This book presents a poetic translation of Isaiah's vision regarding Jerusalem, covering chapters 40 to the end. The verses convey the beauty and power of Isaiah's prophecy, and are sure to inspire and transport readers to ancient times. This masterpiece is a must-have for lovers of biblical poetry and literature alike. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad cultural contexts. The origins of this consensus lie in a decisive reorientation of the field that began approximately four decades ago. For much of the twentieth century, research on medieval music had focused on the discovery and evaluation of musical and theoretical sources. The 1970s and 1980s, by contrast, witnessed calls for broader methodologies and more fully contextual approaches that in turn anticipated the emergence of the so-called 'New Musicology'. The fifteen essays in the present collection explore three interrelated areas of inquiry that proved particularly significant: the liturgy, sources (musical and archival), and musical symbolism. In so doing, these essays not only acknowledge past achievements but also illustrate how this broad, interdisciplinary approach remains a source for scholarly innovation.

In The Sons of God in Genesis 6:1–4, Jaap Doedens offers an overview of the history of exegesis of the enigmatic text about the ‘sons of God’, the ‘daughters of men’, and the ‘giants’. First, he analyzes the text of Gen 6:1–4. Subsequently, he tracks the different exegetical proposals from the earliest exegesis until those of modern times. He further provides the reader with an evaluation of the meaning of the expression ‘sons of God’ in the Old Testament and the Ancient Near East. In the last chapter, he concentrates on the message and function of Gen 6:1–4. This volume comprehensively gathers ancient and modern exegetical attempts, providing the means for an ongoing dialogue about this essentially complex and elusive passage.

In a novel approach that the author terms "symbolic paradigm analysis," Paradise and Paradigm offers a "theoretically modular" systematic comparison of two "Persian" religions: early Syriac Christianity as the foundation of the East Syrian "Church of the East" (the Nestorian Church of Persia) and the Baha'i Faith, a new world religion. The author compares the hymns of the greatest poet of early Christianity, Saint Ephrem the Syrian, and the richly imagistic writings of the founder of the Baha'i religion, Baha'u'llah. The book employs an original analytic technique in the creation of "symbolic profiles" constructed on Ninian Smart's dimensional model of religion. As Buck skillfully demonstrates, formal similarities between any two religions are best comprehended in terms of paradigmatic differences, which nuance all parallels through a process of symbolic transformation. Buck also shows the communal reflexivity of paradise imagery in representing the ideal faith-community in both traditions.