Re-readings 2 is a companion book to Re-readings, originally published in 2004. This second volume is testament to the growing interest and demand for clarification of the re-modelling, adaptation and transformation processes within the existing built environment. With increased interest in the sustainability and heritage agenda and emerging interest from non-European-centric areas of the world in this type of work, this book explores how the re-modelling of existing buildings is a sustainable and viable alternative to the construction of new buildings. Throughout this highly-illustrated book, drawings and photos of various projects from around the world highlight how the new fits into the existing. Case studies are analysed holistically, and include information on the practical issues and challenges of individual projects.

Beware! Dangerous secrets lie between the pages of this book. OK, I warned you. But if you think I'll give anything away, or tell you that this is the sequel to my first literary endeavor, The Name of This Book is Secret, you're wrong. I'm not going to remind you of how we last left our heroes, Cass and Max-Ernest, as they awaited intiation into the mysterious Terces Society, or the ongoing fight against the evil Dr. L and Ms. Mauvais. I certainly won't be telling you about how the kids stumble upon the Museum of Magic, where they finally meet the amazing Pietro! Oh, blast! I've done it again. Well, at least I didn't tell you about the missing Sound Prism, the nefarious Lord Pharaoh, or the mysterious creature born in a bottle over 500 years ago, the key to the biggest secret of all. I really can't help myself, now can I? Let's face it - if you're reading this, it's too late.

In Reading and Re-reading Scripture at Qumran, Moshe J. Bernstein gathers more than three decades of his work on diverse aspects of biblical interpretation in the Dead Sea Scrolls. The essays range from broad surveys of the genres of biblical interpretation in these texts to more narrowly focused studies and close readings of specific documents. Volume I focuses on the book of Genesis, with a substantial portion being dedicated to studies of the Genesis Apocryphon and Commentary on Genesis A. Volume II contains several historical and programmatic essays, with specific studies focusing on legal material in the DSS and the pesharim. Under the former rubric, the documents known as 4QReworked Pentateuch, 4QOrdinancesa, 4QMMT, and the Temple Scroll are discussed.

The book of Ruth seems simple. It is the tale of a poor Moabite widow who relocates to Bethlehem and finds security there when she marries Boaz, a wealthy Israelite man. Although the plot is simple, the book’s message is elusive. Re(reading Ruth) demonstrates how careful attention to the book’s structure, allusions, wordplay, and location in the canon can reveal the dynamic ways that it engages with other biblical stories and how that engagement shapes its message.

For nearly three centuries Leonardo da Vinci's work was known primarily through the abridged version of his Treatise on Painting, first published in Paris in 1651 and soon translated into all the major European languages. Here for the first time is a study that examines the historical reception of this vastly influential text. This collection charts the varied interpretations of Leonardo's ideas in French, Italian, Spanish, English, German, Dutch, Flemish, Greek, and Polish speaking environments where the Trattato was an important resource for the academic instruction of artists, one of the key sources drawn upon by art theorists, and widely read by a diverse network of artists, architects, biographers, natural philosophers, translators, astronomers, publishers, engineers, theologians, aristocrats, lawyers, politicians, entrepreneurs, and collectors. The cross-cultural approach employed here demonstrates that Leonardo's Treatise on Painting is an ideal case study through which to chart the institutionalization of art in Europe and beyond for 400 years. The volume includes original essays by scholars studying a wide variety of national and institutional settings. The coherence of the volume is established by the shared subject matter and interpretative aim: to understand how Leonardo's ideas were used. With its focus on the active reception of an important text overlooked in studies of the artist's solitary genius, the collection takes Leonardo studies to a new level of historical inquiry. Leonardo da Vinci's most significant contribution to Western art was his interpretation of painting as a science grounded in geometry and direct observation of nature. One of the most important questions to emerge from this study is, what enabled the same text to produce so many different styles of painting?

Guided by the metaphor of the art form known as a mosaic, this book advocates a pluralistic approach to biblical studies. Rees argues that the text itself can be described as a 'mosaic', with each new reading adding to the mosaic. Interpretation is therefore both observation and invention, or contribution.When [re]reading the text, one cannot but be aware of what has been seen before, even if it at first may seem unfamiliar. He thus rejects the idea of a definitive reading. Examining Numbers 25, Rees argues that the various methods employed to interpret this text (narrative, feminist, postcolonial as well as a more 'traditional' historical-critical reading) enable us to see different things as we read from different places. A further analysis of the book's interpretative history, including the rewritten histories of Josephus and Philo, allows us to discover that creativity has forever been a part of the reading process. Moving on to explore the contributions of more recent commentators, Rees concludes that an embrace of diversity, of collegiality, may well point to a new future in Biblical Studies.

This book, the newest volume in the CUA Studies in Early Christianity, presents original works by leading patristics scholars on a wide range of theological, historical, and cultural topics