This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesau's goal is to articulate a theology of revelation, examined in relation to three principal dimensions of the aesthetic realm: feeling and imagination; beauty (or taste); and the arts. After briefly considering ways in which theology itself can be imaginative or beautiful, Viladesau concentrates on the theological significance of aesthetic data provided by each of the three major spheres of aesthetic perception and response. Throughout the work, the underlying question is how each of these spheres serves as a source (however ambiguous) of revelation. Although he frames much of his argument in terms of Catholic theology--from the Church Fathers to Karl Rahner, Hans urs von Balthasar, Bernard Lonergan, and David Tracy--Viladesau also makes extensive use of ideas from the Protestant theologian of the arts Gerardus van der Leeuw, and draws insights from such diverse thinkers as Hans Goerg Gadamer, Wolfhart Pannenberg, and Iris Murdoch. His analysis is enlivened by the artistic examples he selects: the music of Mozart as contemplated by Karl Barth, Schoenbergs opera Moses und Aron, the sculptures of Chartres Cathedral, poems by Rilke and Michelangelo, and many others. What emerges from this study is what Viladeseau terms a transcendental theology of aesthetics. In Thomistic terms, he finds that beauty is not only a perfection but a transcendental. That is, any instance of beauty, rightly perceived and rightly understood, can be seen to imply divinely beautiful things as well. In other words, Viladesau argues, God is the absolute and necessary condition for the possibility of beauty.

Discover the real science behind 2001, ET, Signs, and all your favorite fictional alien civilizations. As space telescopes continue to search for life in this unearthly Universe, the crucial questions remain unanswered. Are we awake to the revolutionary effects on human society and science that alien contact will bring? And how is it possible to imagine the unknown? The Science of Aliens tells the compelling story of how the portrayal of alien life has evolved over time. Taking examples from science, film, and fiction, this book showcases how scholars, filmmakers, and authors have devoted their energies to imagining life beyond this Earth. From Copernicus to Kubrick, The Science of Aliens is a fascinating account for anyone interested in extraterrestrials. Otherworldly topics include: What Xenomorphs from Alien and Na’vi from Avatar have in common Darwin among aliens Extraterrestrials in Einstein’s sky Aliens in our space age And so much more Visualize the unknown and redefine your place in a changing cosmos with The Science of Aliens.

This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations – the majority – largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations – often, but not always, originating from those who experienced genocide – tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.

If God exists, and God is all powerful and good, why did God create an imperfect world? Does religion have a credible answer? Morality, as secularists know, does not require a deity. Blind faith, as atheists know, often leads to hatred and war. Taking scriptural stories as literal history, as scientists know, borders on the nonsensical. There has to be more. And there is. In their most important sense, these are symbolic psychological stories. Everything that happens - the wars, the joys, the obstacles that are overcome - must occur in one's own soul. In other words, all the great myths and scriptures are how-to manuals for Initiation. In this groundbreaking work, Andrew Cort describes the inner journey of Creation and Return that is revealed by the Greek Myths, the Torah, the Gospels and the Qur'an. He demonstrates the stunning unity of our western religious traditions, whose common aim is to enlighten the soul and restore a sense of meaning to our lives and culture.

For more than thirty years, the History of Cartography Project has charted the course for scholarship on cartography, bringing together research from a variety of disciplines on the creation, dissemination, and use of maps. Volume 6, Cartography in the Twentieth Century, continues this tradition with a groundbreaking survey of the century just ended and a new full-color, encyclopedic format. The twentieth century is a pivotal period in map history. The transition from paper to digital formats led to previously unimaginable dynamic and interactive maps. Geographic information systems radically altered cartographic institutions and reduced the skill required to create maps. Satellite positioning and mobile communications revolutionized wayfinding. Mapping evolved as an important tool for coping with complexity, organizing knowledge, and influencing public opinion in all parts of the globe and at all levels of society. Volume 6 covers these changes comprehensively, while thoroughly demonstrating the far-reaching effects of maps on science, technology, and society—and vice versa. The lavishly produced volume includes more than five hundred articles accompanied by more than a thousand images. Hundreds of expert contributors provide both original research, often based on their own participation in the developments they describe, and interpretations of larger trends in cartography. Designed for use by both scholars and the general public, this definitive volume is a reference work of first resort for all who study and love maps.

As twentieth-century writers confronted the political violence of their time, they were overcome by rhetorical despair. Unspeakable acts left writers speechless. They knew that the atrocities of the century had to be recorded, but how? A dead body does not explain itself, and the narrative of the suicide bomber is not the story of the child killed in the blast. In the past, communal beliefs had justified or condemned the most horrific acts, but the late nineteenth-century crisis of belief made it more difficult to come to terms with the meaning of violence. In this major new study, Joyce Wexler argues that this situation produced an aesthetic dilemma that writers solved by inventing new forms. Although Symbolism, Expressionism, Modernism, Magic Realism, and Postmodernism have been criticized for turning away from public events, these forms allowed writers to represent violence without imposing a specific meaning on events or claiming to explain them. Wexler's investigation of the way we think and write about violence takes her across national and period boundaries and into the work of some of the greatest writers of the century, among them Joseph Conrad, T. S. Eliot, D. H. Lawrence, James Joyce, Alfred Döblin, Günter Grass, Gabriel García Márquez, Salman Rushdie, and W. G. Sebald.

From the contents: How metaphors matter: Astolfo's lunar journey in the Orlando furioso. - Images proposed in Jest: Galileo's Sidereus nuncius and the dialogue. - The stuff that dreams are made of: Kepler's Somnium. - Worlds of words: Cyrano de Bergerac's Lune and Soleil. - Metaphors as systems of thought: Fontenelle, Cyrano, Wilkins and Huygens.