Chapter Divisions Research Articles

Reframing Genesis 3:16: Eve’s Creation Memoir

I will read Genesis 3:16 through the lens of Genesis 4. While Eve has become a fixed object in traditional interpretation as a dangerous temptress for man and the cause of humanity’s fall into sin, her story does not end in this chapter. Eve’s creative agency as “mother of all living” becomes the framework for the drama that unfolds in Genesis 4. Her body and her voice carry the story of life into the future. This essay shows the connection between Genesis 3:16 and the story in Genesis 4 by moving beyond a linguistic analysis of the common verbs, mashal and teshuqah. I will read the two texts together with the ancient scribes who distinguished Genesis 3:16 by placing this one verse between two setumah markers. Likewise, the story of Eve in Genesis 4:1–5:2 is placed between two setumah markers, thereby showing that ancient Hebrew readings emphasized a close relationship between Genesis 3:16 and Genesis 4:1–5:2. This is opposed to the Christian chapter division, which separates Genesis 3 from the story in Genesis 4, and places Genesis 3 in an authoritative position for the sake of extrapolating the doctrine of the fall into sin with the woman playing the central role in the fall story. I will further engage in deep reading, literary analysis, and performance criticism, and argue that Eve tells her own creation story with masterful subversiveness and creative audacity. The attempt of the essay is to reorient the dominant negative view of Eve toward a more positive, complex, and nuanced reading of her character in the Genesis text.

George Kiraz and Sabine Schmidtke, eds. Scribal Habits in Near Eastern Manuscript Traditions

George Kiraz and Sabine Schmidtke, eds. <i>Scribal Habits in Near Eastern Manuscript Traditions</i>

Un début dans la vie par Mathieu Bermann

Reviewed by: Un début dans la vie par Mathieu Bermann Ann Williams Bermann, Mathieu. Un début dans la vie. P.O.L, 2022. ISBN 978-2-8180-5521-2. Pp. 176. Questioning one's own perspectives is never easy but is necessary, as human interactions show time and time again. Un début dans la vie reminds readers of this from the outset and quickly pulls us out of complacency and into self-reflection. Readers soon discover that the narrator is a writer himself and quite introspective, and they realize that this novel will not simply guide them through a Balzacian plot or character development (despite the hommage in the title). There will be much more. The intertwined stories of all the characters focus on a provincial French family drama, with at its heart, Malo, a horrid child. At four and a half years old he already has a vile reputation that has reached even the narrator, a close friend of Valentin, the creature's uncle. In the hands of a less-gifted writer the rather banal plot twists would not excite. The real richness of the book, however, resides in the questioning of perspectives that Bermann proposes throughout. At first glance, it seems he is giving us permission to judge his characters quite harshly. In the first chapter, "La barbarie," he sets up Valentin as the gossiping and somewhat unkind uncle responsible for the narrator's negative preconceptions of the little boy (whose actions, nonetheless, deserve the criticism they receive). He gives little quarter to Marie, Malo's mother, narcissistic and inattentive to her two children, and in the second chapter, aptly entitled "Disparaître," she does just that; she runs away, leaving her parents to watch over her children. But here's the rub: the author-Bermann does not let the narrator-author-maybe-Bermann get off scot-free. Malo, Marie, and all the characters have redeeming qualities, reasons for being who they are. And the narrator sees that he can't just go with what he's been told. And so, neither can we. By the time we get to chapter four, "Le roman de Malo," we know that there is a self-reflexive writer in charge of this book, and we see that he's taken over the literary encounter we're having. The somewhat disconcerting switch from the first-person narrator to an omniscient one was heralded by the chapter title, but we do have to pause to adjust as we read Malo's story and follow him through episodes in his life unknown to our initial narrator. In chapter five (and at this point, readers are sincerely grateful for the chapter divisions), our first narrator returns, and we relive moments, even with similar wording, from the beginning of the novel. But, and here's where Bermann excels, we cannot help but have a different perspective. In a sense, we know too much. The narrator-author takes responsibility for writing this life and even proposes a series of ninety-nine numbered optional events that Malo might live. The novel's last chapter explores the question "Pourquoi écrit-on?" (167) and the effect that writing has on reader and writer alike. One certainty? In writing this book a very real author takes us on a literary adventure that we will not soon forget. [End Page 220] Ann Williams Metropolitan State University of Denver (CO), emerita Copyright © 2023 American Association of Teachers of French

From the Perspective of Bible Translation: An Invitation to Biblical Poetry by Elaine T. James

Elaine James (PhD, Princeton Theological Seminary) is Associate Professor of Old Testament at Princeton Theological Seminary in Princeton, New Jersey. According to the book’s description, the author “studies the ancient literature of the Bible with particular attention to its aesthetic and ecological dimensions.” The stated aim of this series of studies is as follows: “Essentials of Biblical Studies comprises freestanding, relatively brief, accessibly written books that provide orientation to the Bible’s contents, its ancient contexts, its interpretive methods and history, and its themes and figures” (p. xiv). The author further adds: “This book is an invitation to biblical poetry, with students and general readers in mind” (p. 1). While the book does indeed offer a valuable introduction to biblical Hebrew poetry, especially the psalms, it is written more at the level of intermediate Bible students, not general readers. Its table of contents is rather too sparse (and should be expanded to include the major internal chapter divisions): Introduction—An Art of Words, 1 Voices, 2 Lines, 3 Forms, 4 Figures, 5 Contexts, Conclusion—Giving Poetry Life. The notes and references for each chapter are provided at the end of the book, which is not the most convenient for ready access, but the final index of subjects is quite complete and includes all the Scripture texts discussed in the book for which the author provides her own translation into English. The present review has been written from the specific perspective of Bible translation and for advanced translators or trainers who could benefit from this helpful overview of the subject at hand.

Reflections on Nikephoros Gregoras’ Historia Rhōmaikē: Innovation, variety, emotion

The Historia Rh?maik? was written and circulated in Constantinople in several installments since the 1340s. It recounts events in Byzantine history from the period from 1204 until ca. 1359. Today the work is preserved in more than forty manuscripts, two of which-Vatican City, Biblioteca Apostolica Vaticana, codd. Vat. gr. 165 and 164-were partially copied, annotated, and revised by Gregoras himself. The pinakes, marginal, and chapter titles in both codices indicate that the latter were designed as an edition of the first seventeen books of the History. The present paper studies Gregoras? historiographical project and a selection of his letters and hagiographical works in order to explore Gregoras? self-referential remarks on ?novelty? and ?innovation?, as well as his reflections on the aesthetic value of variety and the pleasure the latter can incite. It also adduces as evidence some of the ?editorial? decisions the two Vatican manuscripts preserving the Roman History display, such as the chapter division and its relationship to the pinax of each volume, and the role of marginal titles in guiding the readers? emotional response or alternatively, in directing how the text should be performed. Gregoras? remarks on novelty and its relation to diversity and perception indicate his concern with the reception of his literary production, which in turn, reaffirms the importance of rhetoric in Palaiologan Byzantium.

Book of Mormon Theology—Anticipating the Future of a Discipline

Book of Mormon Theology—Anticipating the Future of a Discipline

Robert Alter's New Translation of the Hebrew Bible: An Assessment for Translators

In the introduction to his new translation of the Hebrew Bible, Robert Alter is quite explicit about the task he set himself: “The present translation is an experiment in re-presenting the Bible in a language that conveys with some precision the semantic nuances and the lively orchestration of literary effects of the Hebrew and at the same time has stylistic and rhythmic integrity as literary English.” Alter explains this in more detail in the introduction and in his book, The Art of Bible Translation, with explicit criticisms of other English translations. In this paper I will explore Alter's own norms for translation and how he has applied them, paying special attention to parallel syntax, language level, repetition, wordplay, Hebrew and English word order, poetry in prose, rhythm, names of God, textual criticism, chapter division, and textual structure, as well as what Bible translators can learn from Alter’s translation.

Negotiating Heritage through Education and Archaeology: Colonialism, National Identity, and Resistance in Belize

If true historical scholarship is about linking the present to the past and impelling the reader to take action in the here and now, then Alicia Ebbitt McGill's book—a culmination of over 15 years of ethnographic research in Crooked Tree and Biscayne, two Kriol communities of north-central Belize—more than delivers. McGill argues that archaeology and education are intersecting and interconnected institutions through which both official heritage and vernacular heritage (which in McGill's conceptualization comprises local, tangible, and intangible cultural components that are shared by the community) are negotiated and contested. Alongside her deep understanding of the Crooked Tree and Biscayne communities, McGill also engages with British imperial archival sources, providing us with a glimpse into the past that is always in relation to the concerns of the present. In taking on the question of archaeology in Belize, McGill adds to conversations in public history around Maya archaeology begun in recent years by scholars such as Christina Bueno and Patricia A. McAnany on Mexico and Central America.There is a clear logic to the way that the book is organized. While chapter 1 lays out the main thrusts of the book, the rest is organized in chapter pairs. The first pair (chapters 2 and 3) focuses on education, looking at its historical development and linkages to heritage practices as well as its present issues and concerns. The second pair (chapters 4 and 5) picks up the story of archaeology by both giving a long view of this institution in Belize from colonial times to the present and examining current community negotiations and resistance around heritage practices connected to archaeology. The extremely vital concluding chapter is the author's reflection on both her field experiences and her engagement with the communities' youths.McGill's work is full of insights. One of her most illuminating arguments is that even as Belizean heritage practices continue to prioritize Maya history and archaeology, there is a simultaneous lack of initiative to understand the histories of other ethnic groups, particularly Kriol communities. Part of the reason for this failure, according to McGill, is the “thingification” of archaeology, whereby artifacts and ruins become the proofs of heritage. She makes powerful use of the drawings made by students in the schools that she studies, in which Maya heritage was repeatedly signified by the presence of “old things” (p. 103). The danger of orienting archaeology toward artifacts becomes clear in her interviews; even teachers often do not realize that Kriol communities have a tangible history that could form part of heritage preservation. Kriol children in these communities appear to be more familiar with the nation's Maya heritage than their own local history. Second, McGill highlights how official agendas, whether in the colonial or the postindependence period, were supported and bulwarked by the twin pillars of education and archaeology. At the same time, McGill's book, despite showing the constraints and limitations within which Belizean archaeology has developed and continues to operate, is a book that gives hope. In particular, McGill is able to show the vibrancy of Belizean youth and students and the dedicated and often independent-minded teachers whose commitment to community can overcome the systemic problems with heritage practices in Belize.As a historian, I was fascinated by McGill's unique methodology and her ability to connect the past with the present. I did feel, however, that McGill's purpose was somewhat hindered by the structure of the book, with separate chapter pairs respectively addressing education and archaeology. I wondered whether her points about the interconnectedness of these two institutions would not have been better served by more thematic chapter divisions, so that each chapter could examine the intersection between archaeology and education more germanely. I also felt that McGill could have more deeply engaged the institutionalization of Belizean archaeology and the overwhelming presence of US universities and institutions in current Maya archaeology. This would also have tied in nicely with the author's discussion of tourism and heritage practices.Overall, I found McGill's book timely and important. It is one of those rare pieces of scholarship that compels the reader to get up and take action. As such, not only will it be of interest to historians, archaeologists, and anthropologists of Belize and the Maya region, but it would also be immensely helpful for policymakers on the ground involved in shaping education policies and heritage practices.

Kompresi Video Digital Menggunakan Metode Embedded Zerotree Wavelet (EZW)

In the era of technology in the field of multimedia, especially in processing moving images or often called digital video, it is very fast and competes in image and sound quality. Video files in MP4 format are very widely used today on social media which results in little storage space remaining in memory. Data compression is a process that can convert an input data stream (original data) into another data stream (compressed data) which has a smaller size. The compression process is the process of reducing the size of a data to produce a digital representation that is dense or compact but can still represent the quantity of information contained. Digital video is a computer file that is used to store a collection of digital files such as video, audio, metadata, information, chapter divisions, and titles at once, which can be played or used through certain software on a computer. There are many data compression methods currently available, but in this study the working principle of the EZW method will be discussed. The Embedded Zerotree Wavelet (EZW) method is an image compression algorithm that is simple, very effective, has properties where the bits in the bit stream are sorted according to their importance and produces a fully embedded code

초한전쟁 관련 문학의 동아시아적 변이 양상 연구

This paper attempted to examine how the war between Cho and Han was embodied and modified in the Chinese, Korean, and Japanese musical dance drama by focusing on the Chinese Peking Opera “Paewangbyulhee (Farewell My Concubine),” Korean Jeongjae “Hanjangmu” and Japanese Noh “Hangwoo.”. Peking Opera “Paewangbyulhee” is divided into nine chapters, mainly composed of the last battle of the War between Cho and Han, which is also described as the song of surrounded by enemies on all four sides. The events unfold in an orderly causal relationship, and the description is also very detailed. Through this incident, “Paewangbyulhee” depicts the love and death of Xiang-Yu and Yuji through the narrative reproduction of the song surrounded by enemies on all four sides. Royal Court public performance “Hangjangmu” has no chapter but it can be divided into three paragraphs, mainly composed of the confrontation between Xiang-Yu and Liu Bang in the Hongmunyeon feast. Also, the performance of Xiang-yu and Liu-bang’s vassals, who want to kill or protect, is centered on the sword dance. Therefore, “Hangjangmu” embodies the image of a loyal subject to loves and respects his king through the dramatic reproduction of the Hongmunyeon feast. There is no chapter division in Noh “Hangwoo,” but it can be divided into three paragraphs in terms of form. Life's uncertainty and sadness are constantly emphasized, centered on the reminiscences and emotions of unrealistic characters, and it tried to overcome by returning to the Buddhist world. Therefore, “Hangwoo” embodies the emptiness of life through the representation of the Cho-Han post-war. However, “Paewangbyulhee” emphasizes the love and death of Xiang-yu and Yu-ji, so the tragic beauty is strengthened, and “Hangjangmu” has strengthened elegant beauty by dramatically revealing the content of the character being congratulated, the dignity of the royal family and the content related to the loyal subjects to love and respect his king. In “Hangwoo,” the sublime beauty is strengthened by embodying the emptiness of life and returning to the Buddhist world through restrained music, characters dialogues, and songs. In the end, it can be said that the musical dance drama works of Korea, China, and Japan related to the war between Cho and Han embody distinctive literature by utilizing their literary assets and sense of beauty.&#x0D;

The Main Character of the Book of Esther: The Contribution of the Textual Divisions and the Assigned Titles of the Book of Esther to Uncovering Its Protagonist

Scrutiny of the traditional textual divisions of the Hebrew version of the book of Esther—the sedarim, the Hebrew paragraphs and the Latin chapters – throws light on whom some ancient readers thought was the main character (protagonist) of the book. The sedarim appear to favour Mordecai’s role over Esther’s in the events narrated, whereas the positioning of the Hebrew paragraph breaks apportions attention more evenly between Esther and Mordecai, who each sought the welfare of the Jewish people. The chapter divisions show an interest in all three leading characters namely, Esther, Mordecai and Ahasuerus. In terms of assigned titles, the book was given the alternate names of Esther and Ahasuerus. It is plain, therefore, that early readers did not come to a settled conclusion as to who is the main character; however, it is clear that the role of Ahasuerus cannot be ignored and that the Persian king must be a candidate for the main character of the book.

Discussion on the Reform of Economics and Management Mathematics Curriculum in Higher Vocational Colleges

As a public basic course in higher vocational colleges, mathematics must closely follow the national policy. In order to achieve the goal of overall improvement of the quality of talent training and employment, it is urgent to carry out curriculum reform. This article takes “Economics and Management Mathematics” edited by Lei Tianli as an example to clarify the reasons, ideas, advantages and prospects of the curriculum reform. The content of this course is the first and second chapters of the first chapter, which are economic functions and limits, derivatives and their economic applications. The curriculum reform plan is guided by the mathematical context, and projects or tasks are used as the chapter division basis. Each chapter aims to solve a task, has a knowledge sub-module, and extracts some mathematics culture and related stories to explore the ideological and political elements in mathematics , Enriching the connotation and interest of the courses, as a result, students' learning interest can be mobilized, and their understanding of mathematics culture is gradually deepened.

“All that we see is seen in perspective”: point of view as word and image

Whereas the fictiveness of narrative perspective is taken for granted in literature, it also emerges as a salient element in the experiences of pictorial art and architecture as part of a viewer’s internal response to their altered views of reality. Whether a visual technique or a narrative one for shaping the way things are seen, perspective assumes that the conditions of seeing an object are flexible and open to mental and material variables in diverse historical media and sites. These range from the cognitively provocative trompe l’œil fresco paintings of seventeenth-century Italy, the typographical headings used as chapter divisions in eighteenth-century British novels, and hand-colored eighteenth-century prints of city scenes made to look three-dimensional through an optical device, to the inscribed stones used in post war Berlin monuments, and an art historian’s recent perspectives on memories of his twentieth-century childhood home. Concentrating on perspective foremost as a medium and conduit for the imagination, Getting Perspective reveals its transhistorical role in word and image as a shaper and maker of imagined worlds.

“A Thousand Petty Troubles”: Margaret Hale’s Emotional Labour in North and South

ABSTRACT This article examines Margaret Hale’s unpaid emotional labour in Elizabeth Gaskell’s North and South (1854). Emotional labour, a term coined in 1983 by sociologist Arlie Russell Hochschild, rebrands Victorian keywords such as sympathy, duty, and woman’s mission. The application of the term emotional labour to Gaskell’s novel draws attention to the laborious nature of daily practices of household sympathy. Margaret’s emotional management of the Hale and Higgins households shapes both plot and character; concealing her own emotions in order to generate appropriate feelings in others is a form of work that is both alienating and productive of middle-class domestic competence. The article also examines the clash between Gaskell and Charles Dickens over North and South’s serialization in Household Words. Their disagreement about the novel’s division into chapters reveals how emotional labour is enfolded not only in the novel’s plot but also in its form. The appearance of chapter divisions as “natural” and inconspicuous interruptions to both Margaret’s and readers’ time and attention demonstrates the emotional work that chapters perform for both character and audience.

The Structural Compression of Kāvyprakāsa and Taṇṭiyalaṅkāra

Tolkāppiyam, the first extant work of Tamil grammar covers the descriptions on the ‘Rhetoric Grammar’ (aṇiyilakkaṇam; figures of language) under the chapter simile. Later on, In ‘Vīracōḻiyam’ which is one of the five grammatical thoughts of Tamil, (Eḻuttu, Col, Poruḷ, Yāppu, Aṇi) the rhetoric aspects of the language was described as following Sanskrit work ‘kāviyātarca’. Subsequently, more works such as Taṇṭiyalaṅkāra, Māṟāṉalaṅkāram, Toṉṉūl Viḷakkam, Muttuvīriyam were written based on the Sanskrit rhetorical conventions. Though the rhetoric works in Tamil were written on the basis of Sanskrit rhetoric aspects, it would have been authored in the Tamil context. Considering the requirement of a comparative research to understand this, the present study proposes to analyses the Sanskrit work ‘Kāvyprakāsa’ written in 11thAD and Tamil work ‘Taṇṭiyalaṅkāra’ written in 12thAD. Noteworthy, both the books were authored in the same time period. This work is comparing the structure of the rhetoric grammatical work of kāvyaprakāsa in Sanskrit and Taṇṭiyalaṅkāra in Tamil. Kāvyaprakāsa divided into ten chapter (ullāsa) and comprises three parts, the kārikās (the stanzas), the vrutti (the explanatory prose gloss), and the examples. This book has 143 rules for poetics. Taṇṭiyalaṅkāram is the earliest complete rhetoric grammar of Tamil written by Dandi. He explains ‘Taṇṭiyalaṅkāram’ under ‘Potuvaṇiyiyal’ (common rhetoric), ‘Poruḷaṇiyiyal’ (rhetoric meaning) and ‘Collaṇiyiyal’ (rhetoric terms). I would like to look at the internal structure and external structure of both texts. Internal structure will deals with auspicious verse, purpose of poetry, divisions of poetry, poetry defects, poetry gunās and rhetoric terms. The chapter divisions will be considering as external structures.

Books Are Made Out of Books: A Guide to Cormac McCarthy's Literary Influences

Books Are Made Out of Books: A Guide to Cormac McCarthy's Literary Influences

The Syriac Peshitta Bible with English Translation: John

The Syriac Peshitta Bible with English Translation: John

Clinical efficacy and effectiveness of 3D printing: a systematic review

ObjectiveTo evaluate the clinical efficacy and effectiveness of using 3D printing to develop medical devices across all medical fields.DesignSystematic review compliant with Preferred Reporting Items for Systematic Reviews and Meta-Analyses.Data...

William Blake as a Student of the Royal Academy: A Prosopographical Perspective

The day of William Blake’s formal registration as a student at the Royal Academy of Arts in London, 8 October 1779, has often been taken as marking an important turning point in his biography. The date certainly marked an important juncture, following the end of his apprenticeship as an engraver with James Basire (which, if it followed the normal seven-year term, would have been in August 1779) and taking him into the heart of the art establishment, with its program of elevated art practice centered on the ideality of the classical body and the moral and political commitment of the high-minded artist. Even if Blake’s relationship with the academy has too often been taken as simply oppositional, an idea that endures despite excellent work that has shown to the contrary that he had a more complex relationship with the art establishment and its values and owed quite specific debts to academic idealism in the formation and direction of his art (however unconventional in many respects), the significance of this date has never really been in doubt. As David Bindman wrote in his seminal study of Blake as a visual artist, “It is difficult to penetrate the obscurity of Blake’s apprentice days, but with his entry into the Royal Academy in 1779 he emerges more clearly; he now became acquainted with more readily identifiable figures and we begin to discern something like a Blake circle.” The date generally provides a neat chapter division in chronological accounts of his life, and a section or section break in exhibition presentations. The biographical dictionary of Blake’s fellow students that this essay accompanies and glosses is intended to offer the materials for a further illumination of this turning point in Blake’s career, if only in rather indirect or circumstantial ways. It offers a perspective on our understanding of Blake as an academy student by providing a volume of data about his peers at the schools, a collective biography (prosopography) that should deepen our sense of Blake’s social and artistic environment and provide one kind of historical measure against which his personal fortunes and achievements might be tested.

Victory: An Island Tale by Joseph Conrad

Reviewed by: Victory: An Island Tale by Joseph Conrad Cedric Watts (bio) Joseph Conrad. Victory: An Island Tale. Edited by J. H. Stape and Alexandre Fachard, with the assistance of Aaron Zacks, and with an introduction by Richard Niland. Cambridge: Cambridge University Press, 2016. lv + 919 pp. ISBN: 9781107101616. 1 Brace yourself. This will be a janiform review. Cambridge University Press's vast project to produce authoritative new editions of the literary works of Joseph Conrad is now well advanced. In the case of Victory, the project is flawed. [End Page 90] The immensely industrious and conscientious editors of Victory made one big mistake. They thought they knew better than Conrad. Those editors show that Conrad generally accepted, by choice or acquiescence, the house styling and corrections that various publishers imposed on his work (sometimes he saw the changes at the proof stage, sometimes he did not); but the editors think that generally he should not have accepted the changes. They have therefore deleted much house styling and correction. The result is a Conradian prose which is often impoverished and sometimes even ungrammatical and uncouth. In this review, therefore, I shall first summarise the contents of the book. Secondly, I shall illustrate the claim that this Cambridge edition is impressive and contains important new readings. Thirdly, I shall illustrate the allegation that this Cambridge edition has inflicted much stylistic damage on Conrad. 2 The book is a hefty hardback priced at £89.99. Richard Niland's introduction offers a concise and proficient survey of the novel's origins, sources and critical reception. This is followed by Conrad's "Note to the First Edition" (1915), his "Author's Note" (1920), and the text of the novel, edited by the late J. H. Stape and Alexandre Fachard. Among other scholarly material, the edition contains explanatory notes, two glossaries (one of nautical terms and one of foreign words and phrases), ten illustrations, and a map. The explanatory notes are, generally, very helpful. One peculiar error, however, appears on p. 902. There, a reference to Coleridge's Rime of the Ancient Mariner yields this wince-inducing misquotation: "We stuck, nor breath nor motion, / As idle as a painted ship / Upon a painted sea." As the rhyme should have reminded the editors, that last line should be "Upon a painted ocean." On p. 908, the word "saillient" receives more than four lines of commentary, but the editors fail to explain that the word means "prominent." No gloss is offered for "sticking point" (p. 98; Macbeth, act 1, scene 7 comes to mind), or "Life . . . had no savour" (p. 101; Matthew 5:13 is relevant), or "under her heel" (p. 341; evoking Genesis 3:14–15). A long "Essay" on the texts offers a superb account of the novel's composition and publication, detailing interventions by typists, compositors, and editors, and explains the present editorial policy. The long and impressive "Apparatus" specifies most (but not all) of the emendations. Four "Appendices" are headed "The Preprint Documents," "Major Deletions," "Part and Chapter Divisions," and "Borrowings and Echoes from French Writers." The citations of French works are admirable, showing the remarkable extent of Conrad's [End Page 91] borrowings from Anatole France and Guy de Maupassant, notably when he was depicting tensions in the relationship of Lena and Heyst. The text of the novel results from a comparison of the manuscript, typescripts, serials, and early book editions. The copy-text for most of the novel is the revised first typescript. The copy-text for the novel's coda (featuring Davidson and a "great man") is the manuscript. The comparative work by Stape and Fachard appears to be impressively diligent and detailed. These editors reveal that "haphazard typing replaced Conrad's own work at numerous points" (379). For instance, Jessie Conrad garbled "blowing avenging blasts," so that "avenging" did not appear in print; and she mistyped "precision of its acts" as "precision of its facts," a mistyping which entered the published texts. Compositors sometimes generated errors: for instance, one correction by Conrad, "colourless" (95), was misread as "toneless" (386); another, "all-forgetful rapture" (335), became "unforgetful rapture"; and the short sentence "It pricks a little" (326) was overlooked. Removing...