In this book, Conrad Rudolph studies and reconstructs Hugh of Saint Victor's forty-two-page written work, The Mystic Ark, which describes the medieval painting of the same name. In medieval written sources, works of art are not often referred to, let alone described in any detail. Almost completely ignored by art historians because of the immense difficulty of its text, Hugh of Saint Victor's Mystic Ark (c.1125–30) is among the most unusual sources we have for an understanding of medieval artistic culture. Depicting all time, all space, all matter, all human history and all spiritual striving, this highly polemical painting deals with a series of cultural issues crucial in the education of society's elite during one of the great periods of intellectual change in Western history.

Born in Saxony in 1096, Hugh became an Augustinian monk and in 1115 moved to the monastery of Saint Victor, Paris, where he spent the remainder of his life, eventually becoming the head of the school there. His writings cover the whole range of arts and sacred science taught in his day. Paul Rorem offers a basic introduction to Hugh's theology, through a comprehensive survey of his works. He argues that Hugh is best understood as a teacher of theology, and that his numerous and varied writings are best appreciated as a comprehensive pedagogical program of theological education and spiritual formation. Drawing his evidence not only from Hugh's own descriptions of his work but from the earliest manuscript traditions of his writings, Rorem organizes and presents his corpus within a tri-part framework. Upon a foundation of training in the liberal arts and history, a structure of doctrine is built up, which is finally adorned with moral formation. Within this scheme of organization, Rorem treats each of Hugh's major works (and many minor ones) in its appropriate place, orienting the reader briefly yet accurately to its contents, as well as its location in Hugh's overarching program of theological pedagogy.

What does a first-generation female robot have in common with the biblical figure of Eve? Or an intergenerational spaceship with Noah’s ark? If a computer compiles a deceased person’s photographs and digital activities into a virtual avatar, is that a form of resurrection? Such seemingly unlikely scenarios are common in science fiction—and science fiction writers often draw on people, places, and events from biblical texts, assuming that audiences will understand the parallels. Biblical Themes in Science Fiction is a journey from creation to apocalypse where contributors Frank Bosman, Rhonda Burnette-Bletsch, Krista N. Dalton, Tom de Bruin, James F. McGrath, Kelly J. Murphy, Steven J. Schweitzer, Jason A. Staples, Nicole L. Tilford, Christine Wenderoth, and Jackie Wyse-Rhodes trace biblical themes as they appear in contemporary science fiction, including Doctor Who, Lilith’s Brood, The Handmaid’s Tale, Battlestar Galactica, and Fallout 3. Essays are supplemented by images and key science fiction sources for diving deeper into how the Bible influenced writers and creators. An afterword considers the imaginative impulses common to both science fiction and biblical texts.

Ark of the Possibility: The Animal World in Merleau-Ponty explores the theme of animality in the philosophy of French phenomenologist Maurice Merleau-Ponty.

Archaeologist Dilara Kenner and former combat engineer Tyler Locke realize that they have just seven days to find the remains of Noah's Ark before shadowy agents use its secret to wipe out civilization.