Fredrik Lindgard analyzes verses 4:16-5:10 in 2 Corinthians, verses which have often been used to argue that Paul's eschatology developed over time or to ascertain whether or not Paul is an anthropological dualist. Paul's concern is how the Corinthians see him. His aim is to show them that he is frank and open to them and that his attitude to adversities confirms that he is a real apostle. He reveals his thoughts and emotions when facing suffering. The author shows that the section and its context do not support the view that Paul changed or developed his eschatology. Instead, the text displays the unsystematic character of Paul's eschatology. Concepts which Paul normally uses separately occur side by side without elaboration. Although Paul uses both dualistic and holistic language, the dominating feature is dualism. The analysis shows that a wide rhetorical approach can be useful when trying to understand Paul.

We think with objects—we conduct our lives surrounded by external devices that help us recall information, calculate, plan, design, make decisions, articulate ideas, and organize the chaos that fills our heads. Medieval scholars learned to think with their pages in a peculiar way: drawing hundreds of tree diagrams. Lines of Thought is the first book to investigate this prevalent but poorly studied notational habit, analyzing the practice from linguistic and cognitive perspectives and studying its application across theology, philosophy, law, and medicine. These diagrams not only allow a glimpse into the thinking practices of the past but also constitute a chapter in the history of how people learned to rely on external devices—from stone to parchment to slide rules to smartphones—for recording, storing, and processing information. Beautifully illustrated throughout with previously unstudied and unedited diagrams, Lines of Thought is a historical overview of an important cognitive habit, providing a new window into the world of medieval scholars and their patterns of thinking.

Art Line Thought discusses the main issues that beset our time and philosophy by locating these same issues in artworks and describing closely what is shown there. While respecting their differences, art and philosophy are thus made to cross back and forth into one another, delineating in fresh ways our concerns about nature, the human and non-human, the body, femininity, ecology, technology, textism, the end of history, community, postmodernism, relativism and non-Eurocentric ethics. A `philosophy of line' gathers these issues, opposing the current dominance of `word' and linguistic analyses. Art has long been aware that the line communicates meaning at least as well as the word. The volume is divided between contemporary and prehistoric art in order to reveal the presumptions of `Western' culture and how we might move beyond it. Since the book is a critique of Eurocentric thinking and prose, it works at finding new styles of both. Its philosophical meditation is directed equally to those who are intellectually interested in contemporary and prehistoric art, in theories of postmodern culture and criticism, and in anthropology.

Told in their separate voices, sixteen-year-old Prince Oliver, who wants to break free of his fairy-tale existence, and fifteen-year-old Delilah, a loner obsessed with Prince Oliver and the book in which he exists, work together to seek his freedom.

A show touring US museums examines the process and practice of drawing, showcasing over 500 years of work from Michelangelo to the present day

In Mystics of the Renaissance, Rudolf Steiner examines the thought of eleven European mystics (Eckhart, Tauler, Suso, Ruysbroek, Nicholas of Cusa, Agrippa von Nettesheim, Paracelsus, Weigel, Boehme, Giordano Bruno, and Angelus Silesius) through a collection of essays and explains their ideas and how they relate to modern concepts. Scriptoria Books has transcribed this edition word for word from the original text. It was then edited, formatted, typeset, and proofread through each revision. Our procedures are not automated. Our editions are not facsimiles and do not contain OCR interpreted text. Our books are carefully created new editions of classic works.