Moses is an inspirational prophetic figure in Jewish, Christian and Muslim religious traditions. This book journeys through the Abrahamic faiths and illustrates their respective depictions of the Moses’ stories. Each chapter of the book examines the stories of the Prophet Moses in the biblical narrative of the Old Testament, in the exegesis of the Jewish Midrash, the Christian writer Ephrem the Syrian, and in the passages of the Qur’an. The book shows the relationship between the four primary sources and consequently between the religious traditions, which they represent. In exploring the differences and similarities between the Hebrew Bible, Jewish rabbinical commentaries, Syriac Christian exegesis and the Qur’an, this book seeks for a deeper understanding of the Prophet Moses in the religious history of humanity.

Jacob of Sarug's homily on Aaron the Priest, focusing on the period leading up to and including the death of Aaron described in Numbers 20:22–29.

Why are Jews so attracted to India, to Hinduism, and to Buddhism in the United States as well as Israel? They travel there by the thousands, attracted by the exoticism of course, but, Adelman believes, also drawn by an atavistic connection, dating back to the great Persian empires that extended from the land of Israel to the Indian subcontinent, linking the religions, myths, legends, literature, customs, even languages over the centuries. Influenced by her own profoundly mystical experiences, Adelman provides the history, explains the religions, shows the common origins, and gives astonishing examples of parallel symbolism.

This book explores the myth of the Cyclops across western history, and how its changing form from ancient Greece until the modern day reveals fundamental changes in each era’s elite understandings and depictions of cultural values. From Homer’s Odyssey to Hellenistic poetry, from Roman epic to early medieval manuscript glosses, and from early modern opera to current pop culture, the myth of the Cyclops persists in changing forms. This myth’s distinct forms in each historical era reflect and distil wider changes occurring in the spheres of politics, philosophy, aesthetics, and social values, and as a story that persists continually across three millennia it provides a unique lens for cross-historical comparison across western thought.

Winner of the Drue Heinz for Literature. Poised on the precipice of mystery and longing, each character in Now You Know It All is on the brink of discovery - and decision. Set in small-town North Carolina, or featuring eager Southerners venturing afar, these stories capture that crucial moment when someone’s path changes irrevocably.

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories, such as Darwin’s theory of evolution and sexual selection, deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science - and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media, from photography to oil painting. This volume reminds us that science and art are not tightly compartmentalized, separate influences, but rather fields that shared forms - manifest as waves, layers, lines, or geometries - and invest in the idea of the evolution of form.

The Futūḥ al-Shām (The Conquests of Greater Syria), usually attributed to Abū Ismāʿīl Muḥammad b. ʿAbdallāh al-Azdī al-Baṣrī, is one of the primary sources used for historians studying the early Muslim expansion into Greater Syria. This study revaluates the Futūḥ al-Shām narrative and the question of its compiler-author, investigating the history of the narrative as text through an analysis of a new manuscript and important parallel texts, and revisiting the evidence and hypotheses previous scholars have put forward on both al-Azdī’s life and the Futūḥ al-Shām narrative’s text. It thus offers an overview of the history of Oriental and Islamic Studies on the basis of one work.

In about:blank, Tracy Fuad builds a poetics of contemporary dissociation. Funny, plaintive, and cutting, this formally inventive debut probes alienation in place and in language through the author's consideration of her own relationship to Iraqi Kurdistan. about:blank - the title of which is the universal URL for a blank web page - complicates questions of longing and belonging. Interrogating the language of internet chatrooms, Yelp reviews, and the Kurdish dictionary, the poems here leap surprisingly between subjects to find new meaning. Written before and during the years the author spent living in Iraqi Kurdistan, the collection documents the alienation of being inside, outside, and between language(s) and the always-already terror of grammar. At once haunted and humorous, about:blank inhabits and exhibits the disorientation and fragmentation that is endemic to the internet era, and mourns the loss of a more embodied existence.

When radical Iranian students seize the U.S. Embassy compound in Tehran and take over fifty diplomats hostage the U.

"In these three volumes we have one of the greatest novels not only of our generation, but of our language ..

The biblical apocalyptic books of Daniel and Revelation are, for better or worse, polarizing. Interpreters have long read and searched these books for clues about how their worlds will "end," which each new interpreter promising to have "unlocked" how Daniel and Revelation work together to uncover a divine plan for prophetic fulfillment. Redding uses the Vision of the Fourth Beast from Daniel 7 as a case study to consider how interpretations of texts take on lives of their own, eventually wedding interpretation with text and prompting the question: what even is a text? Is it what is on the page, something interpreters put there, or a combination of both? Starting with the literature of the Levant, this work traces the use of motifs, images, and themes through Daniel, Revelation, and into pre-Enlightenment Christian thinkers to consider hermeneutical trajectories that shaped (and continue to shape) how modern readers engage biblical apocalyptic literature.

Camels, one of creation's most remarkable animals, are celebrated through this fascinating historical study of their place in the modern imperial era. Goudie's wide-ranging research into the exploration and use of camels reveals dramatic stories and personalities, with an impressive geographical coverage. Descriptions of their biology, value and benefits, travellers' stories then link them to their historical context. Accompanied by splendid paintings, drawings, photos, and maps, and with an extensive bibliography, this volume entertains at the same time as providing a very comprehensive historical account of these amazing beasts.

Science is usually known by its most successful figures and resource-rich institutions. In stark contrast, Creativity from the Periphery draws our attention to unknown figures in science - those who remain marginalized, even neglected, within its practices. Researchers in early twentieth-century colonial India, for example, have made significant contributions to the stock of scientific knowledge and have provided science with new breakthroughs and novel ideas, but to little acclaim. As Deepanwita Dasgupta argues, sometimes the best ideas in science are born from difficult and resource-poor conditions. In this study, she turns our attention to these peripheral actors, shedding new light on how scientific creativity operates in lesser-known, marginalized contexts, and how the work of self-trained researchers, though largely ignored, has contributed to important conceptual shifts. Her book presents a new philosophical framework for understanding this peripheral creativity in science through the lens of trading zones - where knowledge is exchanged between two unequal communities - and explores the implications for the future diversity of transnational science.

Dark Traffic creates landmarks through language, by which its speakers begin to describe traumas in order to survive and move through them. With fine detail and observation, these poems work in some way like poetic weirs: readers of Kane’s work will see the artic and subarctic, but also, more broadly, America, and the exigencies of motherhood, indigenous experience, feminism, and climate crises alongside the near-necropastoral of misogyny, violence, and systemic failures. These contexts catch the voice of the poems’ speakers, and we perceive the currents they create.

The historiography of feminist rhetorical research raises ethical questions about whose stories are told and how. Women and other marginalized people have been excluded historically from many formal institutions, and researchers in this field often turn to alternative archives to explore how women have used writing and rhetoric to participate in civic life, share their lived experiences, and effect change. Such methods may lead to innovation in documenting practices that took place in local, grass-roots settings. The chapters in this volume present a frank conversation about the ways in which feminist scholars engage in the work of recovering hidden rhetorics, and grapple with the ethical challenges raised by this recovery work.

Winner of the 2020 Cave Canem Poetry Prize"Some writers write poetry to flex what they can do. Aurielle Marie writes reckoning poems themselves come to work. Gumbo Ya Ya kicks with this lit lit magic, this insistent electricity, pages what sweat ink, bleed it, weep it, drip it. Aurielle Marie will cuss, but an Aurielle Marie poem can curse; that what she has seen, felt, or known, is trans-amplified in the room she gives the poem to do what it’s gonna do. Gumbo Ya Ya is Aurielle Marie’s Dirty-Dirty grimoire drawn from a vernacular trickbag at once up to something and down for whatever. These poems are spell weaving. They are bound to work you." - Douglas Kearney - Final Judge CitationWinner of the 2020 Cave Canem Poetry Prize. Gumbo Ya Ya is a cauldron of multifaceted poems confronting race, binaries, and violence, soaring against the backdrop of a contemporary South. Armed with a poetic dexterity that employs urgent subject matter and sultry lyricism, Aurielle Marie’s debut is as stunning as it is timely. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black girl dies “by the barrel of the law” or “for loving another Black gxrl.” Part ancestral and familial archival, part ethnography of Black femme resistance, Gumbo Ya Ya catalogues the wide gamut of Black life at its intersections, with cultural commentary and personal narrative. It asks us to chew upon both the rich meat and tough gristle, and in doing so we walk away, washed anew and more than satisfied. Upon both the rich meat and tough gristle, and in doing so we walk awaymore whole than we began and thoroughly satisfied.