Historians bound by their singular stories and archaeologists bound by their material evidence don t typically seek out broad comparative theories of religion. But recently Harvey Whitehouse 's modes of religiosity theory has been attracting many scholars of past religions. Based upon universal features of human cognition, Whitehouse 's theory can provide useful comparisons across cultures and historical periods even when limited cultural data is present. In this groundbreaking volume, scholars of cultures from prehistorical hunter-gatherers to 19th century Scandinavian Lutherans evaluate Whitehouse 's hypothesis that all religions tend toward either an imagistic or a doctrinal mode depending on how they are remembered and transmitted. Theorizing Religions Past provides valuable insights for all historians of religion and especially for those interested in a new cognitive method for studying the past.

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Boris Gruzin conducts the Orchestra of the Royal Opera House in this production of Adolphe Adam's classic ballet about a peasant girl whose betrayal by her aristocratic lover causes her to go mad before dying and returning as a ghost. Alina Cojocaru stars in the title role, while Johan Kobborg plays Count Albrecht.

Darcey Bussell and Roberta Bolle star in Frederick Ashton's Sylvia, restored to the splendour of its elegant and opulent three-act form for the 75th anniversary celebrations of The Royal Ballet.

Taken from Greek mythology, it tells the story of Sylvia, loved by Aminta, abducted by Orion and eventually rescued by Eros. Ashton was inspired by the music of Leo Delibes to create such great choreographic sequences as the famous Act 3 'pas de deux' and the mischievous role of Eros, one of the delightful, darkly comic characterisations for which Ashton became known and loved.

Sylvia is a wonderful showcase for virtuosity, invention and classical beauty, the epitome of Ashton style in stage settings of great detail and painterly perfection.