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This book represents the first comprehensive, interdisciplinary presentation of ancient Near Eastern civilization. The author's study includes treatments of the history of language and systems of writing, the state and society, nutrition and agriculture, artisanry, economics, law, science, religion and magic, art, music, and more.
This volume addresses and problematizes the formation and transformation of the ancient Near Eastern art historical and archaeological canon. The 'canon' is defined as an established list of objects, monuments, buildings, and sites that are considered to be most representative of the ancient Near East. In "testing" this canon, this project takes stock of the current canon, its origins, endurance, and prospects. Boundaries and typologies are examined, technologies of canon production are investigated, and heritage perspectives on contemporary culture offer a key to the future.
In Down from Olympus Suzanne Marchand attempts to come to grips with German Graecophilia, not as a private passion but as an institutionally generated and preserved cultural trope. The book argues that nineteenth-century philhellenes inherited both an elitist normative aesthetics and an ascetic scholarly ethos from their Romantic predecessors; German "neohumanists" promised to reconcile these intellectual commitments, and by so doing, to revitalize education and the arts. Focusing on the history of classical archaeology, Marchand shows how the injunction to imitate Greek art, especially sculpture, was made the basis for new, state-funded cultural institutions. Tracing interactions between scholars and policymakers that made possible grand-scale cultural feats like the acquisition of the Pergamum Altar, she underscores both the gains in specialized knowledge and the failures in social responsibility that were the distinctive products of German neohumanism. Most important, Marchand traces the history of the study, excavation, and exhibition of Greek art as a means to confront the social, cultural and political consequences of the specialization of scholarship in the last two centuries. Although it emphasizes the persistence of ancient models, Down from Olympus is very much a modern tale.
Architecture after God A vivid retelling of the biblical story of Babel leads from the contested site of Babylon to the soaring towers of the modern metropolis, and sets the bright hopes of early modernism against the shadows of gathering war. Dealing in structural metaphor, utopian aspiration, and geopolitical ambition, Dugdale exposes the inexorable architectural implications of the event described by Nietzsche as the death of God. The Exploring Architecture series makes architectural scholarship accessible, introduces the latest research methods, and covers a wide range of periods, regions, and topics. Critical reappraisal of early modernism Based on the fable The Emperor and the Architect (1924) by Uriel Birnbaum New volume in the Exploring Architecture series
The Sumerian World explores the archaeology, history and art of southern Mesopotamia and its relationships with its neighbours from c.3,000 - 2,000BC. Including material hitherto unpublished from recent excavations, the articles are organised thematically using evidence from archaeology, texts and the natural sciences. This broad treatment will also make the volume of interest to students looking for comparative data in allied subjects such as ancient literature and early religions. Providing an authoritative, comprehensive and up to date overview of the Sumerian period written by some of the best qualified scholars in the field, The Sumerian World will satisfy students, researchers, academics, and the knowledgeable layperson wishing to understand the world of southern Mesopotamia in the third millennium.
"When a theologian speaks of the widespread misconception nowadays, that faith is an intellectual holding of what-is-possible, they underpin a wretched reduction of faith. Since the interest of New Testament studies shifted to philosophical details, the word of the Bible was treated intellectually, thus shaking the foundation of faith in many people." -- Christoph Rau Could a deeper cause of today's myriad human troubles be related to a dwindling or even nonexistent familiarity with the four New Testament Gospels of Matthew, Mark, Luke, and John? This is the view of Christoph Rau, for whom today's prevailing approach to theological research--which treats the ancient religious texts more as literary products than authentic records of spiritual experience--is, if anything, a contributing factor in our modern alienation from the spirit. In this book, Rau presents the results of five decades of research, demonstrating the independent structure of each of the four canonical Gospels. Through clear analyses, he illumines the distinctive stylistic features of each composition, revealing the design principles through which the meaning and goal of each Gospel can be understood. Beyond the intrinsic value of each Gospel, the author draws on their special features to explain how the spiritual richness of the four written works is fully revealed only by considering the pre-Christian religions, because each of the evangelists describes the incarnation of the Son of God from the perspective of his own mystery religion. Furthermore, the author succeeds in showing that the Gospels, despite their seeming contradictions, are elements of a common organism. This book is a translation from German of Die Vier um den Einen: Wesensart und spiritueller Hintergrund der Evangelien (Verlag Dr. Dieter Winkler, 2008).