In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things, and he traces how pop art and readymades point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens's performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means by which to understand the porous, unbounded, and open nature of humans and things.

This edited volume offers a series of state-of-the-art conceptual papers and empirical research studies which consider how contextual factors at multiple levels dynamically interact with individuals to influence how they go about the complex business of learning and using a second language.

Recent studies of the Christology of John's Gospel have agreed in recognizing the centrality of the concept of messianism, but differ markedly in their interpretation of its character. Alongside the traditional understanding of messiahship in terms of a kingly role related to that of David, there is a newer understanding that is related to the role of Moses and has little or no Davidic background. Despite the broad scholarly consensus regarding the Johannine connection between crucifixion and messianism, little attention has been paid to the role of crucifixion in relation to the nature of messiahship and in particular to the possibility that this may shed light on whether or not John's messianism is decisively shaped by the kingly or royal background. In The Kingship-Cross Interplay in the Gospel of John Mavis Leung contends that the cross motif plays a major role in authenticating the royal character of messiahship in John over against views that deny or play down this element.

In this XVII Course of the International School of Cosmology and Gravitation devoted to "ADVANCES IN THE INTERPLAY BETWEEN QUANTUM AND GRAVITY PHYSICS" we have considered different aspects of the influence of gravity on quantum systems. In order to achieve this aim, in many lectures, seminars and discussions we have strengthened the interplay between gravity and quantum systems starting from the situation in the early universe based on astrophysical observations, up to the earthly based experiments with atom interferometry for probing the structure of space-time. Thus we have had timely lectures on the quantum field and horizon of a black hole including reviews of the problem of black holes thermodynamics and entropy, quantum information, quantum black holes, quantum evaporation and Hawking radiation, recent advances in stockastic gravity. We have also discussed quantum fluctuations in inflationary universe, quantum effects and reheating after inflation, and superplanckian energies in Hawking radiation. In this regard the subject of spinors in purely affine space-time and Dirac matter according to Weyl in the generalized theory of gravitation were developed . The dualism between space-time and matter has been deeply analyzed in order to see why, for general relativity, this is an obstacle for quantization of the theory. Also canonical Gravity and Mach's principle, torsion and curvature as commutator for Quantum Gravity and Dirac Geometry of real space-time were analysed, together with the problem of 5-Dimensional Projective Unified Field theory and Multidimensional Gravity and Cosmology.

This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860–1960, and its own historical ‘others’, referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers’ celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.