E Are Here

Themes and Texts, Exodus and Beyond

This volume of essays is focused on the significance of the book of Exodus for studies in the Septuagint, Second Temple Jewish literature, the New Testament, and Christian theology. A diverse group of scholars from various parts of the world, many of whom are well-known in their fields, employs a range of methodologies in the treatment of text-critical, linguistic, literary, historical, cultural, exegetical, intertextual, and theological topics. Parts of the relevant literary corpus that are dealt with in relation to the book of Exodus include Genesis, Leviticus, Deuteronomy, Psalms, Zechariah, 3 Maccabees, the Gospels of Matthew and Mark, the Epistles of 1 Thessalonians, Hebrews, and 1 Peter, as well as the Dead Sea Scrolls. This book will be a valuable resource for scholars and students in the areas of biblical and theological studies, as well as clergy. The distinguished contributors include Emanuel Tov, Albert Pietersma, Daniela Scialabba, Craig A. Evans, James M. Scott, Martin G. Abegg Jr., and Wolfgang Kraus.

The Complete Works of Geoffrey Chaucer: Romaunt of the rose. Minor poems

Dancing Freedom

For a long time, dance scholars and the public were hardly aware that modern dance existed in Russia. This book, however, delves into its presence, significance and survival in the late Tsarist and Soviet era, showing the large and significant positive contribution this made to the history of modern dance. A creation of liberal body politics, 'free' or 'modern' dance flourished in late Imperial Russia and the early Soviet Union, before the hardening of communist regimes. An ideal embodiment of emancipation, free dance attracted dancers and audiences, including a significant number of modernist artists and intellectuals. This book looks in particular at Isadora Duncan and her impact on Stanislavsky's methods, as well as on the ballet choreographer Michel Fokine. It throws light on Duncan's Moscow School, biomechanics and many modern dance studios of the time, their role in creating new systems of training – different from ballet – and their creation of a modern dance 'body'. We come to see free dance into the years of Stalin's Cultural Revolution, where choreographers had to adapt to the new ideological environment – a far cry from the previous freedom of modern dance.