Essays considering the representation and perception of hell in a variety of texts. Narratives of a descent to the underworld, of the sights to be seen and the punishments meted out there, have kept a hold on the popular imagination for millennia. The legacy from doctrinal warnings and the deep-set literary markers that identify a place of suffering and alienation continue to stimulate creative exchange and critical thinking. Such work takes risks: it braves the dark and questions the past. The contributions in this volume reflect on the exigency of hell in the stories that we tell. They consider the transfer and repurposing of motifs across genres and generational divides, and acknowledge the sustained immediacy of physical and psychological landscapes of hell. The essays span a wide chronological range and apply various contemporary critical approaches, including cognitive science, performance studies and narratology. This cross-period analysis is complemented by interviews with three creative practitioners: Jeya Ayadurai, director of "Hell's Museum" in Singapore, the actor Lisa Dwan, who is acclaimed for her dramatisation of Samuel Beckett's late works, and the writer David Almond. From ancient myth and early English sermons to mid-twentieth-century surrealism and current responses to terrorist activities and environmental damage, the literature of hell engages with issues of immediate relevance and asks its audiences to reflect on their cultural history, the meaning of social justice and the nature of embodied existence.

Although women are the majority of small-scale technology users, their technical knowledge and understanding has largely been overlooked. This book investigates the contributions of women to technical innovation at a grassroots level, using twenty two case studies of technical innovation by women in sixteen countries in Africa, Asia and Latin America.

From the visual and textual art of Anglo-Saxon England onwards, images held a surprising power in the Western Christian tradition. Not only did these artistic representations provide images through which to find God, they also held mystical potential, and likewise mystical writing, from the early medieval period onwards, is also filled with images of God that likewise refracts and reflects His glory. This collection of essays introduces the currents of thought and practice that underpin this artistic engagement with Western Christian mysticism, and explores the continued link between art and theology. The book features contributions from an international panel of leading academics, and is divided into four sections. The first section offers theoretical and philosophical considerations of mystical aesthetics and the interplay between mysticism and art. The final three sections investigate this interplay between the arts and mysticism from three key vantage points. The purpose of the volume is to explore this rarely considered yet crucial interface between art and mysticism. It is therefore an important and illuminating collection of scholarship that will appeal to scholars of theology and Christian mysticism as much as those who study literature, the arts and art history.

From the visual and textual art of Anglo-Saxon England onwards, images held a surprising power in the Western Christian tradition. Not only did these artistic representations provide images through which to find God, they also held mystical potential, and likewise mystical writing, from the early medieval period onwards, is also filled with images of God that likewise refracts and reflects His glory. This collection of essays introduces the currents of thought and practice that underpin this artistic engagement with Western Christian mysticism, and explores the continued link between art and theology. The book features contributions from an international panel of leading academics, and is divided into four sections. The first section offers theoretical and philosophical considerations of mystical aesthetics and the interplay between mysticism and art. The final three sections investigate this interplay between the arts and mysticism from three key vantage points. The purpose of the volume is to explore this rarely considered yet crucial interface between art and mysticism. It is therefore an important and illuminating collection of scholarship that will appeal to scholars of theology and Christian mysticism as much as those who study literature, the arts and art history.