A “thrilling adventure story" (San Francisco Chronicle) that brings to life the astronomers who in the 1700s embarked upon a quest to calculate the size of the solar system, and paints a vivid portrait of the collaborations, rivalries, and volatile international politics that hindered them at every turn. • From the author of Magnificent Rebels and New York Times bestseller The Invention of Nature. On June 6, 1761, the world paused to observe a momentous occasion: the first transit of Venus between the Earth and the Sun in more than a century. Through that observation, astronomers could calculate the size of the solar system—but only if they could compile data from many different points of the globe, all recorded during the short period of the transit. Overcoming incredible odds and political strife, astronomers from Britain, France, Russia, Germany, Sweden, and the American colonies set up observatories in the remotest corners of the world, only to be thwarted by unpredictable weather and warring armies. Fortunately, transits of Venus occur in pairs; eight years later, they would have another opportunity to succeed. Thanks to these scientists, neither our conception of the universe nor the nature of scientific research would ever be the same.

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).

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.

The story of the origins and development of a Jewish form of secularism Not in the Heavens traces the rise of Jewish secularism through the visionary writers and thinkers who led its development. Spanning the rich history of Judaism from the Bible to today, David Biale shows how the secular tradition these visionaries created is a uniquely Jewish one, and how the emergence of Jewish secularism was not merely a response to modernity but arose from forces long at play within Judaism itself. Biale explores how ancient Hebrew books like Job, Song of Songs, and Esther downplay or even exclude God altogether, and how Spinoza, inspired by medieval Jewish philosophy, recast the biblical God in the role of nature and stripped the Torah of its revelatory status to instead read scripture as a historical and cultural text. Biale examines the influential Jewish thinkers who followed in Spinoza's secularizing footsteps, such as Salomon Maimon, Heinrich Heine, Sigmund Freud, and Albert Einstein. He tells the stories of those who also took their cues from medieval Jewish mysticism in their revolts against tradition, including Hayim Nahman Bialik, Gershom Scholem, and Franz Kafka. And he looks at Zionists like David Ben-Gurion and other secular political thinkers who recast Israel and the Bible in modern terms of race, nationalism, and the state. Not in the Heavens demonstrates how these many Jewish paths to secularism were dependent, in complex and paradoxical ways, on the very religious traditions they were rejecting, and examines the legacy and meaning of Jewish secularism today.

The contributions to Making of Copernicus examine exemplarily how some of the Copernicus myths came about and if they could hold their ground or have vanished again. Are there links between a factual or postulated transformation of world images and the application of certain scientific metaphors, especially the metaphor of a revolution? Were there interactions and amalgamations of the literary and scientific enthronement, or outlawry of Copernicus and if so, how did they take place? On the other hand, are there repercussions of the scientific-historical reconstructions and hagiographies on the literary image of Copernicus as sketched by novelists even in the 20th century? The history of the reception of Copernicus shall not be dominantly dealt with from the point of view of a factual affirmation and rejection of the astronomer and his doctrine but rather as accomplishments of transformation respectively. Thus, the essays in this volume investigate transformations: methodological, institutional, textual, and visual transformations of the Copernican doctrine and the topical, rhetorical and literary transformations of the historical person of Copernicus respectively.

A discussion of the zodiac from a biblical perspective.