The Myth Of The Phoenix According To Classical And Early Christian Traditions By R Vanden Broek

Beginning with 1953, entries for Motion pictures and filmstrips, Music and phonorecords form separate parts of the Library of Congress catalogue. Entries for Maps and atlases were issued separately 1953-1955.

This volume includes an introduction, a translation and an in-depth commentary of the fragments of the Exagoge, a Greek tragedy written by a Jewish poet named Ezekiel the Tragedian, who lived between mid- 2nd and mid-1st century BCE. The author offers an interpretation of the play which links its 17 fragments and clarifies their position in the overall structure, in order to bring to light the ideas of Ezekiel and his social and cultural context.

Includes entries for maps and atlases.

Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov’s consideration.

Visions of Savage Paradise is the first major book-length study of seventeenth-century Dutch artist Albert Eckhout to be published in nearly seventy years. Eckhout, who was court painter to the colonial governor of Dutch Brazil, created life-size paintings of Amerindians, Africans, and Brazilians of mixed race in support of the governor’s project to document the people and natural history of the colony. In this study, Rebecca Parker Brienen provides a detailed analysis of Eckhout’s works, framing them with discussions of both their colonial context and contemporary artistic practices in the Dutch republic.