a penchant for the fantastic and monstrous. "[A] rollicking journey through every aspect of Yahweh’s body, from top to bottom (yes, that too) and from inside out ... Ms. Stavrakopoulou has almost too much fun.”—The Economist The scholarship of theology and religion teaches us that the God of the Bible was without a body, only revealing himself in the Old Testament in words mysteriously uttered through his prophets, and in the New Testament in the body of Christ. The portrayal of God as corporeal and masculine is seen as merely metaphorical, figurative, or poetic. But, in this revelatory study, Francesca Stavrakopoulou presents a vividly corporeal image of God: a human-shaped deity who walks and talks and weeps and laughs, who eats, sleeps, feels, and breathes, and who is undeniably male. Here is a portrait—arrived at through the author's close examination of and research into the Bible—of a god in ancient myths and rituals who was a product of a particular society, at a particular time, made in the image of the people who lived then, shaped by their own circumstances and experience of the world. From head to toe—and every part of the body in between—this is a god of stunning surprise and complexity, one we have never encountered before.

Daniel roars because it s a message that must be heard for today. It s a message received 2,600 years ago but meant for our time as the end of the ages draws near. Daniel roars forth precision dates of kingdoms and events that are so precise that critics go into warp speed to disprove the date Daniel wrote them to avoid the only other alternative: Daniel s God reigns in the affairs of men. Daniel s visions are so precise that they gave the exact day, month, and year of the Messiah s first coming. Daniel s amazing 70-week prophecy gives us the precise information we need to be on the alert for His second coming. Daniel is one of the rare biblical individuals about whom God has nothing but good things to say. That may be why Daniel was chosen to convey the largest apocalyptic section of Scripture in the Old Testament. The book of Revelation can t be understood properly without the foundation Daniel provides. As Daniel s prophecies roar in our ears, they create a longing in our hearts a longing for the arrival of the Groom. Deciphering Daniel prepares us for the most important event in history."

This volume launches a new, eight-volume series entitled Theatrum Scientiarum on the history of science and the media which has arisen from the work of the Berlin special research project on "Performative Cultures" under the aegis of the Theatre Studies Department of the Free University. The volume examines the role of space in the constitution of knowledge in the early modern age. "Kunstkammern" (art and curiosities cabinets), laboratories and stages arose in the 17th century as instruments of research and representation. There is, however, still a lack of precise descriptions of the epistemic contribution made by material and immaterial space in the performance of knowledge. Therefore, the authors present a novel view of the conditions surrounding the creation of these spatial forms. Account is taken both of the institutional framework of these spaces and their placement within the history of ideas, the architectural models and the modular differentiations, and the scientific consequences of particular design decisions. Manifold paths are followed between the location of the observer in the representational space of science and the organization in time and space of sight, speech and action in the canon of European theatrical forms. Not only is an account given of the mutual architectural and intellectual influence of the spaces of knowledge and the performance spaces of art; they are also analyzed to ascertain what was possible in them and through them. This volume is the English translation of Kunstkammer, Laboratorium, Bühne (de Gruyter, Berlin, 2003).

Volume XXIX/2 of History of Universities contains the customary mix of learned articles and book reviews which makes this publication such an indispensable tool for the historian of higher education. This special issue, guest edited by Alexander Broadie, particularly focuses on Seventeenth-Century Scottish Philosophers and their Philosophy. The volume is, as always, a lively combination of original research and invaluable reference material.