Imagining Creation is a collection of views on creation by noted authors from different disciplines. Topics include creation accounts and iconography from Mesopotamia and Egypt, and cosmologies from India and Africa. Special attention is devoted to creation in the Scriptures (Bible and Koran) and related oral traditions on Genesis from Slavonic Europe, as well as Kabbalah. Some of the creations myths are earlier and some later than the Bible, while a number of the discussed texts offer alternative approaches to the beginnings of the universe. The contributions provide many new perspectives on the origins of man and his world from diverse cultures. The volume is the proceedings of a symposium on creation stories held at University College London.

What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous essay collections, The Perception of the Environment and Being Alive , this book rounds off the extraordinary intellectual project of one of the world’s most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only for anthropologists but also for students in fi elds ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology.

The book of kejarAURORA is a collection of interaction record of the companions with the children for five and a half years on a playing ground called kejarAURORA in Indonesia. Belajar-Bermain (Learning-Playing), Berimajinasi-Berkarya (Imagining-Creating), Bahagia-Bersama-sama (Being Happy-Together) those are the six words to summarise this book. This book is a realisation of kejarAURORA's imagination about a friendly world for children leading to their fully-developed potential. This imagination is collected into an education concept for children. This book is telling about an education that is touching the heart. kejarAURORA believes that heart is the most important thing for a person to be a human. An education that is delivered from heart to heart, will get to the heart. With this kind of education, kejarAURORA hopes that the children will grow their hearts to touch more hearts.

What are the imagined communities that compel men to kill or to die for an idea of a nation? This notion of nationhood had its origins in the founding of the Americas, but was then adopted and transformed by populist movements in nineteenth-century Europe. It became the rallying cry for anti-Imperialism as well as the abiding explanation for colonialism. In this scintillating, groundbreaking work of intellectual history Anderson explores how ideas are formed and reformulated at every level, from high politics to popular culture, and the way that they can make people do extraordinary things. In the twenty-first century, these debates on the nature of the nation state are even more urgent. As new nations rise, vying for influence, and old empires decline, we must understand who we are as a community in the face of history, and change.

The imagination is where the Creator chooses to meet his creatures, says renowned theologian Garrett Green. The Word of God and the work of the Holy Spirit set the imagination free for genuine and creative knowledge of God, the world, others, and the self. Green explains that theology is best understood as human imagination faithfully conformed to the Bible as the paradigmatic key to the Christian gospel. He unpacks the implications of the imagination for a variety of theological issues, such as interpretation, aesthetics, eschatology, and the relationship between church and culture.

Ever since it was demonstrated in the 1920s that the universe, with its trillions of galaxies, is caught up in a process of steady expansion, it became evident that it must have originated from an "initial singularity," a "Big Bang," which gave rise to the formation of subatomic parts, atoms, molecules, clouds of gas, and finally, stars and galaxies. Running this expansion back in time, scientists began to reckon with the miracle of an evolving universe of which we are the outcome: the iron in our blood has been formed in the stars. This book gives an overview of the cosmologies that were in vogue in antiquity­--the Jewish and Christian concepts of Creation, and the classical thinkers in Greek cosmology: Plato, Aristotle, and Ptolemy--and in modern times, Copernicus, Galileo, Kepler, and Newton. The book brings us right down to the present day with a careful and readable treatment of the scientific innovations inaugurated by Einstein and the specialists in quantum physics, and to recent developments in astrophysics. This path of exploration opens the avenue for imagining a Creator God who is so generous that he invites creation to share in his own creativity.

How is it possible to imagine what is unknown and therefore unimaginable? How can the unimaginable be represented? On what materials do such representations rely? These questions lie at the heart of this book. Copernican theory redefined the role and importance of the imagination even as it implied the moment of its crisis. Based on this claim, Ladina Bezzola Lambert analyzes seventeenth-century astronomical texts – particularly descriptions of the moon and treatises written in support of the theory of the plurality of worlds – to show how early modern astronomers questioned the role of the imagination as a tool to visualize the unknown, but also how, pressed by the need to support their theories with convincing descriptions of other potential worlds, they sought to overcome the limitations of the imagination with a sophisticated rhetoric and techniques more commonly associated with poetic writing. The limitations of the imagination are at once a problem that all of the texts discussed struggle with and their recurrent theme. In the first and last chapter, the focus shifts to a more explicitly literary context: Ariosto’s Orlando furioso and the work of Italo Calvino. The change of focus from science to literature and from the narratives of the past to contemporary ones serves to emphasize that the issues relating to the imagination, its limitations and creative means, are basically the same both in science and literature and that they are still relevant today.