Recognizing both the potential of biblical prohibition of images for causing religious conflict and the promise of a more nuanced appreciation of the role of images in human experience, this book constructs a framework for understanding the place of images, and their prohibition, within the biblical text and Christian religious practice.
This full color book is a comprehensive visual reference for the interpretation of synthetic aperture radar (SAR) images with examples of how technological specifications may affect interpretation solutions. It contains a summary review of image acquisition parameters of consequence on the visual representation of objects, introduces traditional interpretation keys under different light and applies them for considering regional landscape components and identifying large-scale geographical ensembles. Through elements of interpretation such as the construct of tone, texture, pattern, size, and shape, the book explains the rich unique context of many terrains. It provides also several SAR X- and C-band image examples of regional and large-scale land use and land cover (LULC) ensembles, includes important explanations for each illustration, and highlights selected SAR image applications. Ancillary information includes acquisition specifications, a geographic scale, and the image-center latitude and longitude. Features: Provides ready access to any type of information for an image interpretation problem related to current LULC classification schemes. Presents scalable geographic information interpreted at a regional scale and land cover ensembles that can also be interpreted locally. Provides comparative examples of images acquired from X- and C-band, opposed look directions, near- and far-range incidence angles, like- and cross-polarization modes. Includes practical explanations easily transferred to individual’s research projects. Designed as "visual dictionary," SAR Image Interpretation for Various Land Covers: A Practical Guide, is an excellent introduction to the visual interpretation of SAR images for numerous types of LULC. Both practitioners and students will familiarize themselves with and expand their knowledge of geographic information conveyed from radar images while government agencies and businesses that use LULC-related data for emergency response cases of for urban and regional planning, will find this book invaluable.
This volume by the late Bernd J. Diebner presents an anthology of studies previously published only in German from 1971 to 2020 on a wide range of topics in biblical studies. The 18 essays in this collection offer profound insight into the works of German scholarship which have strongly influenced biblical studies and related research in the 20th century. Being an important, but lesser recognized ‘member’ of the Copenhagen school, Diebner voiced serious criticism of contemporary biblical scholarship which is discussed in the first seven chapters. The remaining chapters offer challenging new perspectives on well-known themes, narratives, and compositions related to history, ideology, and archaeology, on the one hand, and text and canon, on the other, as alternatives to traditional historical–critical approaches. Now published in English for the first time, this volume makes these essays available to Anglophone students and scholars of biblical and ancient Near Eastern studies.
Invoking a concept as simple as it is brilliant, F. E. Peters has taken the basic texts of the three related--and competitive--religious systems we call Judaism, Christianity, and Islam and has juxtaposed them in a topical and parallel arrangement according to the issues that most concerned all these "children of Abraham." Through these extensive passages, and the author's skillful connective commentary, the three traditions are shown with their similarities sometimes startlingly underlined and their well-known differences now more profoundly exposed. What emerges from this unique and ambitious work is a panorama of belief, practice, and sensibility that will broaden our understanding of our religious and political roots in a past that is, by these communities' definition, still the present. The hardcover edition of the work is bound in one volume, and in the paperback version the identical material is broken down into three smaller but self-contained books. The third, "The Works of the Spirit," focuses on spirituality and worship and contains material on monasticism, theology, mysticism, and the "End Time." Throughout the work we hear an amazing variety of voices, some familiar, some not, all of them central to the primary and secondary canons of their own tradition: alongside the Scriptural voice of God are the words of theologians, priests, visionaries, lawyers, rulers and the ruled. The work ends, as does the same author's now classic Children of Abraham, in what Peters calls the "classical period," that is, before the great movements of modernism and reform that were to transform Judaism, Christianity, and Islam.
Polka also raises the larger issue of the relationship between modernity, hermeneutics, and biblical ontology. He argues that the origins and structure of modern values can be understood only through a theory of hermeneutics whose ontology overcomes the dualism between the secular and the religious, between philosophy and religion. Polka shows this to be possible when biblical ontology is understood to be at once rational and faithful, secular and religious. He uses the work of Spinoza, Kant, Hegel, and Kierkegaard to articulate the ontological framework that makes clear how typically modern Freud is in being unable to account for the relationship of his thought to biblical religion. Polka argues that Freudian metapsychology, precisely because it cannot account for its own principles of explanation, contradicts the insights of depth psychology. Paradoxically, religion returns in Freud as the repressed, as it does in so much of modern thought. Polka shows that what is therefore required is a hermeneutical theory whose ontological articulation of biblical religion is critically self-conscious.
This book upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno's writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno's writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author's overall project from a radically new perspective (Adorno's famous 'standpoint of redemption'), and brings his central concerns to bear on the problems of today. On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno's recurrent reference to the Old Testament ban on making images of God. By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.
Suzy Anger investigates the relationship of Victorian interpretation to the ways in which literary criticism is practiced today. Her primary focus is literary interpretation, but she also considers fields such as legal theory, psychology, history, and the natural sciences in order to establish the pervasiveness of hermeneutic thought in Victorian culture. Anger's book demonstrates that much current thought on interpretation has its antecedents in the Victorians, who were already deeply engaged with the problems of interpretation that concern literary theorists today. Anger traces the development and transformation of interpretive theory from a religious to a secular (and particularly literary) context. She argues that even as hermeneutic theory was secularized in literary interpretation it carried in its practice some of the religious implications with which the tradition began. She further maintains that, for the Victorians, theories of interpretation are often connected to ethical principles and suggests that all theories of interpretation may ultimately be grounded in ethical theories. Beginning with an examination of Victorian biblical exegesis, in the work of figures such as Benjamin Jowett, John Henry Newman, and Matthew Arnold, the book moves to studies of Thomas Carlyle, George Eliot, and Oscar Wilde. Emphasizing the extent to which these important writers are preoccupied with hermeneutics, Anger also shows that consideration of their thought brings to light questions and qualifications of some of the assumptions of contemporary criticism.
In this book, Alison Ross engages in a detailed study of Walter Benjamin’s concept of the image, exploring the significant shifts in Benjamin’s approach to the topic over the course of his career. Using Kant’s treatment of the topic of sensuous form in his aesthetics as a comparative reference, Ross argues that Benjamin’s thinking on the image undergoes a major shift between his 1924 essay on ‘Goethe’s Elective Affinities,’ and his work on The Arcades Project from 1927 up until his death in 1940. The two periods of Benjamin’s writing share a conception of the image as a potent sensuous force able to provide a frame of existential meaning. In the earlier period this function attracts Benjamin’s critical attention, whereas in the later he mobilises it for revolutionary outcomes. The book gives a critical treatment of the shifting assumptions in Benjamin’s writing about the image that warrant this altered view. It draws on hermeneutic studies of meaning, scholarship in the history of religions and key texts from the modern history of aesthetics to track the reversals and contradictions in the meaning functions that Benjamin attaches to the image in the different periods of his thinking. Above all, it shows the relevance of a critical consideration of Benjamin’s writing on the image for scholarship in visual culture, critical theory, aesthetics and philosophy more broadly.
