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In this book, Klaas Smelik presents a selection of writings from ancient Israel that ranges from tax records to battle accounts. Smelik interprets these writings in light of their historical, social, and biblical contexts.

Since World War II, the biological and technological have been fusing and merging in new ways, resulting in the loss of a clear distinction between the two. This entanglement of biology with technology isn't new, but the pervasiveness of that integration is staggering, as is the speed at which the two have been merging in recent decades. As this process permeates more of everyday life, the urgent necessity arises to rethink both biology and technology. Indeed, the human body can no longer be regarded either as a bounded entity or as a naturally given and distinct part of an unquestioned...

Since World War II, the biological and technological have been fusing and merging in new ways, resulting in the loss of a clear distinction between the two. This entanglement of biology with technology isn't new, but the pervasiveness of that integration is staggering, as is the speed at which the two have been merging in recent decades. As this process permeates more of everyday life, the urgent necessity arises to rethink both biology and technology. Indeed, the human body can no longer be regarded either as a bounded entity or as a naturally given and distinct part of an unquestioned...

This volume pursues a new line of research in cultural memory studies by understanding memory as a performative act in art and popular culture. The authors take their cue from the observation that art and popular culture enact memory and generate processes of memory. They do memory, and in this doing of memory new questions about the cultural dimensions of memory arise: How do art objects and artistic practices perform the past in the present? What is their relationship to the archive? Does the past speak in the performed past (or do we speak to it)? To what purpose do objects...

This volume pursues a new line of research in cultural memory studies by understanding memory as a performative act in art and popular culture. The authors take their cue from the observation that art and popular culture enact memory and generate processes of memory. They do memory, and in this doing of memory new questions about the cultural dimensions of memory arise: How do art objects and artistic practices perform the past in the present? What is their relationship to the archive? Does the past speak in the performed past (or do we speak to it)? To what purpose do objects...