Following modern and postmodern philosophy’s critique of metaphysics, experiences of transcendence are often considered ‘aesthetic’ rather than ‘metaphysical.’ However, aesthetics is mostly identified with the study of art, and aesthetic phenomena are considered particularly sensuous. This book criticizes such an approach to aesthetics, which has led many philosophers and theologians to neglect or reject aesthetics as a philosophical or theological discipline. It demonstrates how contemporary philosophy and theology may benefit from studying the mind-opening and world-transformative nature of our experiences of transcendence. In addition, it presents the significance of such experiences for the understanding of, for example, art, faith, prayer, presence, beauty, sensitivity, imagination, receptivity, and divinity. Imaginative Moods: Aesthetics, Religion, Philosophy is related to the simultaneously published monograph Poetic Inclinations: Ethics, History, Philosophy. Together they constitute a comprehensive presentation in English of the author’s philosophy of experience, which includes new ways of conceiving of and applying aesthetics, hermeneutics, and phenomenology, and of integrating these disciplines, as well as theology.

Philosophy originates in wonder that generates sensitive thinking, also called ‘aesthetic thinking’—an expanded mode of thought that bridges and dissolves contradictions. This book questions the disregard for such thinking in modern society, including the neglect of it in most educational institutions and contemporary research. It describes what it means to think in an aesthetic way when ‘aesthetic’ is synonymous with ‘sensitive’ (not ‘sensuous’), including how such thinking may foster human well-being and develop our notions of history, hospitality, freedom, and the good life. The formative nature of aesthetic thinking is presented alongside the attestation of its relevance in many disciplines and a broad spectrum of society—in border studies, education policy, and social work, and in life in general. Poetic Inclinations: Ethics, History, Philosophy is related to the simultaneously published monograph Imaginative Moods: Aesthetics, Religion, Philosophy. Together they constitute a comprehensive presentation in English of the author’s philosophy of experience, which includes new ways of conceiving of and applying aesthetics, hermeneutics, and phenomenology, and of integrating these disciplines, as well as theology.

Son of Spinoza sheds light on the interconnectedness between Jewishness and cosmopolitanism in the oeuvre of the Danish-Jewish intellectual Georg Brandes (1842-1927). Today, the historical tradition of interconnecting these concepts has largely been forgotten, although the construction of a somewhat synonymous relation between them became a key structuring element of modern antisemitism and later Nazi ideology. In this context, Georg Brandes–his writing and practice–stands as a crucial European cosmopolitan archive, due to the great influence he enjoyed throughout the European continent. Son of Spinoza challenges the presentation of Brandes in previous research as a so-called assimilated Jew who distanced himself from Jewishness, instead recognizing Brandes’ own self-identification as a Spinozist cosmopolitan and his depiction of himself and other modern Jews as ‘sons of Spinoza’.

In 2006, Claus Feveile published Det ældste Ribe [The earliest Ribe], launching the publication series Ribe Studier [Ribe Studies]. The goal of that series was to make the core archaeological evidence from excavations in the town of Ribe between 1984 and 2000 accessible to the scholarly world and to give an account of Ribe’s special status in the archaeological landscape of Denmark and northern Europe. Ribe 700-1050: From Emporium to Civitas in Southern Scandinavia is volume 2 in Ribe Studies. The main text here provides a comprehensive presentation and analysis of the archaeology of the town through to the end of the Viking Period. Alongside that, the book has a major topographical section which discusses West Jutland in this period and the connexions between Ribe and the hinterland of the town. In addition, a concluding chapter discusses the origin of towns in southern Scandinavia.

This book investigates how the emergence of the Arctic as a new geopolitical arena affects and reshapes the area known as the North Atlantic: Greenland, Iceland, the Faroe Islands and coastal Norway. The relationship between the center of the former Danish empire and its subordinates have rested on (varying degrees of) asymmetric power relations, that are intertwined with political as well as emotional bonds. With climate change a whole new reality is emerging in the Arctic and sub-Arctic areas. Power is moving north, and new connections and partnerships are being developed. As the North Atlantic countries share a history as being part of a Danish empire, some of the hierarchies and mindsets inherited from the past still affect the present. This calls for an in-depth understanding of the cultural history of the North Atlantic as well as current relations. What narratives make up the foundation for contemporary cooperation? How are historical relations and narratives being reinterpreted today? How do postcolonial relations affect decision-making concerning natural resources? How do North Atlantic communities envision the future? A team of historians, literary theorists, art historians, ethno - graphers and culture and communication scholars with profound insight into the histories, languages and cultures of the North Atlantic have collaborated on this study of the North Atlantic countries as an emerging new center in the North. Foundations that made this publication possible:Carlsberg Foundation

The Viking Congresses bring together scholars of archaeology, philology, history, toponymy, numismatics and a number of other disciplines to discuss the Viking Age from a variety of viewpoints. This volume contains 44 peer-reviewed papers selected from those presented at the 18th Viking Congress held in Denmark in August 2017. The contributors take up the interdisciplinary challenge, and the papers cover a wide range of subjects, rooted in the past, but also connecting to the present.

Peter Brandes is one of the most significant Danish visual artists alive today. He is represented in the collections of leading museums worldwide, including the Louvre, and is featured in the most important Danish museums. Peter Brandes’ monumental sculptures and jars can be seen throughout Denmark, and he has decorated a number of Danish churches along with churches in Norway and the United States. In Jerusalem, Brandes’ Isaac Vase, approximately five meters tall, stands at the Holocaust museum Yad Vashem. Peter Brandes’ oeuvre is gigantic. It spans more than fifty years, and includes such varied forms of artistic expression as painting, sculpture, drawing, graphic art, ceramics, and not least photography and stained glass, for which he has developed new techniques. Dialogue with tradition—particularly the Jewish, Greek, and Christian traditions—runs throughout his work, marking Brandes as one of Denmark’s foremost practitioners of cultural migration. Peter Brandes: Meridian of Art is the first monograph on the art of Peter Brandes. The book pursues a series of central themes that cut across Brandes’ artistic production, connecting and traversing these with lines that the book’s author, Ettore Rocca, calls the “meridian of art.” The expression “meridian” is borrowed from the German poet Paul Celan, the author with whom Brandes has felt the greatest kinship throughout his career. For Celan, a meridian designates the indestructible, invisible line in a poetic conversation. Correspondingly, in the cultural migration that weaves throughout Brandes' art, Rocca finds a meridian that at once appears impossible and indestructible.

Seleucus was the last surviving of the successors of Alexander the Great and the one who conquered the largest part of Alexander’s empire. He was later given the surname ‘Nikator’, the Conqueror. This book is a study of his life and achievements, his time and his legacy. It is based on Greco-Roman and Babylonian written sources as well as on archaeological evidence, which has grown exponentially in recent years.

The Danish neoclassical sculptor Bertel Thorvaldsen (1770–1844), who lived most of his life in Rome, was not only one of Europe’s most soughtafter artists; he was also a collector. In addition to his own works and drawings, he built extensive collections of paintings, prints, drawings and books – and of ancient artefacts from Egyptian, Greek and Roman antiquity: coins, lockets, containers, vases, lamps, fragments of sculpture and more. He also acquired a large collection of plaster casts, primarily after ancient sculptures and reliefs, but also of works dating from the Renaissance and up until his own lifetime. Thanks to Thorvaldsen’s bequest to the city of Copenhagen, his birthplace, all of these collections are still largely intact and well preserved at his museum. Home to a total of 657 plaster casts, the Thorvaldsen Museum’s cast collection is unique for several reasons: The collection offers us insight into the sculptor’s working methods and the development of his work because it served a clear function as an image bank of forms, motifs and subjects for Thorvaldsen’s own endeavours. Furthermore, the dual fact that the collection is so well preserved and was established over a relatively brief period of time makes it a valuable example illuminating the trade and distribution of plaster casts during the first half of the nineteenth century. These areas of study form the central focal point of Volume I of this publication. Volume II contains a catalogue of the individual objects in the cast collection, while Volume III collects the overviews, inventories, concordances and primary sources referred to in the first two volumes. Arising out of many years of study of Thorvaldsen’s cast collection conducted by their author, the classical archaeologist Jan Zahle, these books contain comprehensive source material from the period, much of it previously unknown.

Homeric Chalkis is situated on the coast of Aetolia at the very ‘gateway’ of the Gulf of Patras. The foundation occurred during an important period in early Greek history when trade and movement of peoples along the Gulf intensified with a resulting strong pull to the coast. Well-preserved stratigraphies date the foundation to the early seventh century BC and testify to a flourishing settlement in the sixth century lasting till the early fifth century BC when the site was temporarily given up. Walls and roads follow a rectilinear layout. A broad spectre of pottery shapes and wares attest to innovative local and regional workshops already from the onset of the settlement. Alongside the pottery, tools for complex textile manufacture were found in all houses, among which were many small, pyramidal loom weights and spools. These findings indicated a high degree of experimental weaving techniques and demonstrated how the courtyard house, as a new house model, was particularly well suited to accommodate this manufacture, probably mantels. The results therefore offer important new evidence on relations between gender behaviour and Greek houses. The catalogue is richly illustrated with profile drawings, plans, black-and- white and colour photos and accompanied by discussions of the material.

Lutz Klassen (ed.), The Pitted Ware Culture On Djursland. Supra-regional significance and contacts in the Middle Neolithic of southern Scandinavia. Between ca. 3000 and 2800 BC, the Pitted Ware Culture of northeast European descent spread to the northeastern parts of Denmark. Here, by far the best archaeological evidence is known from the Djursland peninsula in eastern Jutland. This volume presents 12 individual papers that present the available finds from the key site of Kainsbakke as well as number of other excavated and not excavates sites. Besides artefacts, the faunal and botanical remains are dealt with in a comprehensive matter. Several papers are devoted to scientific analyses of chronology as well as the provenance of artefacts and selected faunal remains. On this basis, the Pitted Ware culture in Djursland is interpreted as a group that emerged locally from Funnel Beaker culture predecessors. This group choose to distinguish itself from its Funnel Beaker neighbours by giving itself a unique identity. This identity can be understood as a combination of Pitted Ware traits in material culture and ritual conduct obtained through close contact with Neolithic groups on the west coast of Sweden with elements derived from contemporaneous Funnel Beaker groups in other parts of Denmark.

The image is an ontological paradox; it is made of dead matter, yet appears to be alive. For centuries, artists have created images of the living world – images that are static and yet possess the power to bring to life a frozen moment in time. While this tension has constituted a fundamental challenge for as long as theories on the nature of images have existed, recent scholarship has rekindled interest in the question of what images ‘do to us’. Despite the rational discourse of Modernity, we must acknowledge that we view images as half-living entities. Dead or Alive! addresses the perpetual relevance of images’ enigmatic life-likeness. Each of the twelve chapters, written by scholars of art history and visual culture, conveys how the materiality of images generates this powerful effect of animation. Covering a wide range of practices, from early paleolithic stone engravings, medieval tomb sculpture, renaissance death masks and baroque painting to modern fashion, park design, early cinema, robots and bio art, the book demonstrates that the ontological paradox of the image is not limited to a specific historical period or certain types of images, but can be seen throughout the history of images across different cultures.

Illerup Ådal Vol. 13 discusses the relationship between the use of weapons in war and the civilian use of bow and arrow for hunting or axes as a tool for daily tasks. Xenia Pauli Jensen writes about bows and arrows, and Lars Christian Nørbach analyses the axes and the production of them. Also includes chapters on the use of wood in weapons.

Illerup vol. 15 is the last volume in the many publications about the sacrificial weapons find by Danish Illerup Ådal from the late Iron Age. This volume is about the many non-military finds, such as dice for board games, beads, jewellery, amulets, etc. – things that the soldiers have worn as jewellery around their necks, or in purses on their belts. These items therefore give a unique insight into the soldiers’ everyday lives, their appearance and identity.

The capital of ancient Dilmun, Qala’at al-Bahrain, the most important archaeological site in East Arabia, was excavated in 1954-1978 by a Danish expedition from Moesgaard Museum. The first two volumes were published in 1994 and 1997, dealing with the northern city wall, the Islamic fortress and the central monumental buildings. The third volume covers the remaining 13 excavations, presenting their architectures and stratigraphies. A detailed treatment of the finds is given, stamp seals, inscriptions, figurines, incense burners, human bones, pottery, etc., dating from the late 3rd millennium to the Islamic period.

Of the five books in the series ‘N.F.S. Grundtvig. Works in English’, this fourth volume on Grundtvig as a politician and contemporary historian is perhaps the most surprising. Grundtvig is best known globally as the founding father of the ‘People’s High School’, with his emphasis on lifelong learning and the living word in interactive conversation. In Denmark his next greatest achievement is his hymn-writing and song-writing. Few think of Grundtvig as a politician. In public discourse he is linked to Nordic mythology and church matters, rather than to parliamentary democracy or contemporary history. However, Grundtvig was a historian and a politician. His historical interests were the driving force of his entry into public politics, as is demonstrated by the texts in this volume. The present volume also presents his opposition to slavery and his support for women’s amancipation.