Exodus and Resurrection establishes the important place God’s identity as the “God of Israel” has in the systematic theology of Robert W. Jenson. The work demonstrates that the identification of the God of Israel as the agent of Jesus’ resurrection functions as a foundational premise in Jenson’s Trinitarian theology. Andrew W. Nicol argues that a central characteristic of Jenson’s work is not merely his recognition that the same God who rescued Israel from Egypt raised Jesus from the dead, or the related yet distinct step of renovating his theology in a nonsupersessionist fashion, but also his attempt to conceive of the full implications for doing so in Christian theology, in the church’s self-understanding, and in the church’s relation to Israel and continuing Judaism. In this, Exodus and Resurrection provides a clear and critically appreciative account of Robert W. Jenson’s work and offers a new vital architectonic map of Jenson’s systematic vision.
Exodus and Resurrection establishes the important place God’s identity as the “God of Israel” has in the systematic theology of Robert W. Jenson. The work demonstrates that the identification of the God of Israel as the agent of Jesus’ resurrection functions as a foundational premise in Jenson’s Trinitarian theology. Andrew W. Nicol argues that a central characteristic of Jenson’s work is not merely his recognition that the same God who rescued Israel from Egypt raised Jesus from the dead, or the related yet distinct step of renovating his theology in a nonsupersessionist fashion, but also his attempt to conceive of the full implications for doing so in Christian theology, in the church’s self-understanding, and in the church’s relation to Israel and continuing Judaism. In this, Exodus and Resurrection provides a clear and critically appreciative account of Robert W. Jenson’s work and offers a new vital architectonic map of Jenson’s systematic vision.
Claude Lorrain (1600-1682), an eminent seventeenth-century landscape painter, was an equally talented graphic artist. Lorrain's etchings match the mastery and execution of his paintings and yet are largely unrecognized by contemporary collectors and art historians. Andrew Brink, an astute and discriminating art collector, amassed an impressive collection of etchings, engravings, and mezzotints by European master printmakers from the sixteenth century onwards. The keystone works in the Brink Collection, now housed in Guelph, Ontario's Macdonald Stewart Art Centre, are by Claude Lorrain. In Ink and Light, Brink positions Lorrain's prints as seminal to the establishment of seventeenth- and eighteenth-century aesthetics in England, which gave rise to the English pictorialism in art and landscape architecture that would have international influence in the nineteenth and twentieth centuries. He discusses the technical and material character of Lorrain's etchings, as well as their connection to literature and philosophy in early modern times. While Brink's main focus is the impact of the etchings, he also looks at paintings and drawings by Lorrain, in addition to works made by other artists after Lorrain. Featuring forty of Claude Lorrain's etchings from the Brink Collection, Ink and Light fills a significant gap in British art history by providing a close reading of Lorrain's prints, their reception in England, and the enduring impact they had on a distinctive British aesthetic.
Winner of the 2019 Brigadier General James L. Collins Jr. Prize In To Win and Lose a Medieval Battle: Nájera (April 3, 1367). A Pyrrhic Victory for the Black Prince, L.J. Andrew Villalon and Donald J. Kagay provide a full treatment of one of the major battles of the Hundred Years War, which, perhaps because it was fought in Spain, is lesser known to scholars and general readers. Drawing information from contemporary European chronicles and the massive documentary collections of Spanish and French archives, the authors have painstakingly investigated the Iberian and European background events to Nájera and have in minute detail laid out how the army of Enrique II of Castile (assisted by Bertand de Guesclin) and that of his half-brother, Pedro I of Castile (assisted by Edward, the Black Prince), clashed at Nájera on April 3, 1367. Winner of the 2019 Brigadier General James L. Collins Jr. Prize, awarded by the U.S. Commission on Military History for the best book on military history published in 2017 or 2018. The awarding committee praised the volume as ‘a genuinely original scholarly contribution... comprehensive, balanced, and insightful... this 600-page magnum opus will significantly enhance our understanding of military history during a seminal period of human development.’ See inside the book.
Slavery, capitalism, and colonialism were understood as racially justified through false olfactory perceptions of African bodies throughout the Atlantic World.
This book is the first overall survey of the British West Indian press in the early nineteenth century—a critical period in the history of the region. Based on extensive and ground-breaking archival research, this volume provides an in-depth history of early nineteenth-century British West Indian newspapers and potted biographies of the journalists who produced them. The author examines the economics underpinning newspapers, and a political spectrum, unique to the West Indian press, is also posited. Towards one end sat a small group of ‘liberal’ newspapers that outraged white colonists by arguing for civil and political rights to be extended to so-called free coloureds and for the abolition of slavery; scattered at various points towards the other end of the spectrum were newspapers still best collectively described as the ‘planter press’—the traditional term used in the literature. Starting from this basic conceptual framework, the volume shows how the press landscape in the British Caribbean at this time was more volatile and complex than has been previously thought. This volume will be of value to academics, undergraduates and postgraduates studying Caribbean and media history and those interested in modern history.
The eighteenth-century practitioners of anatomy saw their own period as 'the perfection of anatomy'. This book looks at the investigation of anatomy in the 'long' eighteenth century in disciplinary terms. This means looking in a novel way not only at the practical aspects of anatomizing but also at questions of how one became an anatomist, where and how the discipline was practised, what the point was of its practice, what counted as sub-disciplines of anatomy, and the nature of arguments over anatomical facts and priority of discovery. In particular pathology, generation and birth, and comparative anatomy are shown to have been linked together as sub-disciplines of anatomy. At first sight anatomy seems the most long-lived and stable of medical disciplines, from Galen and Vesalius to the present. But Cunningham argues that anatomy was, like so many other areas of knowledge, changed irrevocably around the end of the eighteenth century, with the creation of new disciplines, new forms of knowledge and new ways of investigation. The 'long' eighteenth century, therefore, was not only the highpoint of anatomy but also the endpoint of old anatomy.
Andrew Brunson examines the presence and function of Ps 118 in the Gospel of John, placing particular emphasis on its interpretation in a New Exodus context which has previously not been developed in the Fourth Gospel. Following a comprehensive survey of Ps 118's Jewish setting, its role in the festivals, and its use in the Synoptic Gospels, special attention is given to the quotations in the Entrance Narrative.The author argues that John portrays Jesus as bringing an end to Israel's state of continuing exile by fulfilling the role reserved to Yahweh in the New Exodus. This culminates in the Entrance to Jerusalem where Jesus embodies the return of Yahweh to reign among his people. A literary study of the coming-sent theme in John underscores the extent to which Jesus is identified ontologically and functionally with the Father. A previously unnoticed allusion to Ps 118 and Jubilees in John 8.56 is explored, and attention is paid to establishing the presence and developing the function of several neglected allusions to the psalm in 10:7-10; 10:24-25; and 11:41-42.
Computer aided design (CAD) emerged in the 1960s out of the growing acceptance of the use of the computer as a design tool for complex systems. As computers have become faster and less expensive while handling an increasing amount of information, their use in machine design has spread from large industrial needs to the small designer.
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