The ancient kalam cosmological argument maintains that the series of past events is finite and that therefore the universe began to exist. Two recent scientific discoveries have yielded plausible prima facie physical evidence for the beginning of the universe. The expansion of the universe points to its beginning-to a Big Bang-as one retraces the universe's expansion in time. And the second law of thermodynamics, which implies that the universe's energy is progressively degrading, suggests that the universe began with an initial low entropy condition. The kalam cosmological argument-perhaps the most discussed philosophical argument for God's existence in recent decades-maintains that whatever begins to exist must have a cause. And since the universe began to exist, there must be a transcendent cause of its beginning, a conclusion which is confirmatory of theism. So this medieval argument for the finitude of the past has received fresh wind in its sails from recent scientific discoveries. This collection reviews and assesses the merits of the latest scientific evidences for the universe's beginning. It ends with the kalam argument's conclusion that the universe has a cause-a personal cause with properties of theological significance.

During the early medieval Islamicate period (800-1400 CE), discourses concerned with music and musicians were wide-ranging and contentious, and expressed in works on music theory and philosophy as well as literature and poetry. But in spite of attempts by influential scholars and political leaders to limit or control musical expression, music and sound permeated all layers of the social structure. Lisa Nielson here presents a rich social history of music, musicianship and the role of musicians in the early Islamicate era. Focusing primarily on Damascus, Baghdad and Jerusalem, Lisa Nielson draws on a wide variety of textual sources written for and about musicians and their professional/private environments - including chronicles, literary sources, memoirs and musical treatises - as well as the disciplinary approaches of musicology to offer insights into musical performances and the lives of musicians. In the process, the book sheds light onto the dynamics of medieval Islamicate courts, as well as how slavery, gender, status and religion intersected with music in courtly life. It will appeal to scholars of the Islamicate world and historical musicologists.

Early Slavonic writings have preserved a unique corpus of compositions that develop biblical themes. These extracanonical, parabiblical narratives are known as pseudepigrapha, and they preserve many ancient traditions neglected by the canonical scriptures. They feature tales of paradise and hell, angels and Satan, the antediluvian fathers and biblical patriarchs, kings, and prophets. These writings address diverse questions ranging from artistically presented questions of theology and morals to esoteric subjects such as cosmology, demonology, messianic expectations, and eschatology. Although these Slavonic texts themselves date from a relatively late period, they are translations or reworkings of far earlier texts and traditions, many of them arguably going back to late biblical or early postbiblical times. The material in these works can contribute significantly to a better understanding of the roots of postbiblical mysticism, rabbinic Judaism and early Christianity, ancient and medieval dualistic movements, as well as the beginnings of the Slavonic literary tradition. The volume provides a collection of the minor biblical pseudepigrapha preserved solely in Slavonic; at the same time, it is also the first collection of Slavonic pseudepigrapha translated into a western European language. It includes the original texts, their translations, and commentaries focusing on the history of motifs and based on the study of parallel material in ancient and medieval Jewish and Christian literature. The aim of the volume is to to bridge the gap between the textual study of this corpus and its contextualization in early Jewish, early Christian, rabbinic, Byzantine, and other traditions, as well as to introduce these texts into the interdisciplinary discussion of the intercultural transmission of ideas and motifs.

Drawing on original fieldwork, Carl Morris examines Muslim cultural production in Britain, with a focus on the performance-based entertainment industries: music, comedy, film, television and theatre. It is a seminal study that charts the growing agency and involvement of British Muslims in cultural production over the last two decades. Morris sets this discussion within the context of wider religious, social and cultural change, with important insights concerning the sociological profile, religious lives and public visibility of Muslims in contemporary Britain. Morris draws on theoretical considerations concerning the mediatization of religion and cosmopolitanization in a globally-connected world. He argues that a new generation of media-savvy and internationalist Muslim cultural producers in Britain are constructing counter narratives in the public sphere and are reshaping everyday religious lives within their own communities. This is having a profound impact upon areas that range from Islamic authority and religious practice, to political and public debate, and understandings of Muslim identity and belonging.