In the time of a devastating pandemic, seven women and three men withdraw to a country estate outside Florence to give themselves a diversion from the death around them. Once there, they decide to spend some time each day telling stories, each of the ten to tell one story each day. They do this for ten days, with a few other days of rest in between, resulting in the 100 stories of the Decameron. The Decameron was written after the Black Plague spread through Italy in 1348. Most of the tales did not originate with Boccaccio; some of them were centuries old already in his time, but Boccaccio imbued them all with his distinctive style. The stories run the gamut from tragedy to comedy, from lewd to inspiring, and sometimes all of those at once. They also provide a detailed picture of daily life in fourteenth-century Italy.

Science as an instrument to justify religious missions in secular society The relationship between religion and science is complex and continues to be a topical issue. However, it is seldom zoomed in on from both Protestant andCatholic perspectives. By doing so the contributing authors in this collection gain new insights into the origin and development of missiology. Missiology is described in this book as a “project of modernity,” a contemporary form of apologetics. “Scientific apologetics” was the way to justify missions in a society that was rapidly becoming secularized. Mission & Sciencedeals with the interaction between new scientific disciplines (historiography, geography, ethnology, anthropology, linguistics) and new scientific insights (Darwin’s evolutionary theory, heliocentrism), as well as the role of the papacy and what inspired missionary practice (first in China and the Far East and later in Africa). The renewed missiology has in turn influenced the missionary practice of the twentieth century, guided by apostolic policy. Some “missionary scholars” have even had a significant influence on the scientific discourse of their time.

A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.