This book analyzes the history of Mesopotamian imagery form the mid-second to mid-first millennium BCE. It demonstrates that in spite of rich textual evidence, which grants the Mesopotamian gods and goddesses an anthropmorphic form, there was a clear abstention in various media from visualizing the gods in such a form. True, divine human-shaped cultic images existed in Mesopotamian temples. But as a rule, non-anthropomorphic visual agents such as inanimate objects, animals or fantastic hybrids replaced these figures when they were portrayed outside of their sacred enclosures. This tendency reached its peak in first-millennium Babylonia and Assyria. The removal of the Mesopotamian human-shaped deity from pictorial renderings resembles the Biblical agenda not only in its avoidance of displaying a divine image but also in the implied dual perception of the divine: according to the Bible and the Assyro-Babylonian concept the divine was conceived as having a human form; yet in both cases anthropomorphism was also concealed or rejected, though to a different degree. In the present book, this dual approach toward the divine image is considered as a reflection of two associated rather than contradictory religious worldviews. The plausible consolidation of the relevant Biblical accounts just before the Babylonian Exile, or more probably within the Exile - in both cases during a period of strong Assyrian and Babylonian hegemony - points to a direct correspondence between comparable religious phenomena. It is suggested that far from their homeland and in the absence of a temple for their god, the Judahite deportees adopted and intensified the Mesopotamian avoidance of anthropomorphic picorial portrayals of deities. While the Babylonian representations remained confined to temples, the exiles would have turned a cultic reality - i.e., the nonwritten Babylonian custom - into a written, articulated law that explicity forbade the pictorial representation of God.

Examines the use and meaning of Christian symbols found in Renaissance art.

Seeing German film during the Third Reich as a powerful and sinister tool for both indoctrination and escapist pacification, analyses the pictorial and spoken language to identify the psychological techniques used in the various genres, including news reels, documentaries, features, and cultural films. Two chapters focus on the role of flags, and a.

Grzegorz Niziolek's The Polish Theatre of the Holocaust is a pioneering analysis of the impact and legacy of the Holocaust on Polish theatre and society from 1945 to the present. It reveals the role of theatre as a crucial medium of collective memory – and collective forgetting – of the trauma of the Holocaust carried out by the Nazis on Polish soil. The period gave rise to two of the most radical and influential theatrical ideas during work on productions that addressed the subject of the Holocaust – Grotowski's Poor Theatre and Kantor's Theatre of Death - but the author examines a deeper impact in the role that theatre played in the processes of collective disavowal to being a witness to others' suffering. In the first part, the author examines six decades of Polish theatre shaped by the perspective of the Holocaust in which its presence is variously visible or displaced. Particular attention is paid to the various types of distortion and the effect of 'wrong seeing' enacted in the theatre, as well as the traces of affective reception: shock, heightened empathy, indifference. In part two, Niziolek examines a range of theatrical events, including productions by Leon Schiller, Jerzy Grotowski, Tadeusz Kantor, Andrzej Wajda, Krzysztof Warlikowski and Ondrej Spišák. He considers how these productions confronted the experience of bearing witness and were profoundly shaped by the legacy of the Holocaust. The Polish Theatre of the Holocaust reveals how -- by testifying about society's experience of the Holocaust -- theatre has been the setting for fundamental processes taking place within Polish culture as it confronts suppressed traumatic wartime experiences and a collective identity shaped by the past.

Clearly presenting the case-law concerning Article 9 of the European Convention of Human Rights, this is a lively and accessible analysis of a key issue in contemporary society: whether there is a human right to wear a religious symbol and how far any such right extends.

This provocative series examines some of the great religions of the world, taking into account both similarities and differences with Mormonism - refuting common misconceptions, illuminating little-known practices, and exploring the theological underpinnings of the faith under study. Persons not of the LDS faith may be surprised to learn of doctrinal commonalities with the Latter-day Saints, while LDS readers will no doubt be fascinated by the degree to which they have misunderstood their brothers and sisters of other religious persuasions.