The essays in this collection attempt to frame a broad humanist context for various current and historical scientific topics. Subjects range from an astronomical interpretation of Van Gogh's Starry Night to popular misconceptions about Neanderthal humans to the risk factors that are inherent in the development of any new technology.--Editorial review.

Road rage, animal rights, cyberporn, crystal healing, doctor-assisted suicide — everywhere we look, the signs all tell us we’re living in a post-Christian culture. Or are we? Leonard Sweet -- cultural historian, preacher, futurist, creatologist, and preeminent thinker -- firmly believes we live today in a pre-Christian society, fraught with challenges, dangers, critical choices, and above all, tremendous potential for the church. The outcome will depend on our response to today’s flood of religious pluralism that threatens to sweep us away. What will we do? Deny the reality of the incoming surge? "Hunker in the bunker," hermetically sealing ourselves in an increasingly out-of-touch church counterculture? Or will we boldly hoist our sails, and -- looking to God for guidance and strength -- move with confidence and purpose over the waves. SoulTsunami is a fascinating, even mind-numbing look at the implications of our changing world for the church in the 21st century. With uncanny wisdom and trademark wit, Leonard Sweet explores ten key "futuribles" (precision guesses that fall short of predictions), expanding on and relating topics ranging from the reentry of theism and spiritual longing in contemporary society, to the impact of modern technology, to the global renaissance, to models for the church to reach people caught in the cultural maelstrom. Here are eye-opening perspectives on the church from within and from without — from its surrounding society.Lively, well-written, and provocative, SoulTsunami is a clarion call for Christians to remove their tunnel-vision glasses and take a good look at the swelling postmodern flood. It also is a voice of encouragement, affirming the church in its role as God’s lifeboat. And it is a passionate, prophetic guide, pointing the way to reach a world swept out to sea.

"A study of Netherlandish triptychs from the early fifteenth century through the early seventeenth century, covering works by Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, Hieronymus Bosch, and Peter Paul Rubens. Explores how the triptych format structures and generates meaning"--Provided by publisher.

In these days of ever-increasing specialization, it is important to gain a broad appreciation of the subject. With this in mind, Naturally Speaking: A Dictionary of Quotations on Biology, Botany, Nature and Zoology, Second Edition presents the largest compilation of published quotations on the natural world available so that readers can get a feel

Every reader is an actor according to Rosenberg. To prepare the actor-reader for insights, Rosenberg draws on major intepretations of the play worldwide, in theatre and in criticism, wherever possible from the first known performances to the present day. The book is rich and provocative on every question about the play.

Ecology is an historical science in which theories can be as difficult to test as they are to devise. This volume, intended for ecologists and evolutionary biologists, reviews ecological theories, and how they are generated, evaluated, and categorized. Synthesizing a vast and sometimes labyrinthine literature, this book is a useful entry into the scientific philosophy of ecology and natural history. The need for integration of the contributions to theory made by different disciplines is a central theme of this book. The authors demonstrate that only through such integration will advances in ecological theory be possible. Ecologists, evolutionary biologists, and other serious students of natural history will want this book.

A study of the nine panels that comprise the Isenheim Altarpiece, painted ca. 1512-16 by Matthias Grünewald, now installed in Colmar's Unterlinden Museum. Pp. 61-67 discuss the symbolic depiction in one of the panels of a chamberpot with Hebrew lettering, signifying the filth and decay of the Old (Jewish) Law. States that by Grünewald's time, vilification of Jews had become the predominant function of Hebrew letters in Christian art. Gives other examples, and discusses the derogatory "Judensau" imagery widespread in medieval and early modern Germany.