In The Semantics of Qurʾanic Language: al-Āḫira, Ghassan el Masri offers a semantic study of the concept al-āḫira ‘the End’ in the Qurʾān. The study is prefaced with a detailed account of the late antique concept of etymologia (Semantic Etymology). In his work, he demonstrates the necessity of this concept for appreciating the Qurʾān’s rhetorical strategies for claiming discursive authority in the Abrahamic theological tradition. The author applies the etymological tool to his investigation of the theological significance of al-āḫira, and concludes that the concept is polysemous, and tolerates a large variety of interpretations. The work is unique in that it draws extensively on Biblical material and presents a plethora of pre-Islamic poetry verses in the analysis of the concept.

As in many other traditional cultures, Hawaiian art, dance, music and poetry were highly integrated into every aspect of life, to a degree far beyond that of industrial society. The poetry at the core of the Hula is extremely sophisticated. Typically a Hula song has several dimensions: mythological aspects, cultural implications, an ecological setting, and in many cases, (although Emerson is reluctant to acknowledge this) frank erotic imagery. The extensive footnotes and background information allow us an unprecedented look into these deeper layers. While Emerson's translations are not great poetry, they do serve as a literal English guide to the amazing Hawaiian lyrics.

"A milestone, not only in the field of classics but in the wider field of the history of religion. . . . It will find a place alongside the works of Jane Ellen Harrison, Sir James George Frazer, Claude Levi-Strauss, and van Gennep."—Wendy Flaherty, Divinity School, University of Chicago "This book is a professional classic, an absolute must for any serious student of Greek religion."—Albert Henrichs, Harvard University

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Lafcadio Hearn (1850-1904) wrote vivid accounts about life in New Orleans, the West Indies, and Japan. This appreciative 1908 biography discusses his birth to an Irish father and Greek mother, his work and travels, and the impact of poor eyesight on this poet of myopia. "Gould writes, Of Lafcadio Hearn there has been, and will be, no excuse for any biography whatever. A properly edited volume of his letters, and development of his imaginative power and literary character are, and still remain, most desirable."

In this book, the first collection of its kind, you will hear insights directly from the mouths and minds of the anime and manga creators themselves, in interviews with are often the only ones on record in English. some of these creators are larger-than-life legends in their native Japan, some are up-and-coming young talents, but all have a lot to say on the subject of their work.

In medieval Japan (14th–16th centuries), it was customary for elite families to entrust their young sons to the care of renowned Buddhist priests from whom they received a premier education in Buddhist scriptures, poetry, music, and dance. When the boys reached adolescence, some underwent coming-of-age rites, others entered the priesthood, and several extended their education, becoming chigo, or Buddhist acolytes. Chigo served their masters as personal attendants and as sexual partners. During religious ceremonies—adorned in colorful robes, their faces made up and hair styled in long ponytails—they entertained local donors and pilgrims with music and dance. Stories of acolytes (chigo monogatari) from the fourteenth to sixteenth centuries form the basis of the present volume, an original and detailed literary analysis of six tales coupled with a thorough examination of the sociopolitical, religious, and cultural matrices that produced these texts. Sachi Schmidt-Hori begins by delineating various dimensions of chigo (the chigo “title,” personal names, gender, sexuality, class, politics, and religiosity) to show the complexity of this cultural construct—the chigo as a triply liminal figure who is neither male nor female, child nor adult, human nor deity. A modern reception history of chigo monogatari follows, revealing, not surprisingly, that the tales have often been interpreted through cultural paradigms rooted in historical moments and worldviews far removed from the original. From the 1950s to 1980s, research on chigo was hindered by widespread homophobic prejudice. More recently, aversion to the age gap in historical master-acolyte relations has prevented scholars from analyzing the religious and political messages underlying the genre. Schmidt-Hori’s work calls for a shift in the hermeneutic strategies applied to chigo and chigo monogatari and puts forth both a nuanced historicization of social constructs such as gender, sexuality, age, and agency, and a mode of reading propelled by curiosity and introspection.