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I m a virgin-whore. I intend to follow every impulse Frakes selects five chapters from Edith Wharton s The Age of Innocence that show how manipulative, innocent-looking May Welland instrumentalizes that system to repeatedly trap Newland Archer into a loveless marriage. Molly Kiely illustrates her Blood and Guts in High School, which tells of Janey, a girl who has a series of sexual relationships with her father, gang members, a Persian slave trader, and the French writer Jean Genet, among many, many others, before dying of cancer at the age of fourteen.

Kick Of course female writers present in the anthology are not the only ones who deal with sexuality, marriage or feelings; so do Rain by Lance Tooks after Somerset Maugham or Lady Chatterley s Lover by Lisa Brown after D. Lawrence, to name a few. However, as a series, these adaptations of literary works by female authors make sense and reveal cultural stances or premises. First, women write stories, and mostly about themselves, since they are especially interested in self-discovery the only notable exception is Jeremy Eaton s adaptation of The Heart of the Park by Flannery O Connor.

See Picard, Smells like a movie star.

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Why can t I just write a novel? Second, texts by women have been selected for their exemplary value. This shows in many presentations of female writers by Kick. Sylvia Plath s The Bell Jar, of which Ellen Lindner gives a one-page illustration, [l]argely autobiographical, albeit with a hopeful ending, [has] become a touchstone for young women who feel ill-at-ease in the world The Voyage Out is made to illustrate a moment of self-knowledge and empowerment, one of female education: Her aunt Helen tries to educate her about the ways of the world, especially love In the end, the ultimate figure of empowerment in The Graphic Canon is that of the women writers themselves, Kick suggesting metonymical shifts from work to author: Colette is noteworthy because she has left her scandalous mark , and Acker is presented as the ultimate ousider female artist: She and her work are just too untamable and confrontational, her techniques too experimental and personal for the literati.

Still, through sheer, raw power, she created outside classics of Postmodernism. The Graphic Canon 3, then, is not without a few contradictions. For instance, Kick includes Gabriela Mistral, a Chilean poetess who, he points out with a frown, even in her native country [Chile], [ ] has been watered down to make her safe for consumption The single-page illustration of her poem The Dancer, part of a cluster of poems called Crazy Women Locas Mujeres , by Andrea Arroyo is nevertheless a good example of watering down.

As Julie Sanders shows, the effort to write a history of adaptation necessarily transmutes at various points into a history of critical theory Adaptation is frequently involved in offering commentary on a sourcetext. This is achieved most often by offering a revised point of view from the original, adding hypothetical motivation, or voicing the silenced and marginalized. Yet adaptation can also constitute a simpler attempt to make texts relevant or easily comprehensible to new audiences and readerships via the process of proximation and updating.

Sanders The stories adapted from female writers in The Graphic Canon 3 are feminist mostly in that they are about empowerment, liberation and self-discovery. They propose positive role-models for young female readers, a trend which probably ought to be put in relation with the fact that the market of self-help books is flourishing today.

Reading Caroline Picard s adaptation of Virginia Woolf s The Voyage Out as part of an anthology shaping an alternative canon has shown that, although it may be considered that adaptation is an inherently conservative genre Sanders 9 that whitewashes Pace 38 its sourcetexts, such conservatism is also ran though by contradictory forces, that adaptation looks both backward and forward. First, it historicizes our reception of it by turning it into a graphic palimpsest, in the process reasserting that the values projected onto art works evolve in time.

Second, it shapes a new version of Woolf our contemporary which reflects a particular moment in the history of her appropriation by the market and illustrates the tensions inherent to a massified feminism. The extract selected ignores the ironical political statement of Woolf s novel to adapt a generally circulated cultural memory Ellis 3, qtd Sanders 25 not of that novel The Voyage Out is not one of those novels anybody could say a few words about even though they might never have opened it like, say, Mrs Dalloway not even other novels by Virginia Woolf, but rather Virginia Woolf herself.

Picard allows us to grasp a new version of Woolf such as she is appropriated by popular culture today. She has long been a feminist icon Silver but her new versioning illustrates the contemporary need for a popular feminist discourse that proposes concrete, inspiring female figures.

Like Helen, who, in the extract, guides Rachel without any hint that she might also manipulate her, Virginia Woolf, or rather her generally circulated cultural memory, is rewamped as a self-help role model. The ambiguities of sexuality Virginia Woolf is usually associated with are wiped out, as Rachel seems to definitly overcome her fear of sexuality, visualized as sea monsters. What allows this revamping is an identification process brought to light by Lanier about the adaptations of Shakespeare s works, namely how popular audiences use popular culture.

Caroline Picard s Appropriation of The Voyage Out in The Graphic Canon 3 95 as raw material to make meaning in their own lives, uses often contradictory to those for which the works were originally designed in a way that is best exemplified by the phenomenon of fans 7. The Virginia Woolf Icon has grown even more independent of her published works, Academia, and popularization academic literary biographies, as it became familiar, and fans now identify with her globally. The contemporary Virginia Woolf no longer arouses fear; quite the opposite, she has become a narrative inspiring young women readers to self-discovery and independence.

The reviews of The Graphic Canon might have prepared potential readers for something like The Voyage Out for dummies, but instead they discovered an inspiring book partaking in a literary tradition bent on helping young women who feel ill-at-ease in the world Kick The Norton Anthology of English Literature. New York and London: The Great Books of the Western Worlds. Booklist calls The Graphic Canon a uniquely powerful piece of art. The Dancer after Gabriela Mistral. The Cultural Processes of Appropriation. Ulysses after James Joyce. Lady Chatterley s Lover after D.

Graphic Novels Prepub Alert: Nausea after Jean-Paul Sartre. What is World Literature? The Age of Innocence after Edith Wharton. The Norton Anthology of Literature by Women. Paul Reclining, charcoal, , private collection. The Problem of Literary Canon Formation. Notes on Deconstructing the Popular.

Cultural Theory and Popular Culture: Everything You Know Is Wrong: The Disinformation Guide to Secrets and Lies. Seven Stories, The Graphic Canon 3. A Guide to Publications on the Periphery. The Graphic Canon 3. You Are Being Lied to: Heart of Darkness after Joseph Conrad. Shakespeare and Modern Popular Culture. Adaptation Studies at a Crossroads. Adaptation 1 n 1 Medieval English Literature and the Idea of the Anthology. PMLA n 5 Oct. The Bell Jar after Sylvia Plath.

The Making of the Bloomsbury Boom. The Awakening after Kate Chopin. Canon, Controversy, and the Literary Anthology. Hispania 80 n 2 May The English Journal 81 n 5 Sep. BSide BMovie September 24, Brainpickings, Blog entry 01 April, London and New York: The Interpretation of Dreams after Freud. The Graphic Canon, volume 3, edited by Russ Kick. The Guardian 7 Aug. Sea Iris after H. Brenda Silver, Virginia Woolf Icon. Rain after Somerset Maugham. The New York Times 30 Nov. The Woolfs in the Jungle: Modern Language Quarterly 64 n 1 March A Sketch of the Past Moments of Being.

The Letters of Virginia Woolf. Nigel Nicolson and Joanne Trautmann. Hogarth Press, To the Lighthouse. Hogarth Press, A Writer s Diary: Being Extracts from the Diary of Virginia Woolf. Since he has been using charcoal for monumental works on paper which depict forests and as studied in this paper explore historical issues.

Alain Huck s approach to History is three-pronged, with these three dimensions often being interwoven in each of Huck s works. First of all, Huck s reflection on History is originally the outcome of private tragedy: Huck s rendering of historical and collective trauma in his drawings echoes his personal experience of bereavement. As such, even if his artistic practice cannot bestow meaning to trauma, it does give Huck a sense of anchoring which allows him to approach the general from the point of view of the particular thanks to synecdoche.

Secondly, Huck s analogical approach is best understood with references to literature, which feed his artistic practice, notably works by the German-born novelist, poet and essayist W. Sebald which hinge upon the history-memory-trauma triad. Huck s impossible quest for meaning, however, leads him to look beyond Sebald for other authors who similarly have biography and History interact.

Last but not least, Huck also resorts to the notion of diachrony to explore the discrepancy not to say the indelible rift between experienced situations and their historical accounts. For instance, to do so, Huck had the idea of conflating all catastrophes that shattered Pisa in one original single charcoal drawing that is modelled on a medieval fresco.

In fine, the hut operates as the symbolic place of intimate retreat, along the lines of Pliny s dream of life in Arcadia or in another words, the hut stands for a concrete refuge soothing the troubled sleep of human beings. Biography and history In a museum show in , large drawings relate the medical ordeal of the artist s son. Outlined with ink, installed in a dark room and lightened by theatre projectors, they replay Dibutades farewell: In the following room, portraits in ochre lines on a ground of gouache wash as if preparing for a vast fresco have the child cohabit with a figure from Pontormo.

As Muriel Pic notes with regard to W. Sebald, It is at the biographical level that history reveals what it is founded on: As he writes, Those who had escaped the catastrophe were unreliable and partly blinded witnesses. How can one go on looking at them? Sebald describes the experience of Stig Dagerman: Sebald L image papillon, Dijon: John Bester, Kodansha, , p.

The train, writes Dagerman, was crammed full, like all trains in Germany, but no one looked out of the windows, and he was identified as a foreigner himself because he looked out. He had to resolve himself to look at the world as it was after. Grieving leaves no visible monument, no ruins. The first large-scale landscape Huck drew was a delta, that is to say, literally, the place where a river leaves its bed and comes apart, loses its course, frays, before disappearing into the sea. What does one do after the disaster? Huck answers only with hesitations.

In a way, he follows on from 19 th -century Romantic thought, which associated landscape and moods, but to this tradition he adds another, that of Surrealist automatic writing, in order to fill this delta with words. Heart of Darkness by Conrad. To this kind of tripartite dialectic, which combines biographical narrative, literary revivals and historic considerations, must be added the fundamental anchor in another story: Condensations There is a great fresco in the monumental cemetery in Pisa, not far from the tower, north of the cathedral, a funerary monument built on earth brought back from the Crusades in fifty ships offered by 6 W.

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Sebald, On the Natural History,,,, op. These are the first lines of no. Inside the cloister, one found Etruscan urns, Roman sarcophagi, medieval tombs, and the frescoes. The latter are the work of Buanimo Buffalmacco, who was seen as a whimsical painter by Vasari and as a prankster by Boccaccio. The latter makes Buffalmacco a character of his Decameron. Those ten days during which young people stayed inside, sheltering from the Black Death of and telling each other stories, gave the Triumph of Death a historical context that seems to shed light on its iconographic inventions.

That specialists have since agreed on a date preceding the scourge is ultimately of no great importance here.

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The four walls of the room painted by Buffalmacco form a coherent programme: Horsemen are blocked by three coffins and Macaire points out to them the only remaining path: On the right is a more unusual scene: She is brandishing her scythe, towards a group of characters who are amusing themselves in the woods. She will cut down everything, both men and trees, and in her wake bodies will pile up, their souls fought over by angels and demons. In art history terms, it is a key image in the representation of death. While Buffalmacco s predecessors were both rare and hesitant, Baschet observes, those who followed him were just as numerous and inspired.

That is because death is not a culmination, it is merely the daily advance of desolation, which is constantly renewed. Einaudi, Baschet closely links Hell and The Last Judgement because of their similar compartmented structure. However, only Hell truly presents a clear section, which in effect is quite comparable to a mountain. In contrast, The Last Judgement is a moment rather than a place, and as such it is not defined by topological markers. Revue d Histoire des arts, no. Huck has transposed the two parts of the Triumph of Death onto paper, as two distinct drawings.

To the multiple hecatombs Antiquity, the Crusades, the plague, Napoleon, and who knows what else lumped along by the history of this fresco and its building, he adds others. The ashes of charcoal, again, and above all the blackening, as if from smoke, that hampers our reading of the image, remind us of the very real ruin of the Camposanto after the Allies bombed it in the summer of Even restored, these frescoes are still disfigured by war.

Having vertically swept his drawings and made rainy trails,. Translated into English as Black Rain, it uses the form of the personal diary to describe the days between the bombing of Hiroshima and the capitulation of Japan. It is a long litany of burnt corpses delivered by a mutilated man wandering around the outskirts of the city: All around was a sea of charcoal.

Innumerable pieces of half-burned timber were still smouldering, and small columns of smoke were climbing lazily into the air. It must have been about 10 a. Thundery black clouds had borne down on us from the direction of the city, and the rain from them had fallen in streaks the thickness of a fountain pen. It had stopped almost immediately. They were stuck fast on the skin. It mingled with water vapour in the sky and got carried down in the rain.

The black rain fell mostly in the western districts of the city. A trauma of such violence that, several decades after the deflagration, it continues to be profusely expressed through multiple metaphors; the bombing of Hiroshima also compels Huck, who made it the subject of his Hanabi series [fig. The drawings to date, three represent a blooming chrysanthemum, emerging from a black ground. In Japan this golden flower 14 is also an imperial symbol, and was used as a seal from the twelveth century onwards, and then reintroduced in the late nineteenth century.

The Japanese novelist associates it with both an imaginary cancer and the explosion of the bomb: What he saw, not only of reality but even in his imagination, was often blurred by fever, but within that vague dimness his cancer appeared to him as a flowering bed of yellow hyacinths or possibly chrysanthemums, bathed in a faint purple light [ ] And a certain party, leaping beyond his limitations as an individual at the second of his death, rendered manifest a gold chrysanthemum flower , kilometres square, surmounted and surrounded by, yes, a purple aurora, high enough in the sky to cover entirely the islands of Japan.

Masuji Ibuse himself associates the chrysanthemum with Hiroshima, with the consequences of the bomb rather then the explosion. It becomes an image of the empire of corpses: They [the dead school students] were piled up [ ] half-naked since their shirts had been 13 The thirty drawings in the series were made between and but not published in portfolio form until by Parco Ltd. John Nathan, New York: Grove Press, , p. Seen from a distance they looked like beds of tulips planted round the water. Seen closer, they were more like the layers of petals on a chrysanthemum. This repetition of the chrysanthemum motif at each stage of the disaster clouds, victims, then retrospective madness seems to pursue the emblematic image of the nation like a stain.

In Japanese writers, this phenomenon can no doubt be linked to a second, but no less violent trauma: As for Huck, any form of power or authority is on principle suspect. Juxtapostion While Huck has always collected newspaper articles, alongside various fragments from everyday life, notably to nourish VSH, the two Kuroi Ame drawings are his first real attempts to tell a historical story whether or not it is considered more true: To articulate the past historically does not mean to recognize it the way it really was [ ] It means to seize hold of a memo as it flashes up at a moment of danger.

For, if he sometimes places his works side by side, as we shall see, in order to bring out a meaning from their proximity, it is primarily through a play on the translucency of images that he tries to look at through History, to elaborate something like a diachronic clairvoyance. According to Hamel, those philosophers and writers who are all fascinated in different ways by repetition, seem driven by an urgent need to determine what it is from the past that returns and takes hold of the present this is seen in baroque stories, in the way past times return, and we experience the always precarious balance between the dead and the living, the legacy of past generations and the historical space open to the living.

It is in this way that they reveal, like so many over-exposed photographs, the disquiet which animates the regime of historicity of modernity Masuji Ibuse, op. The story does not make past and present worlds transparent to each other, but reveals, rather, the excesses of modern times and designates the opacity of a history that no longer sheds light on the future. This is the case with Banquet [fig. The painting, now in the Hall of Constantine at the Vatican, represents The Battle of the Milvian Bridge, a battle at which Maxentius was defeated, allowing Constantine to take power over the Western Empire.

The story of this battle is told by Lactantius and Eusebius of Caesaria. The latter, who is close to the emperor, sees it as more than a battle for succession: Eusebius tells how Constantine saw a Christ symbol in the sky and used it as a standard, and how his victory was the prelude to the Christianisation of the empire. Throughout his narrative, Eusebius thus intertwines and compares Pharaoh s death when pursuing the Hebrews and that of Maxentius when he was routed by Constantine, as if one was replaying the other. Lex est umbra futurorum: Meyer Shapiro takes up this formula to describe the visual typologies put in place by medieval artists, especially in the Moralised 19 Ibid, p Italics mine.

Averil Cameron, Oxford University Press, Bible of the thirteenth century. This obliterating, a vehement and anachronous commentary, could, to a certain extent, be compared to the smears of charcoal that veil Huck s works. In overlaying the painting in the Vatican with a contemporary war scene in his drawing, Huck is not bestowing prophetic significance on the former, but observing a phenomenon of revenance in history.

Massacres, clashes between cultures, come back like the seasons, always comparable but in a way that never gives them any true meaning. And that these scenes, repeated like a rite, should be associated with a banquet, implies a supplementary gap. The Roman cena is the place of a symbolic change, of a highly codified commensality, of a sharing of a luxury that is inscribed in a system of giving and counter-giving, and contributes to the strengthening and extension of the sociability network that founded the power of a man or a family.

In Huck s drawing, however, cena alludes above all to The Ash Wednesday Supper [La Cena de le Ceneri] by Giordano Bruno, 25 a dialogue in which the defrocked Dominican opposes both the cosmological and theological conceptions of the Catholic Church. His post-copernican ideas, allied with an anti-trinitarian dogma, were considered blasphematory in a number of ways leading him to be burned in Rome in As often in Huck s work, the title plays a mediating role and, by the contrasts of its polysemy, heightens the violence of the image.

Hell answers The Last Judgement, and the anchoritism of the Thebaid answers the promise of death that hangs over those who remain in the world. This four-part system could be interpreted as a prototype of the large installations conceived by Huck since Tragedy or Position thus brings together four drawings facing each other in pairs: Nebula and Edenblock on one side, and Tragedy and Position on the other.

It is famous for its illusion of being open towards the sky, with the Crab Nebula, the remnant of an exploded star a disaster literaly its name considered baneful by the association with cancer. Opposite, Edenblock shows an artificially paradisiac, proliferating glasshouse.

A garden enclosed in a glass box, that cannont be entered because its walls are so thick, it is a denatured version of the Garden of Eden. In a way, the two drawings are an answer to Buffalmacco: To complete the square, Tragedy [fig. The two pages are both redoubled, further hampering our reading, but the episode can be reconstructed.

It concerns the dismembering of Pentheus by his mother, driven wild by Dionysos. The god thus judges and punishes someone who opposed his cult with a torture that is every bit as rich as the very fertile imagination of the Christian hells. The words can be deciphered only in fragments. The first, and perhaps most legible one, resonates like an endlessly repeated prophecy: Alas, alas, when you realise what you have done, how your grief will Opposite, Position [fig. To this juxtaposition of images Huck thus adds a process of association or and now we can venture the term montage.

The method is paradigmatic. Georges Didi-Huberman sees it as a tool for making history by dismantling and reassembling it. The montage effected by Huck in this tetralogy and indeed in those that follow corresponds to what Didi-Huberman calls a dys-position, that is to say, the juxtaposition of heterogeneous elements that generate a rearrangement, a remounting of meaning. To the great historical gap from Euripides to the wars of the twenty-first century he adds a gap that is less geographical than cosmological: Between these four drawings the ordinates of time thus intersect with an abscissa indicating scale.

Conclusion A comparable process is at work in Ancholia This is the title of a complex installation comprising four drawings hung around a metallic structure entitled Tentation [fig. To conclude this rapid look at Huck s work, let me focus on this minimum building made of aluminium logs, which must Figure 7: In the Ancholia installation, this sculpture serves as a pivot, mediating, connecting, informing the four drawings. The oscillation arc of the pendulum that is found throughout Huck s work thus brings History with a capital H back to a modest hut.

There is one hidden, indeed, behind a wall of the studio: That is what is illustrated by drawing no. Like Grange s Roof, in Julien Gracq s novel A Balcony in the Forest, the cabin is an intermediary place between the real and the inner worlds, where we can move between the two and, above all, contaminate the first with the second.

From the outside all we can see is a portakabin-type work hut. When we try to enter, a wooden structure blocks access to the inner part, where we see a bed of fern and copies of Heart of Darkness by Joseph Conrad. A spray of sagging leaves, suspended, projects its shadow on the back, on the projection of its own enlarged image. We can now imagine the chimera of Kurtz, Conrad s hero, delirious and feverish in the depths of a jungle that he has begun to enslave at the price of his own dehumanisation.

The cabin is thus an ambiguous place. It is the primary construction: The artist has made a place of rest, of withdrawal, but where the most anxious and deep-buried phantasmagorias are also gathered. To appropriate something means to make it proper, to make it one s own and thus to integrate it, to incorporate it, thereby giving it a new life.

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Because it becomes one s property, one imparts it with one s own being: Then the appropriated is cut off from its former self and becomes other, transformed, re-created. One of the consequences of these aesthetic choices is the imposition of the grotesque and the carnavalesque in his renderings of sacred episodes. There is something of a paradox in choosing, as a representative of Englishness, an artist deemed an artist of the bizarre.

The choice appears indeed to make an odd statement. But of course Cookham in Berkshire was Stanley Spencer s own private heaven which he repeatedly painted, and we will have cause to understand the many intriguing and seemingly, to put it mildly, odd facets of this intriguing painter. Born into a large family in Cookham in , Stanley Spencer was first educated at home and taught by his father, a music master, and then his sister before moving on to Maidenhead and then to 1 Cf.

Books, music and painting were held in high esteem at home and he was very fond of children s illustrated books, poetry especially that of John Donne and William Blake , literature, and also of course stories, in particular those bearing on religious subjects: His life long, Spencer painted and repainted episodes from sacred books: Christ Preaching at Cookham Regatta [fig. Reading and painting were closely linked, with painting inspired by his reading that, as we shall see, he appropriated in his own very particular way. Feeling being absorbed in a painting as well as in a book, he compares the effect on him of both: Just as a book will absorb you into a world so I hope my paintings do so.

I want to be held in the atmosphere of it because then you live in it and there is no jump between you and the affairs of the book. The same absorption is possible in pictures and is a legitimate and proper thing for a painter to aim at and expect the spectator to enter into I wish people would read my pictures. Glew 68 Even at the Slade, as early as the s, he composed 13 drawings all prompted by biblical or literary themes Bell Moses and the Brazen Calf, [fig.

To this must be added a strong interest in the Pre-Raphaelites painting, and in particular the English landscape and the art of detail. Ruskin s writings also had a great influence over him, most especially in the s. Ruskin s teaching that a right response to visible beauty should lead to a religious apprehension of the world and its creation Warner and Hough in Bell 18 was of primary importance for the young Stanley Spencer.

This was to change in the s when German expressionism comes into play and influences him. Roger Fry too recognized Spencer s taste for the literary, although this did not ingratiate the latter with him. In an often quoted review, he evoked his rather grotesque imagery, placed him in the lineage of Brueghel and criticized him for being an illustrator not an artist in the plastic sense. He was a visionary and not a visualiser For Fry, Spencer was more dedicated to the story than to the form, not to talk of the significant form. We shall see that this was more complicated than Fry made it sound.

Repellent Shapes and Bewildering Illustrations: Stanley Spencer s Eccentric Styles A Transfiguration of the Banal I have already spoken and written at length regarding Spencer s obsession with the resurrection theme, about death, and a kind of triumph over death, all of it placed in a familiar setting, usually Cookham, which he called his heaven. Cookham my paradise he wrote to his friends the Raverats in , while eager to go back to it Glew Glew Spencer s insistance on mingling the religious and the everyday, as well as his sense of mystery and Cookham seen as heaven on earth, are salient traits which will endure throughout Stanley Spencer s life and work something we can see in his Resurrection, Cookham [fig.

According to Causey, W. Hall reported Spencer as saying: To him the resurrection can come to any man at any time, and consists in becoming aware of the real meaning of life and alive to its enormous possibilities Hall 10 in Causey But Spencer could work with and away from the Bible appropriating the latter to better advance his own devices.

He was quoted as saying in this life we experience a kind of resurrection when we arrive at a state of awareness, a state of being in love Rothenstein in Causey Saying so, Causey argues that in the Resurrection, Cookham [fig. It is about awakening to love We have the same kind of scale in the resurrection of the soldiers with Jesus as a diminutive presence in the background like Brueghel s Christ carrying the Cross ill. It is of import to notice the evolution in their representation over time. In particular, his treatment of crucifixions that, dealing with death, might look like the reverse of, or the prelude to, resurrections.

Still, The Resurrection of the Soldiers [fig. Stanley Spencer was very particular about his references and his titles, careful to respect the meaning of the Gospel.

To his gallery owner s representative, he wrote concerning a list for the Venice International in He was not doing a job or his job, but the job. Glew This quotation carries the full force of Spencer s dual involvement: His insistance on Christ doing the job to hand like the other carpenters shows to what extent he refused a conception of religion far removed from the ordinary people. Loeb Classical Library, Histoire auguste, Vita Hadriani 14,2: Hadrien la fit interdire [lex Cornelia de sicariis et veneficis].

On apprend ainsi qui enseigna la sorcellerie et les sorts aux humains, mais aussi la botanique et l'astronomie. On regrette seulement la lenteur du serveur. Ted Hildebrandt [Gordon College]: Faire une rechercherche sur ce site: Wallace, Burton, Wescott, Philippians, Babel, etc. Shogren, New Testament Greek Insert: Edwards , 2nd edition. Dana et Julius R. Un classique dense et pertinent.

Son of God or Adamic Christology? Wanamaker, New Testament Studies , vol. Studies in Honour of John William Wevers on his sixty-fifth birthday ed. Albert Pietersma and Claude Cox. Its transmission, corruption and restoration - Bruce M. Oxford, Clarendon Press, Consultable en ligne sur LaParola ou Zhubert. Sir William Robertson Nicoll C. Un peu comme les Word Pictures d'A. Prolegomena, James Hope Moulton p. Prepared by Charles F.

Hudson under the direction of Horace L. Revised and completed by Ezra Abbot Charles Frederic , Berger de Xivrey Autre manuel de critique textuelle PDF, Mo - p. A The Clarendon Press, Oxford, Figures of Speech used in the Bible, explained and illustrated. Ce document sera utile surtout au personne ne connaissant pas le grec, en vue d'illustrer leurs sermons ou sujets par le terme grec issu de l'original.

T Robinson, Redating the New Testament. Tregelles , The Greek New Testament: I-X et quelques extras: Prosser - A Key to the Hebrew Scriptures, being an explanation of every word in the sacred text, arranged in the order in which it occurs Mitchell , The book of Jonah: Menzies , Tholuck trad. Si vous savez comment vous procurer le volume IV, faites-moi signe!!! Lagrange , Le Messianisme chez les Juifs av. C - ap. Montvaillant , Le Livre de Job mis en vers La Sainte Bible Polyglotte, volume I: Les oracles sibyllins en grec J.

Geffcken, Die Oracula sibyllina , Leipzig, J. The Forgotten Book of Eden The Lost Book of the Bible Martin, An Early Christian Confession. The Tyndale Press, Moule, "Further Reflections on Philippians 2: The Paternoster Press, Elle ne nous est parvenu qu'en latin. Niccacci, Liber Annuus 43 Reed and Ruth A. Surveys the various uses of kurios in the NT which has the various meanings of "Lord," "lord," "master," "owner," or simply "sir. States the fundamental rules of grammar that apply to the use of the definite article in the Greek NT.

Discerns three broad usages of the term "soul" in the New Testament. First, the term often refers to one's mortal life or personal existence. Second, it sometimes refers to the seat of a person's emotions or affections. Third, it often refers to what is the subject of grace and eternal salvation whether embodied or disembodied. Illustrates how word suffixes in Greek New Testament affect the meanings of words. The Greek preposition eis may have any one of eight meanings.

Discusses the its use for result, purpose, equivalence and the relationship between eis and en. NT verbs refer either to the time or kind of action. Only the indicative mood refers to both. The indicative mood is described in terms of its tenses present, future, imperfect and aorist and perfects. Discusses the tense-aspects aorist, present, future, perfect and functions of Greek participles adjectival and adverbial. The function of hina clauses is threefold: These functions are paralleled by three other grammatical constructions: Examples are given of each use. A brief study of the use of ei and ean in the NT.

He concludes that in clauses of condition and concession, the important thing is to remember that ei and the indicative is related to facts or definite events, while ean and the subjunctive relates to general conditions, contingencies, and possibilities. The distinction has nothing at all to do with the speaker's belief that the condition involved is either true or untrue, and only the contrary to fact clauses of condition or concession make the speaker's assumption clear. Numerous examples from the NT are given to support the author's thesis. See also BT, , Four basic causes for occurrence of Semitisms in NT, survey of 21 common Semitisms.

Translators should pursue studies in Hebrew to supplement their exegetical work. Word for word renderings of the Greek may misrepresent meaning of an underlying Semitic idiom. Mark uses the imperfect tense in about half a dozen distinct ways. These demonstrate his literary abilities and the vividness with which he portrays the ministry of Jesus.

Mark's Greek style is more literary than is customarily admitted. The translator must not only be concerned with the range of meaning the kurios has in the NT, but also what the social equivalents of that range are in the receptor language. Introduces the student to the human factor in a scholarly edition of the Greek New Testament: Surveys the history of scholarly texts particularly Tischendorf, Nestle and von Soden and the importance of papyri in current textual decisions.

Discusses the problem of translating the Greek connective kai literally. It makes the translation cumbersome and often leads to a misinterpretation of the text. In addition to a genitive of material "a house of wood" can mean "wooden house" where the genitive is equivalent to an adjective, there is also a genitive of quality "a man of courage" can mean "a courageous man".

Many examples are given. Considers three cases of quotations from the OT in the NT: Translations of these quotations must be firmly rooted in the context of the text. The relative pronouns hos and hostis often have causal force in classical Greek. This usage continues in the NT in at least 31 instances. Each one is discussed. There exist very early manuscript for much of the New Testament and they vary among themselves, showing that the archetype must be older still.

It is possible to trace the text of the separate gospels to a time before the formation of the Four Gospel Canon and perhaps that of the Pauline Epistles to a time before the formation of the Epistle Canon. The text preserves the distinctive styles of the various writers and conforms to the conditions and language of the first century AD In choosing between variants in manuscripts there is still much to do, but allowing for this task, one may conclude that the New Testament has come down to us substantially sound.

Because of the versatility of the preposition en, it is difficult in certain contexts to determine whether it is to receive the "proper" or literal rendering or to be treated as pregnant. The article is a plea for the liberalization of the translation of en, based upon a series of selected references in which the reasonable translation should be "for," "by," or something other than "in. It is not a matter of leaving it to what one thinks the context requires, or what it sounds like in English, when one is confronted with a given prepositional expression in the Greek text.

In translating Greek en, one has first to ask whether the predominant meaning of "within" spatial, temporal, or metaphorical is the one which was in the author's mind. The fact that there is flexibility does not mean that there is no general rule at all, or that "in" is not the commonest meaning of the preposition. Detailed consideration is given to the preposition under the headings local, temporal, circumstance and instrument of advantage or disadvantage, and special Christian meanings.

The Translation of John 3: Discusses the meaning and history of the translation of monogenes "only" or "only begotten? Points out characteristics of the language of John in the following instances: Signalez-moi donc toute omission regrettable. C'est exceptionnel, et cela ne cesse de s'enrichir! Exemples dans toutes les langues de Jean 1: A ne pas manquer.

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