"Every day is a fresh invitation to step behind the veil and encounter the Holy Spirit in a new way. In this unique supernatural experience, seer, prophet, and missionary, Ana Werner shares insights she has received through prophetic encounters, angelic visitations, and supernatural visions."--Page 4 of cover

A Heavenly Revelation of Spiritual Warfare Secrets Jennifer LeClaire, globally recognized prophet, spiritual warfare trainer, and prayer leader, received a vivid, visionary encounter in the War Room of Heaven. In this vision, I saw a veil rip open from the top to bottom. As I peered behind the veil, I saw a long walkway with...

A finalist for World Magazine's Book of the Year! Scholars, journalists, and even politicians uphold Muslim-ruled medieval Spain—"al-Andalus"—as a multicultural paradise, a place where Muslims, Christians, and Jews lived in harmony. There is only one problem with this widely accepted account: it is a myth. In this groundbreaking book, Northwestern University scholar Darío Fernández-Morera tells the full story of Islamic Spain. The Myth of the Andalusian Paradise shines light on hidden history by drawing on an abundance of primary sources that scholars have ignored, as well as archaeological evidence only recently unearthed. This supposed beacon of peaceful coexistence began, of course, with the Islamic Caliphate's conquest of Spain. Far from a land of religious tolerance, Islamic Spain was marked by religious and therefore cultural repression in all areas of life and the marginalization of Christians and other groups—all this in the service of social control by autocratic rulers and a class of religious authorities. The Myth of the Andalusian Paradise provides a desperately needed reassessment of medieval Spain. As professors, politicians, and pundits continue to celebrate Islamic Spain for its "multiculturalism" and "diversity," Fernández-Morera sets the historical record straight—showing that a politically useful myth is a myth nonetheless.

Lost honourA true storyIn the whole human history, there is not a more informative chapter for the heart and the spirit than the annals ofone's own mistakes. For in every great crime, a proportionately great force was set into movement by itsperpetrator.If the secret game of covetousness remains hidden beneath the weaker light of common affects, hence, it will bemore expressive, more colossal, louder, under the condition of violent passion.

Rasmus Vangshardt offers an original interpretation of one of the most famous images of literary history, the theatrum mundi. By applying methods of comparative literature, hispanic studies, and theology, he reconsiders the world theatre’s historical peak in early modern Europe in general and the Spanish Golden Age in particular. The author presents a new close reading of Pedro Calderón’s El gran teatro del mundo (c. 1633–36) and outlines the historical and systematic framework for a theatrum mundi of celebration. This concept entails using art to justify human existence in the face of changing conceptions of the cosmos: an early modern aesthetic theodicy and a justification of the world in that liminal space between drama and ritual. By discussing historiographical theories of early modern Europe, especially those of Hans Blumenberg and Bruno Latour, and through conversations with Shakespearean drama and Spanish Golden Age classics, Vangshardt also argues that the theatrum mundi of celebration questions traditional assumptions of great divides between the Middle Ages and Early Modernity and challenges theories of a European-wide early modern sense of crisis.

In the modern period, space has predominately been conceived of as a mere setting for human action, ontologically separate from the body. In Markan studies, the result has been the multiplication of textual geographies that hide the spatiality of Jesus’s narrativized and, thus, living body. Rather than representing Jesus’s body as replicating the spatial configurations of dominant scribal cartographic practice (including imperial practice), James B. Pendleton shows that Mark portrays Jesus’s body as a living production of space that troubles dominant maps. Against readings of Mark that argue that Jesus is either an imperial or an anti-imperial figure, Pendleton argues that Mark presents Jesus’s body, and thus his spatiality, as both inside (as an insider) and outside (as an outsider) simultaneously, in what has more commonly been theorized recently as third spatiality, or thirdspace. Rather than an imperial or anti-imperial economy of spatial production, Pendleton argues, Mark presents Jesus’s body within a both-and and more economy that is kenotic, revealing God’s own royal yet “emptying” body.