The contributions in this volume are focused on the historical origins, religious provenance, and social function of ancient Jewish and Christian apocalyptic literature, including so-called 'Gnostic' writings. Although it is disputed whether there was a genre of 'apocalyptic literature,' it is obvious that numerous texts from ancient Judaism, early Christianity, and other religious milieus share a specific view of history and the world to come. Many of these writings are presented in form of a heavenly (divine) revelation, mediated through an otherworldly figure (like an angel) to an elected human being who discloses this revelation to his recipients in written form. In different strands of early Judaism, ancient Christianity as well as in Gnosticism, Manichaeism, and Islam, apocalyptic writings played an important role from early on and were produced also in later centuries. One of the most characteristic features of these texts is their specific interpretation of history, based on the knowledge about the upper, divine realm and the world to come. Against this background the volume deals with a wide range of apocalyptic texts from different periods and various religious backgrounds.

The present volume is based on a conference held in October 2019 at the Faculty of Theology of Humboldt University Berlin as part of a common project of the Australian Catholic University, the Katholieke Universiteit Leuven and the Humboldt University Berlin. The aim is to discuss the relationships of "Jews" and "Christians" in the first two centuries CE against the background of recent debates which have called into question the image of "parting ways" for a description of the relationships of Judaism and Christianity in antiquity. One objection raised against this metaphor is that it accentuates differences at the expense of commonalities. Another critique is that this image looks from a later perspective at historical developments which can hardly be grasped with such a metaphor. It is more likely that distinctions between Jews, Christians, Jewish Christians, Christian Jews etc. are more blurred than the image of "parting ways" allows. In light of these considerations the contributions in this volume discuss the cogency of the "parting of the ways"-model with a look at prominent early Christian writers and places and suggest more appropriate metaphors to describe the relationships of Jews and Christians in the early period.

This book deals with the connection between media and the future. It is about the imagination of futuristic media and what this says about the present, but it also shows how media are imagined as means to control the future. The book begins by describing different theories of the evolution of media and by exploring how this evolution is tied to expectations regarding the future. The authors discuss the theories of imagination and how the imagination of media futures operates. To do so, they analyse four concrete examples: the imaginations once related to interactive television and how they were performed in an important piece of media art; those on "ubiquitous computing," which remain present today; those on three-dimensional, especially holographic, displays that are prevalent everywhere in cinema, and lastly the contemporary imaginations on quantum computing and how they have been enacted in science fiction. The book appeals to readers interested in the question of how our present imagines its technological futures.

There is a blind spot in recent accounts of the history, theory and aesthetics of optical media: namely, the field of the three-dimensional, or trans-plane, image. It has been widely used in the 20th century for very different practices - military, scientific and medical visualization - precisely because it can provide more spatial information. And now in the 21st century, television and film are employing the method even more. Appearing for the first time in English, Jens Schroeter's comprehensive study of the aesthetics of the 3D image is a major scholarly addition to this evolving field. Citing case studies from the history of both technology and the arts, this wide-ranging and authoritative book charts the development in the theory and practice of three-dimensional images. Discussing and analyzing the transformation of the socio-cultural and technological milieu, Schroeter has produced a work of scholarship that combines impressive historical scope with contemporary theoretical arguments.

The second century CE has often been described as a kind of dark period with regard to our knowledge of how the earliest Christian writings (the gospels and Paul's letters) were transmitted and gradually came to be accepted as authoritative and then, later on, as "canonical". At the same time a number of other Christian texts, of various genres, saw the light. Some of these seem to be familiar with the gospels, or perhaps rather with gospel traditions identical or similar to those that found their way into the NT gospels. The volume focuses on representative texts and authors of the time in order to see how they have struggled to find a way to work with the NT gospels and/or the traditions behind these, while at the same time giving a place also to other extra-canonical traditions. It studies in a comparative way the reception of identifiably "canonical" and of extra-canonical traditions in the second century. It aims at discovering patterns or strategies of reception within the at first sight often rather chaotic way some of these ancient authors have cited or used these traditions. And it will look for explanations of why it took such a while before authors got used to cite gospel texts (more or less) accurately.

The volume deals with interpretations of Paul, his person and his letters, in various early Christian writings. Some of those, written in the name of Paul, became part of the New Testament, others are included among "Ancient Christian Apocrypha", still others belong to the collection called "The Apostolic Fathers". Impacts of Paul are also discernible in early collections of his letters which became an important part of the New Testament canon. This process, resulting in the "canonical Paul", is also considered in this collection.

Piracy is among the most prevalent and vexing issues of the digital age. In just the past decade, it has altered the music industry beyond recognition, changed the way people watch television, and made a dent in the buisness of the film and software industries. From MP3 files to recipes from French celebrity chefs to the jokes of American stand-up comedians, piracy is ubiquitous. And now piracy can even be an arbiter of taste, as seen in the decision by Netflix Netherlands to license heavily pirated shows. In this unflinching analysis of piracy on the Internet and in the markets of the Global South, Tilman Baumgartel brings together a collection of essays examining the economic, political, and cultural consequences of piracy. The contributors explore a wide array of topics, which include materiality and piracy in Rio de Janeiro; informal media distribution and the film experience in Hanoi, Vietnam; the infrastructure of piracy in Nigeria; the political economy of copy protection; and much more. Offering a theoretical background for future studies of piracy, A Reader in International Media Piracy is an important collection on the burning issue of the Internet Age.

Von Geld uber Brief und Comic bis Radio, Video und mobile Medien welchen Platz nehmen diese Themen in den Medienwissenschaften ein? Das Handbuch stellt Begriffe und Theorien vor, darunter systemtheoretische Theorien, die Medienarchaologie und die Akteur-Medien-Theorie. Es verknupft die einzelnen Medien mit der Theorie und macht die vielfaltigen Bezuge deutlich. Es zeigt auch die Schnittstellen zu anderen Disziplinen, wie z. B. zur Theater- und Musikwissenschaft oder zu Medienrecht, -psychologie und -padagogik.

The late 20th century was a formative phase in the history of digital media culture. The introduction of "new media" was associated with promises for the future that still resonate today. This book brings together contributions that discuss key aspects of the "imaginaries" surrounding new media in this epoch. The focus is on the works of the media artist group Van Gogh-TV, especially the historically very important interactive television project "Piazza virtuale" (1992).

The second century CE has often been described as a kind of dark period with regard to our knowledge of how the earliest Christian writings (the gospels and Paul's letters) were transmitted and gradually came to be accepted as authoritative and then, later on, as "canonical". At the same time a number of other Christian texts, of various genres, saw the light. Some of these seem to be familiar with the gospels, or perhaps rather with gospel traditions identical or similar to those that found their way into the NT gospels. The volume focuses on representative texts and authors of the time in order to see how they have struggled to find a way to work with the NT gospels and/or the traditions behind these, while at the same time giving a place also to other extra-canonical traditions. It studies in a comparative way the reception of identifiably "canonical" and of extra-canonical traditions in the second century. It aims at discovering patterns or strategies of reception within the at first sight often rather chaotic way some of these ancient authors have cited or used these traditions. And it will look for explanations of why it took such a while before authors got used to cite gospel texts (more or less) accurately.

The volume deals with interpretations of Paul, his person and his letters, in various early Christian writings. Some of those, written in the name of Paul, became part of the New Testament, others are included among "Ancient Christian Apocrypha", still others belong to the collection called "The Apostolic Fathers". Impacts of Paul are also discernible in early collections of his letters which became an important part of the New Testament canon. This process, resulting in the "canonical Paul", is also considered in this collection.

This collection offers an extensive framework of comparative and individual studies assessing the place of Luke-Acts in the historiography of ancient Judaism and the Greco-Roman world, whilst also examining further developments in early Christian historiography up to Eusebius and Theodoret. Additional contributions concentrate on systematic questions concerning the literary genre and conception of Luke-Acts.

St. Thomasa (TM)s Gospel is one of the most hotly debated documents from Early Christianity. No other piece of extra-canonical scripture has given rise to such controversy about whether it presents Jesusa (TM) message in a more original and less theologically sophisticated form than the New Testament Gospels. The papers collected in the present volume give an insight into the present state of research and demonstrate new perspectives on the question of the status of the various texts and traditions of St. Thomasa (TM)s Gospel in the history of religion.

This book deals with the connection between media and the future. It is about the imagination of futuristic media and what this says about the present, but it also shows how media are imagined as means to control the future. The book begins by describing different theories of the evolution of media and by exploring how this evolution is tied to expectations regarding the future. The authors discuss the theories of imagination and how the imagination of media futures operates. To do so, they analyse four concrete examples: the imaginations once related to interactive television and how they were performed in an important piece of media art; those on "ubiquitous computing," which remain present today; those on three-dimensional, especially holographic, displays that are prevalent everywhere in cinema, and lastly the contemporary imaginations on quantum computing and how they have been enacted in science fiction. The book appeals to readers interested in the question of how our present imagines its technological futures.

In recent discussions, increasing attention has been focussed on the question of how knowledge and the interpretation of reality come about. This volume presents a collection of papers dealing with this topic from historiological, philosophical and theological perspectives. In this way, a dialogue is conducted which transcends the boundaries of specialist disciplines and places the problem in a broader humanities perspective.

This volume presents a collection of papers by scholars from Europe and the USA on a question which is currently again the subject of intensive discussion - the figure of the historical Jesus. One main problem is that of methodology - how in general can history be constructed from texts, how is it possible in this particular case to draw a picture of Jesus the person from the texts about him? This question is placed within the wider context of epistemological and historiographical enquiry. A further major question is that of the relationship between Jesus' work and the development of the Christian faith. Whereas earlier scholars often saw a gap between the two, many of the present contributors put forward a different point of view. In addition, a number of questions of detail are treated which are important for research into the historical Jesus (the law, Jesus' concept of death, judgement and salvation).

In The Reception of Jesus in the First Three Centuries, Chris L. Keith, Helen K. Bond, Christine Jacobi and Jens Schroeter, together with an international cast of more than 70 contributors, provide a methodologically sophisticated resource, showing the reception history of Jesus and the Jesus tradition in early Christianity. The three volumes focus upon the diversity of receptions of the Jesus tradition in this time period, with memory theory providing the framework for approaching the complex interactions between the past of the tradition and the present of its receptions. Rather than addressing texts specifically as canonical or non-canonical, the volumes show the more complex reality of the reception of the Jesus tradition in early Christianity. Core literary texts such as Gospels and other early Christian writings are discussed in detail, as well as non-literary contexts outside the gospel genre; including the Apostolic Fathers, patristic writers, traditions such as the Abgar Legend, and modifications to the gospel genre such as the Diatesseron. Evidence from material culture, such as pictographic representations of Jesus in iconography and graffiti (e.g. the staurogram and Alexamenos Graffito), as well as representations of Jesus tradition in sarcophagi and in liturgy are also included, in order to fully reflect the transmission and reception of the Jesus tradition. Volume 1 provides an extensive introduction and, in 18 chapters, covers literary representations of Jesus in the first century, featuring gospel literature and other early Christian writings. Volume 2 examines all the literary texts from the second and third centuries, across 40 chapters, examining both gospel writing and other texts. Volume 3 examines visual, liturgical and non-Christian receptions of Jesus in the second and third centuries, across 24 chapters.

As the inaugural volume in the Baylor-Mohr Siebeck Studies in Early Christianity series, Jens Schroeter's celebrated From Jesus to the New Testament is now available for the first time in English. Schroeter provides a rich narrative to Christian history by looking back upon the theological forces that created the New Testament canon. Through his textual, historical, and hermeneutical examination of early Christianity, Schroeter reveals how various writings that form the New Testament's building blocks are all held together. Jesus not only bound the New Testament, but launched a theological project that resulted in the canon. Schroeter's study will undoubtedly spark new discussion about the formation of the canon.

There is a blind spot in recent accounts of the history, theory and aesthetics of optical media: namely, the field of the three-dimensional, or trans-plane, image. It has been widely used in the 20th century for very different practices - military, scientific and medical visualization - precisely because it can provide more spatial information. And now in the 21st century, television and film are employing the method even more. Appearing for the first time in English, Jens Schroeter's comprehensive study of the aesthetics of the 3D image is a major scholarly addition to this evolving field. Citing case studies from the history of both technology and the arts, this wide-ranging and authoritative book charts the development in the theory and practice of three-dimensional images. Discussing and analyzing the transformation of the socio-cultural and technological milieu, Schroeter has produced a work of scholarship that combines impressive historical scope with contemporary theoretical arguments.

This volume - a Festschrift in honour of the renowned Acts-scholar Eckhard Plumacher - contains thirteen articles on Luke's Acts of the Apostles. Presented are essays concerning Luke's language and style (Alexander, Koch, Steyn, Victor), the literary and historiographical technique applied in Acts (Moessner, Koch, Lindemann), on Luke's theology / Christology (Schroter, Vouga) and on the use (and abuse) of Acts for reconstructing aspects of the history of Early Christianity (Breytenbach, Horn, Schmithals) and for constructing theology relevant to modern culture (Vouga). Furthermore it contains a critical edition and commentary of the Martyrdom of Stephen with a discussion of its relationship to Acts (Bovon/Bouvier) and a presentation and discussion of some unknown Coptic Fragments of Acts (Bethge).

Der Band bietet die erste Einfuhrung in Konzepte der Imagination zukunftiger Medientechnologien. Ausgehend von der sozialen Transformation durch neue Medien wird die interdisziplinare Debatte um die Vorstellbarmachung zukunftiger Medien vorgestellt. Im Durchgang durch etablierte Theorien aus Philosophie, Medientheorie, Sozialtheorie sowie Wissenschafts- und Technikforschung wird aufgezeigt, welchen breiten Einfluss Prozesse der Imagination, etwa in Gestalt von Narrativen wie in der Science Fiction, fur die Diskursivierung und Konzeptualisierung von (digitalen) Medientechnologien haben.

Mit der Bezeichnung Ambient verbinden sich jene zugleich unaufdringlichen wie hoerintensiven Klange und Klangfolgen, die der Musikproduzent Brian Eno als Spielart popularer Musik etabliert hat. Dieser Band fragt, wie der Einfluss der Ambient Music (= Hintergrundmusik) zu beschreiben ist. Ausserdem fragt er nach den UEbertragungen: Lasst sich das Konzept des Ambient auch als eine AEsthetik des Hintergrunds begreifen, das sich auch auf andere, ahnlich gelagerte Phanomene ausweiten lasst? Etwa auf Literatur oder Film, Computergraphik oder Flugzeugkabinen?