Chapter Divisions Research Articles

A Commentary on the Apocalypse of John. By EDMONDO F. LUPIERI.

English-speaking scholarship on the Apocalypse, vibrant though it is, has not always been cognizant of developments in the non-Anglo-Saxon world. This English translation of Edmondo Lupieri's fine commentary, originally published in the series Italian Texts and Studies on Religion and Society, opens up trends in Continental European, and especially Italian, scholarship to a wider audience. Besides exposing us to his own views, Lupieri's volume engages important Revelation scholars such as Giancarlo Biguzzi, Eugenio Corsini (already familiar through an English translation of one of his books), and Ugo Vanni as dialogue partners alongside those more familiar in British and North American circles. The format and content of the commentary is determined by the series for which it was written. An overall introduction is followed by the Greek text of the Apocalypse and Lupieri's own translation (retranslated from the Italian for the English edition). The commentary proper is divided according to the chapter divisions of the biblical text, rather than the commentator's own structural analysis. It takes the Greek text verse by verse, highlighting and discussing key phrases. Though at times this focuses on the details at the expense of the whole, Lupieri's overall interpretation is clear. He sees the situation addressed by John of Patmos as a twofold danger for the churches: on the one hand compromise with the Greek world (possibly due to a particular interpretation of the Pauline gospel among the Nicolaitans and ‘Jezebel’); on the other threats from the world of non-Christian Judaism. Indeed, fundamental to Lupieri's reading is his identification of Babylon the great prostitute, not with imperial Rome, but with historical Jerusalem, a line of interpretation also represented in English-speaking scholarship by Josephine Ford and Margaret Barker. As Lupieri is keen to assert on several occasions, this reflects an intra-Jewish debate, a prophetic critique from within the family, rather than an anti-Semitic cry from without.

History of the Book in Canada / Histoire du livre et de l'imprime au Canada. Vol. 2, 1840-1918 (review)

Reviewed by: History of the Book in Canada / Histoire du livre et de l'imprime au Canada. Vol. 2, 1840-1918 Sandra Campbell History of the Book in Canada / Histoire du livre et de l'imprime au Canada. Vol. 2, 1840–1918. Yvan Lamonde, Patricia Lockhart Fleming, and Fiona A. Black, eds. Toronto: University of Toronto Press, 2005. Pp. 670, illus., b&w, $89.00 cloth The three-volume History of the Book in Canada project, which is funded by a Major Collaborative Research Initiative by SSHRCC, is a formidable, broad-based undertaking first bruited over a decade ago – one comparable in its way to the scope and of the Literary History of Canada (1965), first published in the 1960s in the nationalistic flush of Canada's centennial. Indeed, the history of the book project represents even more formidable coordination and coverage than the latter in its particular field, given that it seeks to cover the evolution of print culture in both French and English Canada, while also encompassing the impact and nature of print culture vis-à -vis other ethnic and racial communities, including Aboriginal print and publication history, gender history, and other historiographic preoccupations of the early twenty-first century. Let praise be given at the outset: volume 2 constitutes a major achievement of research, analysis, and synthesis, one that offers in-depth analysis of print culture and its societal significance valuable to historians of whatever stripe, be they political, social, business, or cultural. For example, within minutes of receiving the volume for review, I had found valuable new information both about the history of book culture in Brockville (early printers, the Fulfords – as innovative advertisers of their pink pills, one of North America's best-selling Victorian patent medicines), as well as about the history of textbooks and the Methodist Book and Publishing House in that era, material valuable to my current projects. Moreover, Canadian publishing history and library history, to name just two areas covered in the text, are areas that, despite the earlier pioneering work of scholars – and outstanding volume contributors – like Royal Military College professor emeritus George L. Parker (publishing and copyright history) and McGill's Peter F. McNally (the history of Canadian libraries) constitute important topics for which we have woefully little information at all. [End Page 407] In that respect, it is unfortunate that the volumes – divided chronologically and synthetic in intent as they are – do not offer histories of individual Canadian publishing companies, given the format of the volumes. The lack of focus on specific firms is particularly regrettable because of the scantiness of other sources on publishing in Canada, whether in the nineteenth or the twentieth century. Unfortunately, the 'comb through the index for page references' method of research is no satisfactory substitute for such coverage, either – particularly over a three-volume set. But that is the only major criticism one can make of this project as realized in volume 2. Historians will be fascinated by the way cultural and social differences in the evolution of French and English Canada emerge in Canadian print culture during the period 1840–1918 – for example, in the respective nature of the serials dealt with, in the differing history of Quebec and non-Quebec libraries and their publics, as well as distinct differences between anglophone and francophone reading communities and reading practices – to name just a few of the topics and chapter divisions embraced by the volume. For example, Yvan Lamonde and Michel Varette, drawing on their own research and that of earlier scholars, analyze literature in Quebec and elsewhere for the period in a lucid and useful way, highlighting the marked (but lessening) disparity between francophone and anglophone Quebec marriage-register literacy in the mid-nineteenth century and the disproportionately higher literacy rate of Quebec brides vis-à -vis their grooms in the decade 1880–1890 (456). Elsewhere in the volume, 'Politics and Print' is a rich subset of the chapter on 'Print in Daily Life,' with sections by Veronica Strong-Boag on print and women's suffrage and Bertrum MacDonald on 'Governments as Printers.' As for the latter offering, any historian interested in patronage, that most enduringly meaty of topics, will be amused by...

British Abolitionism and the Rhetoric of Sensibility: Writing, Sentiment, and Slavery, 1760-1807 (review)

Reviewed by: British Abolitionism and the Rhetoric of Sensibility: Writing, entiment, and Slavery, 1760-1807 Anthony John Harding Brycchan Carey , British Abolitionism and the Rhetoric of Sensibility: Writing, Sentiment, and Slavery, 1760-1807 (Houndmills, Basingstoke: Palgrave Macmillan, 2005), pp. viii + 240. £45 hardback. 1 4039 4626 4. Most influential studies of eighteenth-century British abolitionism have treated sensibility and its rhetoricas an embarrassing appendage to a movement that, however we judge its eventual achievements, had serious political work to do. From a postcolonial perspective, portrayals of Africans in abolitionist writings are merely another way to establish European superiority by treating the African as a stereotyped object of pity. Literary critics, even those inclined to lament the neglect of 'poetry of sensibility', have usually found abolitionist verse almost unreadable. And most cultural historians have viewed sentimental rhetoric, at least in its printed form, as an amusing sideshow, as if no-one apart from a few Uncle Tobys and Marianne Dashwoods could really have been persuaded by such poor stuff. There is much presentist prejudice in these attitudes, and Brycchan Carey sets out to showthat the rhetoric of sensibility – a term he uses interchangeably with 'sentimental rhetoric' – did have a demonstrable impact on public debate and even, in the long term, on legislative intervention. The period selected for detailed analysis is actually 1766 to 1792: from Sarah Scott's History of Sir George Ellison to the enactment of a supposedly 'amended' – but, in fact, gutted – Bill to abolish the slave trade. In these three decades, a large number of abolitionist publications poured from the press, the majority of them relying on the rhetoric of sensibility for at least some of their persuasive power. The scholar who wants to go beyond the received view of this material faces the difficult challenge of, first, selecting and categorising the writings of the abolitionists and their opponents, and then developing a method of analysis that will show how sentimental rhetoric worked, or at least how its practitioners expected it to work. This study analyses much material not traditionally considered 'literary', such as James Ramsay's 1784 Essay on the Treatment and Conversion of African Slaves and Joseph Priestley's 1788 anti-slavery sermon, and even attempts a reading of the parliamentary debates, using the admittedly fragmentary, often contradictory accounts that in those pre-Hansard days were all that could be printed. The inclusion of pamphlet literature, journalism, and even some oral material provides a host of valuable insights into the range and persuasive power of anti-slavery discourse. Carey substantiates his claim that participants in the debate made extensive use of 'a distinct and recognisable sentimental rhetoric' (1). However, both the way in which the material is organised and the rather formulaic method of analysis make the book more difficult to use than it should be, particularly for anyone looking for a critical study of abolitionist writings, or a history of the movement's cultural impact. In Carey's arrangement of his material, chronology takes second place to genre. For instance, some letters between Ignatius Sancho and Laurence Sterne, published in 1775, are dealt with in Chapter 2, because they count as literary prose; the poem 'The Dying Negro' (first published 1773) is analysed in Chapter 3; but the 'forensic rhetoric' which resulted in the 'Mansfield judgment' of 1772 (crucial for the context of both the poem and the letters) is not considered until Chapter 5. This leadsto awkward attempts to link backwards and forwards across chapter divisions. No dramatic works are considered, for the rather unsatisfactory reason that drama 'calls for a type of analysis that is beyond the scope of this book' (50), so there is no account of plays or operas that expressed abolitionist sentiment, such as the very successful Inkle and Yarico by George Colman the Younger. Readers should take note, then, that the design of the book derives from its argument, namely, 'that reformers, who may well have already made the decision to be reformers, took up and used the already available rhetoric of sensibility, transforming it in subtle and not so subtle ways as [End Page 88] they did so' (9). The focus on showing 'how that rhetoric worked' (18...

Bug-Jargal (review)

Reviewed by: Bug-Jargal Joanna Augustyn Hugo, Victor. Bug-Jargal. Translated by Chris Bongie. Toronto: Broadview, 2004. Pp. 344. ISBN 1551114461. Bug-Jargal, Victor Hugo's second published novel is set in 1791, during the Haitian Revolution. The plot ostensibly turns around a love triangle between the slave and heroic leader of the revolutionaries Pierrot/Bug-Jargal, the French captain D'Auverney, and a barely-sketched Virginie-like character, Marie. Hugo organizes his narrative as a flashback: D'Auverney, a captain in the republican army tells the story of Bug-Jargal, the demoniacal fool Habibrah, and the devious revolutionary leader Biassou. He extends this narrative framework with a final on the Terror and the end of D'Auverney's life, footnotes that insist on the authenticity of the text, and a preface that seeks to disassociate the novel from the political agendas of the Restoration. This self-referential structure took shape over several editions. First published as a feuilleton in the Conservateur littéraire in 1820, as a novel in 1826 (a year after the Franco-Haitian accord) it acquired chapter divisions in 1829 and a new preface in 1832. In this new English edition of Bug-Jargal since 1833, Chris Bongie approaches the text as a historian of colonial and post-colonial literature, putting his previous reading of the novel in Islands and Exiles: Creole Identities of Post-Colonial Literature (Islands and Exiles, Stanford University Press, 1998, 231-261) into editorial practice. He gives a highly readable and accurate translation of the novel, its 1820 short-story version, and of the supporting documents. He also devotes much of the introduction and notes to demonstrating how Hugo had pieced together portions of the novel from historical sources. Hugo's manipulation of colonial historical documents have prompted Bongie to argue that between 1791 and 1826, the memory of the revolt in Saint Domingue had already suffered from politically-motivated obscurantism that culminated in the Restoration's "erasure of revolutionary history" (26). He rejects interpretations of Bug-Jargal that solely attempt to situate the work in the "majestic trajectory" (29) of the hugolian corpus. Bongie focuses instead on what he calls Hugo's manipulation of authoritative memory. He uses Biassou's letter to the Colonial Assembly in chapter 38– which Hugo paraphrased from Pamphile de Lacroix's 1819 Mémoires pour servir à l'histoire de la Révolution de Saint-Domingue – as a prelude to a detour about a 1991 debate over the voodoo ceremony in Bois-Caïman that inaugurated the Haitian Revolution. Certain scholars have proposed that historical accounts of this ceremony are as [End Page 421] many variations, or (diss)imilar versions, of a ceremony invented by Frenchman Antoine Dalmas (41). Bongie's parallel between literary and historical uses of documents leads him to conclude that language "betrays" history (36-37). Bongie attempts to demonstrate the relevance of Hugo's poetics to the question of language with appendices devoted to Hugo's early ideas on literature, particularly his 1823 review of Sir Walter Scott's Quentin Durward (255-264). However, he does not connect these ideas to one of the principal plot lines of the novel. Habibrah, D'Auverney's uncle's fool, betrays his master, murders him and becomes D'Auverney's enemy. The subterranean battle between the fool and the captain in chapter 54 not only parallels the mounting tension between rebels and colonists but is an early example of the hugolian sublime. The relevance of Habibrah's betrayal to linguistic betrayal falls outside of Bongie's analysis. Bongie more convincingly demonstrates how Hugo's conception of the events in Saint-Domingue participate in an ideological transition between the Enlightenment concept of the noble savage to a backlash against Haiti in post-revolutionary literature (326). Supplemental materials such as Jean-Baptiste Picquenard's novels (Appendix F, 325-338) and Pamphile de Lacroix's Mémoires (note on page 67 and Appendix E, 301-321) support the historical argument in the introduction. The introduction, however, weakens the scholarly aspect of this English edition by insisting on two caricatures: one of Hugo as a "man-ocean" in a critique of the 2002 exhibit at the Bibliothèque nationale (45...

An Appraisal of Latin American Cinema

An Appraisal of Latin American Latin American Cinema: Essays on Modernity, Gender and National identity, eds. Stephanie Dennison and Lisa Shaw. New York: McFarland & Co., 2005. This selection of texts on Latin American cinema is uneven but valuable. It is so primarily because the book contains much anticipated historical essays on cinemas that are often internationally invisible, like the Peruvian and Uruguayan ones. But it also presents up-to-date analytical accounts of more high-profile national cinemas, such as Brazilian, Cuban, and Mexican. The editors seem to draw correctly from the consideration put forth by John King in his seminal History of in Latin America: that it is impossible to assess Latin American (or Asian or European) culture while disregarding the specificity of localized experiences. Most essentially, the ensemble of these essays offers a non-reductive panorama of the region's motion picture endeavors. The threefold subtitle is useful as it reveals at once the editors' embrace of a cultural studies perspective (especially in cherishing gender as an approach). Not so beneficially, the three topics cited in the tide also define a somewhat arbitrary chapter division, which ends up disclosing even more important problems in the volume's organization. First, modernity is too general a rubric for a chapter. If we have in mind that a certain level of modernization is implied by the very existence of an industrial medium such as cinema, this heading could classify the majority of texts in the book. National identity, in the same manner, is implied by the book's own framing of different regions and the filmmakers' efforts to keep national cinemas alive-so it would not serve too well as a way of differentiating the essays. Furthermore, the similarity of approach in the texts classified under varied headings is manifest in some of the most insightful articles of the volume, such as Randal Johnson's TV Globo, MPA and the Contemporary Brazilian Cinema, Sarah Barrow's of Peru, and Keith Richard's Cinema and Social Imaginary in 21st-Century Uruguay. All of them analyze national film productions within the context of recent tension between increasingly necessary international co-productions and potentially conflicting (inter)national representations. The only understandable section heading turns out to be the one on gender and sexuality. The topic allows a fruitful emphasis on many key points: the sociopolitical strength of patriarchal forces within Latin American institutions (not only filmic); the overspread interplay of sex as a moral subject and marketplace attraction; and the complex remix of highbrow and lowbrow in Latin America's overtly mestizo culture. Unfortunately, the benefit from such an emphasis is not fully realized. Apart from acknowledging the basic insight that genders are social constructs reified and revisited by performance, the essays that constitute this chapter explore the topic's potential only very slightly. Claire Taylor's piece Performativity and Citation in Camila and Yo la peor de todas for instance, holds a loose argument on cinematic intertextuality. Furthermore, Ismail Xavier's Mirror Images and Social Drama, followed by Stephanie Dennison's Two adaptations of O Beijo no Asfalto both focus quite redundantly on the obvious moral judgments implied by the assessed films' plots. Only Alison Fraunhar's Mulata Cubana goes beyond the traditional assessment of gender as a privileged field of oppression toward a comprehensive understanding of its discursive tensions and rhetorical uses. However, symptomatic of the incoherence in the book's classification, her essay is placed under the chapter on national identity. Ironically, some essays even go the other way around their chapter organization. Robert J. Miles' Crossing the Line in Mexico? forgets the topic of national identity, and instead claims that many European critics dismiss the better part of Bunuel's production in the region. …

Ethical Justice and Political Justice

AbstractThe purpose of Aristotle's discussion of political justice (τò πoλιτικòν δικαιoν) in EN V.6-7 has been a matter of dispute. Although the notion of political justice which Aristotle seeks to elucidate is relatively clear, namely the notion of justice which obtains between free and equal citizens living within a community aiming at self-sufficiency under the rule of law, confusion arises when one asks how political justice relates to the other kinds of justice examined in EN V. Is political justice a highly determinate subdivision of justice which Aristotle examines alongside the other varieties of particular justice analyzed in EN V.2-5? Or is political justice related to the analysis of ethical agency which follows in EN V.8-11? The question is complicated by the fact that the passage in question – EN V 1134a17-1135a15 – has occasioned much speculation about textual dislocations and has been incorporated into chapter divisions differently according to the two prevalent modern editorial divisions of the Ethics.To resolve these problems, I argue that Aristotle's account of political justice is situated within an extended aporetic analysis which begins in EN V.6 and extends through EN V.8. Aristotle introduces the notion of political justice within the extended analysis concerning the ascription of character states because calling someone just or unjust presupposes that the person is a fully mature ethical agent, but anyone capable of political justice possesses such agency. Once the extended argument in the second half of EN V is properly understood, it appears that the received text is not in need of emendation. To further support my claim that Aristotle's account of political justice introduces a new inquiry which is not analogous to the analyses of particular justice in the first half of EN V, I compare political justice to the other species of justice.

Mechthild of Magdeburg and Her Book. Gender and the Making of Textual Authority by Sara S. Poor (review)

REVIEWS 278 Ages. Pleij cites the statements of Pope Gregory the Great in the sixth century to demonstrate the early position of the church, which regarded colors as superficial , deceitful additions that hid God’s creation and were therefore thought to be produced by the devil. The colors yellow, red, green, and blue are then expanded upon and given tentative definitions by Pleij based on accounts from the Middle Ages. For example, Pleij classifies yellow as understood to be symbolic of ostracism, based on its use to identify religious outsiders. The final chapter then discusses how the intense and highly symbolic color palette of the Middle Ages faded to the basic shades, such as black and dark blue, popularized in today’s world. Pleij’s book will serve as a useful tool in the recreation of life and experience in medieval and early modern Europe, based on aspects of costume, art, religion, and typical daily activities. This book would be a valuable reference to those looking for an introduction to the history of color in Europe. The bibliography also provides a rich collection of sources for further exploration of the subject in greater detail. Written in an entertaining and readable style, this book demonstrates the importance of considering the subject of color, as well as illustrating the possibility of its continued study for historians and art historians alike. LISA BOUTIN, Art History, UCLA Sara S. Poor, Mechthild of Magdeburg and Her Book. Gender and the Making of Textual Authority (Philadelphia: University of Pennsylvania Press 2004) 352 pp. In her recent book, Sara S. Poor employs the transmission history and reception of Mechthild of Magdeburg’s Das fliesende Licht der Gottheit (The Flowing Light of the Godhead) from the thirteenth century when it was written to its presence in twentieth-century anthologies of medieval mystics, female authors, and German writers to “explore and interrogate the mechanisms and categories of tradition-making at different historical moments” (200). By focusing on one medieval writer in particular, Poor both successfully takes up and reaffirms what she calls the feminist challenge “to explore how and why women have been included in the canon” (202). Poor’s unmitigated success is attributable to her ability to elucidate at each moment in the book both what her theoretical motivations and conceptual apparatus are as well as her thorough research into primary sources and her formidable ability to read manuscripts in context for what they reveal about social, political and cultural factors pertaining to their production. Ultimately, Poor accounts for Mechthild’s eventual disappearance from the manuscript record and her rediscovery in terms that are more diverse and comprehensive than merely arguing for active exclusion based on gender. Quite to the contrary, in some cases, Mechthild was a victim of her own success . Hence, Poor argues, “although gender was often a significant factor in the construction of textual authority, it was never the sole reason for exclusion from literary canons” (xiv). Poor is able to make her argument so convincingly because she actively historicizes the ideas of authorship and canon for each period and cultural context she discusses (xiv), including the period about which contemporary scholars are most blind, our own. In other words, Poor also subjects recent appropriations of Mechthild’s writings to the same theo- REVIEWS 279 retical principles and scrutiny to which she subjects medieval translators and early modern compilers. Poor’s chapter divisions are essentially chronological, but conceptual issues also vary from section to section. Chapters 1 and 2 are devoted to issues of Mechthild’s authorship. In chapter 1, “Choosing the Vernacular,” Poor focuses on the scope of Mechthild’s agency within her immediate political, religious, social and cultural milieu. First, Mechthild chooses to become a beguine and not a cloistered nun in the Magdeburg region, an area that Poor describes as a kind of political and cultural frontier (20). The language of the region in Mechthild ’s day was Middle Low German, and Poor advances the thesis that when she was writing her Flowing Light of the Godhead, Mechthild deliberately chose the regional dialect. Other instances of Mechthild’s agency include her choice to use vernacular courtly literature to express universal, theological principles...

Michael William Balfe: His Life and His English Operas (review)

Michael William Balfe: His Life and His English Operas. By William Tyldesley. (Music in Nineteenth-Century Britain.) Aldershot, UK: Ashgate, 2003. [xix, 243 p. ISBN 0-7546-0558-2. $84.95.] Music examples, bibliography, index. Michael William Balfe (1808-1870), a popular and influential British composer, helped lay foundation for British opera of nineteenth and twentieth centuries. Active during a period when ballad operas and foreign works dominated stage in Britain, Balfe composed operas in English for British audiences. Few scholarly publications on Balfe or his work exist. TyIdesley's book, part of Ashgate's Music in Nineteenth-Century Britain series, addresses a large and much neglected lacuna in music scholarship and is first recent book devoted entirely to Balfe and his music. (George Biddlecome's English Opera from 1834 to 1864 with Particular Reference to Works of Michael Balfe [New York: Routledge, 1994] also discusses Balfe and other composers of his time.) With this work, Tyldesley has attempted to create a resource that records the details of major works of Michael William Balfe (his English operas), (p. xx), serves as an initial reference source on Balfe and his music, updates Balfe scholarship, and conveys a general sense of opera in London during nineteenth century. The author notes that he does not try to trace influence of Balfe on his contemporaries or later opera composers (pp. 238, 242) but focuses solely on Balfe's operas that use English-language librettos and spoken dialogue rather than recitative (p. xiii). Only a few primary biographical sources exist for Balfe, mainly three near contemporary biographies by some of his close friends, all of which contain unsupported claims and suspect information-Heyward John St Leger's Reminiscences of Balfe (n.p.: Nimmo, 1870), Charles Lamb Kenney's A Memoir of Michael William Balfe (London: Tinsley Brothers, 1875; reprint New York: Da Capo, 1978), and William Alexander Barren's Balfe: His Life and Work (London: Remington, 1882). The book follows Balfe's life in chronological order. The first and last chapters focus on his life and his place within larger musical world; others deal with composer's English operas. Chapter 2 establishes background for Balfe's career in London and provides an overview of basic parts, forms, key structures, orchestration, libretti, and stage directions found in operas. Two of Balfe's most important works, The Siege of Rochelle and The Bohemian Girl, have their own chapters, while others are grouped together chronologically with chapters covering periods of one to ten years. Tyldesley does not explain logic behind chapter divisions, and each discussion of an opera follows same outline: background; sources, manuscripts, and publications; performances; and reception. The consistent use of same format grows repetitive, obscures details that fall outside of this outline, and tends to make operas themselves seem formulaic. The final chapter constitutes most engaging part of book. While author intended his work to be descriptive rather than analytical (p. 36), thoughtful consideration and application of critical views found in his conclusion would have served rest of book well without detracting from descriptive aims of study. The author includes ten plates of nicely reproduced photos, manuscripts, playbills, programs, and early editions. Music examples, figures, and diagrams compliment text. While book contains a plethora of useful and previously unpublished information, it also suffers from a number of problems. The organization is logical and well executed, but shift from descriptive operatic catalog to biographical information can be jarring. The consistent use of passive voice minimizes engaging nature of subject. The author attempts to equate monetary values from Balfe's time to more current times using conversion factor from a 1973 history text (Brian Murphy, A History of British Economy, 1086-1970 [Harlow: Longman, 1973]) rather than equating them with modern monetary values. …

The Music of Luigi Dallapiccola (review)

Music of Luigi Dallapiccola. By Raymond Fearn. (Eastman Studies in Music.) Rochester, NY: University of Rochester Press, 2003. [xviii, 303 p. ISBN 1-58046-OV8-X. $90.] Music examples, list of compositions, bibliography, index. English readers have long awaited a definitive book on the life and works of Luigi Dallapiccola. While American and British writers have produced a number of important articles and essays and a handful of unpublished doctoral dissertations on specific works from Dallapiccola's oeuvre, there is to date neither a full-scale biographical study nor a critical examination of his compositional output. Raymond Fearn seeks to fill this serious gap for English readers of Iwenticth-century music history by providing a study of the complete works of Dallapiccola documented with information about their historical context. book complements Dietrich Kamper's study of twenty years ago (Gefangenschaft und Freiheil: Leben und Werk des Komponisten Luigi Dallapiccola [Koln: Gitarre + Laute Verlag, 1984]) and Mario Ruffini's recent sourcebook (L'opera di Luigi Dallapiccola: Catalogo Ragionato [Milan: Edizioni Suvini Zerboni, 2002]). real strength of Fearn's book is found in its historical and biographical side, providing the reader with much information and detail that has never been made available in print. Especially in the first chapter, the author provides a wealth of information about Dallapiccola's musical training and background and aspects of his musical life and literary activity in Italy prior to the Second World War. book also includes very full discussions of Dallapiccola's literary sources and the role that Laura Dallapiccola played in helping him to make judicious textual choices. Fearn has consulted a wide range of both primary and secondary source materials: sketches, letters, notebooks, and diaries from the archival collection in Florence, Italy; writings of and consultation with specialists; and interviews with members of the Dallapiccola family. Included is an accurate listing of the composer's published compositions and writings on music, a good selective list of secondary literature on Dallapiccola, and a substantial listing of current secondary literature on twelve-tone music in general. book is organized under six chronologically ordered headings: The Beginnings (1904-1938); Self-Exile and Discovery (1939-1945); Towards the Light of Freedom (1945-1948); The Serial Idea (1948-1953); Text and Symbol (1954-1964); and Ulysses, Wanderer and Discoverer (1965-1975). Whereas these titles are useful in identifying thematic elements that Fearn wishes to explore in the book, the chronological divisions thus established separate compositional groups that were conceived together. In particular, the constellation of works that include the piano set Quaderno musicale di Annalibera (1951-52), the Vanazioni per Orchestra (1954), and the symphonic choral work Canti di liberazione (1951-55), all based upon the same tone row, are discussed in separate chapters without reference to mutual influences between them and the place that such mutual influence played in Dallapiccola's development as a composer of large-scale serial works. There is also an inconsistency in the purpose of the individual chapter titles when they also serve as guides to the composer's chronology. Is the reader to infer that Dallapiccola's compositional procedure varied between nonreferential structuralism (The Serial Idea) and poetic conception (Towards the Light of Freedom) in different periods of his life? chronological approach followed in this text would be better served with chapter divisions and titles that reflect musical stylistic changes, probably with a break before Liriche greche (begun in 1942), the first completely serial work; a second break after Canti di liberazione (1955), when the Quaderno/Variazioni/Canti group was completed; while retaining the final break in 1964. …

Insights from Cicero on Paul’s Reasoning in 1 Corinthians 12-14: Love Sandwich or Five Course Meal?

The ‘love chapter’ in 1 Corinthians is usually thought to be a digression by Paul from his main argument about spiritual gifts. However, applying the tool of classical rhetoric to the passage reveals a previously unnoticed structure behind our chapter divisions. From the principles of good speech preparation (explained by Cicero in De Partitione Oratoria) Paul has arranged his discussion of spiritual gifts into the five standard parts: introduction, statement of facts with thesis statement, presentation of positive arguments, refutation of opponents’ views and conclusion. In this way one can identify the key summary statements, the skilful argumentation of Paul, the apparent views of his opponents, and the contextual function of chapter thirteen. This paper makes a thorough analysis of these chapters according to the theory in Cicero’s handbook, summarised in a chart at the end.

'The Breakdown of Order now Assured': The book-poem and Johanna Drucker's Simulant Portrait

This article examines the new genre of the 'book-poem': a poetic text that experiments with the material and linguistic conventions of the book form in order to challenge the idea of the book as a neutral tool to communicate information. The text discussed here is a prose-poetic artist's book by Johanna Drucker entitled Simulant Portrait. To expose the artifice of a seemingly 'open' or 'accessible' book format, Drucker parodies and subverts multiple conventions by which a book orders its information: the table of contents, chapter divisions, captions, subheads, and the relation between verbal text and illustrations.

Alternate Chapter Divisions in the Pentateuch in the Light of the Masoretic Sections

There are a number of cases in the Pentateuch when chapters in both Hebrew and non-Hebrew printed editions start at different places within one verse of each other. Masoretic sectional divisions of a petuḥah , a setumah , or a seder sometimes coincide with the standard chapter division, sometimes with the alternate chapter division, and sometimes with both. There are also cases where Masoretic sectional divisions are found within two or three verses of the differing chapter divisions. The existence of these alternate chapter divisions has practical consequences for modern students of the Bible. One is the obvious fact that since different chapter divisions will produce different enumeration of verses, the different division can lead to confusion in citing references. Another is the fact that by starting the chapter at a different place, the parameters of the text are then changed and so a different hermeneutic may be produced. In this paper, we shall survey these alternate chapter divisions and see how they correspond with adjacent Masoretic paragraph divisions.

Source Marks and Chapter Divisions in Bede’s Commentary on Luke

Cet article etudie les problemes poses par l'edition du commentaire de Bede sur l'evangile de Luc. Quel traitement doit-on donner a l'appareil utilise par Bede pour indiquer ses sources ainsi qu'a qu'a son decoupage du texte evangelique en chapitres (sommaire)?

Like Grapes of Gold Set in Silver: An Interpretation of Proverbial Clusters in Proverbs 10:1-22:16

Like Grapes of Gold Set in Silver: An Interpretation of Proverbial Clusters in 10:1-22:16, by Knut Martin Heim. BZAW 273. Berlin: de Gruyter, 2001. Pp. xiv + 378. E98.00. Recent scholarly opinion on the sayings assembled in Prov 10:1-22:16 has tended to view this as purposely arranged and ordered by the editor of these Proverbs of Solomon. In line with this trend, Knut Heim presents his doctoral research, carried out under A. R. Millard at Liverpool. Heim sets out to study how individual sayings in this collection function in context, and provides a enjoyable study of proverbs and their contextual connections. The beginning of this work is occupied with a survey of scholarship. Heim begins by examining the positions of those scholars who have denied that sentence literature is to be read in literary context. They believe that sayings are to be read individually and that interpretation of them is not to be colored by surrounding proverbs. Heim offers a fair reading of these scholars, but deftly points out the deficiencies of such approaches and the fallacies of arguments used to defend them. His major contention is that readers of tend to read sayings without reference to their context because of the very nature of proverbs as self-contained units. Therefore, many have a legitimate concern to safeguard the integrity of individual proverbs that denies any external constraint (such as context) on their meaning. A second chapter surveying scholarship on proverb performance demonstrates that paroemiologists agree that in oral usage the performance context provides clues for understanding and applying proverbs. While paroemiologists consider proverbs in collections to be dead, Heim argues that they are basing this assessment on the field notes and anthologies compiled by anthropologists. These tend to be random collections of sayings. Heim contends that the editors) of purposely arranged sayings into small groupings based on features such as theme, catchwords, paronomasia, and the like, thereby providing them with a literary performance context. His argument is persuasive, if not totally new. A third chapter explores recent scholarship that has recognized coherent editorial groupings in Proverbs. Heim's concern here is twofold: to demonstrate the growing consensus that sayings were purposely arranged by the editor and to show deficiencies in method that have hindered reliable delimitations of clusters of proverbs. He concludes that there has been an overreliance on chapter divisions and literary features as delimiters. Heim also expresses doubt about using paronomasia and catchwords absolutely to determine coherence between adjacent proverbs. Instead, he advocates control mechanisms for evaluating their significance as tools producing coherence among individual sayings. Most importantly, he notes that most scholars who favor reading the sayings in their literary context also identify two major sets of appellations throughout these sayings: The righteous are identified with the wise, and, in binary opposition to this, fools are identified with the wicked. These identifications are not possible when the sayings are read atomistically. The second section of Heim's study aims at three goals. The first goal is to develop a theory of reading contextually. This is addressed by theorizing about the use of proverbs in oral contexts. He notes that speakers of proverbs have a mental collection of sayings from which they choose one that they feel best applies to a given situation. Hearers, conversely, reverse this process. They begin by comparing the situation with the perceived truth expressed by the proverb and either accept or reject its application. Reading proverbs in a collection is different according to Heim. Readers who do not perceive any editorial organization generally read the proverbs independently. Such readers find numerous truths expressed by these proverbs, and each proverb can be applied to a wide range of situations. …

Thevet Revisits Guanabara

Thevet Revisits Guanabara

The Chapter Divisions in the 1525 Rabbinic Bible

La division en chapitres de la Bible hebraique n'est pas due a l'activite massoretique mais aux efforts de l'archeveque Stephen Langton qui a divise la Vulgate en chapitres au debut du 13e siecle. La division de Langton a ete adoptee par les Juifs et transferee a la Bible hebraique. L'A. presente la Bible rabbinique de 1525 car elle constitue le textus receptus puis la premiere Bible rabbinique imprimee avec la division en chapitres en 1517.

Chapter and Verse Divisions in the Bible: Their Origins, and Their Use in Today's Common Language Translations

Chapter and Verse Divisions in the Bible: Their Origins, and Their Use in Today's Common Language Translations

The Representation of Speech in Biblical Hebrew Narrative: A Linguistic Analysis (review)

Hebrew Studies 38 (1997) 97 Reviews tional organizations. In addition to reviewing some of the classical and more recent works in these areas, Scanlin presents some of the material now available for computer as well as some of the Hebrew dictionary projects which are now under way. The bibliography (pp. 242-276) has been updated (as far as 1993) and presented in a more user-friendly way compared to the first English edition. There are well over a hundred new titles which are listed alphabetically by author rather than according to the chapter divisions of the introduction. It is, of course, impossible to take into account every title of the ever-growing literature on biblical textual criticism, but a few which are lacking would have been useful. With regard to the Septuagint, the French translation in the series La Bible d'Alexandrie has now completed the entire Pentateuch. With regard to the Beuron project for the Old Latin (cf. p. 92), it should .be noted that Sapientia Salomonis (completed 1985) and Esaias (completed 1993) are now available for the Old Testament. Under the section on the Vulgate (cf. p. 99), the comprehensive edition of the Old Testament undertaken by the Benedictine Monastery of St. Jerome, Rome, was completed in 1995 with the publication of 1 and 2 Maccabees. Some minor errata: on page 46, read "IJ;~ for clJ;~; on page 190, note 2, read "invenimus" for "invenimur" in the quotation from Jerome; in the bibliography on page 269, read "Eugene Charles Ulrich" for "Ernest Charles Ulrich." The scope of this new edition remains the same as its predecessors-an introduction to the use of the Biblia Hebraica rather than a comprehensive introduction to the more theoretical aspects of textual criticism. In its updated version, it continues to be a welcome tool for students of the Hebrew Bible. Stephen Pisano Pontifical Biblical Institute Rome 1-00187 Italy THE REPRESENTATION OF SPEECH IN BIBLICAL HEBREW NARRATIVE: A LINGUISTIC ANALYSIS. By Cynthia L. Miller. Harvard Semitic Monographs 55. Pp. xx + 466. Atlanta: Scholars Press, 1996. Cloth, $44.95. In the introduction, the author gives a brief survey of previous studies about reported speech and concludes that they are inadequate in two Hebrew Studies 38 (1997) 98 Reviews respects: syntactic fonns of direct and indirect speech have not been catalogued from a linguistic perspective, and the distribution and discoursepragmatic functions of reported speech have not been taken into consideration within the contexts of dialogic exchange and encompassing narrative. As a remedy for this deficiency it is proposed to present a linguistic theory for situating represented speech within a theory of contextsof -speaking, to examine the features of varieties of indirect and direct speech, to consider reported speech within the broader contexts of conversation and narrative, and, finally, to detennine the discourse-pragmatic functions of the syntactic varieties of direct quotative frames. The second chapter deals with pragmatics and metapragmatics. Pragmatics is defined as involving the relationship between the linguistic signal and its interpreters. However, reported speech is not only speech within speech, but also speech about speech, and therefore also metapragmatic , to use a subcategory of lakobson's "metalanguage." Both quotative frame and quotation are metapragmatic, and the verb chosen in the frame is metapragmatic as well because it reflects the reporting speaker's pragmatic analysis of the purpose/function of the original locution. One of the parameters for distinguishing direct and indirect speech in biblical Hebrew is deixis. Deictics index person, time, and spatial location relative to the speech event. For example, speaker-oriented elements relating to the deictic center of the reported speech event are excluded in indirect speech. A second important parameter seems to be syntactic incorporation; indirect speech is nowhere embedded within direct speech. Merging these two parameters, biblical Hebrew testifies to the presence of free indirect discourse in which the voices of the reporting and the reported speakers are combined. The next chapter examines the syntactic varieties of indirect speech. A large part of the discussion is devoted to the problem of the so-called ki recitativum, and the author concludes that ,:> should be understood as the first word of the quotation rather than as a complementizer (p. 116...

LYDGATE'S "LIFE OF OUR LADY": A TEXT IN TRANSITION

Lydgate's Life of Our Lady poses a number of difficult questions. What kind of work is it? Is it finished? When was it written? The poem notoriously challenges critical taxonomy. Its traditional title gives no accurate idea of its form: it is neither a `religious biography' nor a conventional saint's legend.2 Criticism is further hampered by uncertainty as to its state of completeness: Derek Pearsall assumes that it is an unfinished fragment of a 'life'; John Norton Smith, conversely, sees it as a complete work `intended for reading during the Christmas Cycle'.3 As for the date of the Life of Our Lady, Pearsall simply states that `It is impossible ... to date the poem accurately.'4 What I shall propose here is that in seeking answers to these questions one must take into account the nature of the text: a text in transition. Il . The judgements of modern critics tend to emphasize the virtues of Lydgate's style in the Life of Our Lady, his imagery, his emotional intensity, the richness and lavishness of his use of traditional motifs, while dismissing the poem's claim to narrative form, representing it rather as an amorphous 'mixture' or 'mosaic' of 'discontinuous' and 'scattered' material.' However, the real problem with narrative structure in Lydgate's poem is simply that different parts of it seem to have been constructed to two quite different designs: a continuous narrative on the one hand, and a series of independent readings on the other. George Keiser argues that of all the programmes of book and chapter division presented by the manuscripts of the Life of Our Lady, the six-book structure alone `probably was authorial'.6 If so, Lydgate planned the very noticeable difference in size between the first three books (I: 889 lines; II: I669; III: i 8o6) and the last (IV: 406 lines; v: 700; VI: 462). Pearsall considers that this disproportion argues `some decline in the impetus of the work' after `the riches of the first three books'.7 There does indeed seem to be a substantial change of direction between Book III and Book Iv: the prayer to the Virgin at the end of the third book is offered `in full conclusion' (III. 804), as if to round off a completed work, and Lydgate's elaborate establishing of a temporal context at the start of the fourth book is full of references to things new (Iv.8, 14). It is true, too, that the last three books are all constructed on the same very simple pattern: each is devoted to one specific incident in the life of the Virgin according to the Gospels of Luke and Matthew (the circumcision of Christ, the visit of the Magi, and the Purification of the Virgin), and in each the narrative of the scriptural event is simply juxtaposed with the explanation of the significance of the liturgical feast in which it is commemorated.8 Nevertheless, by examining carefully the narrative structure of each book, it becomes clear that the really significant division is not between the long Books I-III and the short Books iv-vs, but between the different narrative methods in the first two and the last four books.' Critics have long recognized the logical patterning of the later books and have attempted to explain the structure and function of the Life of Our Lady as a whole in the light of this perceived plan. Pearsall observes: `Especially towards the end, we can see how the material is promised and delivered for the appropriate liturgical feast', and, extending this perception backwards, he claims: `The whole structure of the poem reflects the course of the liturgical year', though Lydgate `only gets as far as the Purification'.'` In Norton Smith's view, the whole poem as it stands is `organized around the Christmas Cycle: its principal points of interest are the major feasts of the Cycle: Nativity, Circumcision, Epiphany, and Purification'. This is an attractive interpretation: the poem does not come to an accidental end because for some reason Lydgate was unable to proceed with it but, in Norton Smith's words, moves from `the dark spiritless inertia of Advent' in the Prologue to `the light and spiritual illumination of Candlemas'. …

London in the 1890s: A Cultural History (review)

Reviewed by: London in the 1890s: A Cultural History Curtis Marez London in the 1890s: A Cultural History. Karl Beckson. New York: W. W. Norton, 1992. Pp. 445. $27.50. In many critical accounts, 1890s England is an anomaly, or in Raymond Williams’s words, an odd “interregnum” awkwardly situated between Victoria and the Moderns. 1 In his recent book London in the 1890s, however, Karl Beckson persuasively argues that many traditional markers of “Modernism” in fact originate in the fin de siècle. Beckson finds historical corollaries between the cosmopolitan aesthetics of figures like Pound and Eliot, for example, and earlier cross-fertilizations between English, French, German, Irish, Norwegian, and American artists and intellectuals in the 1890s. While noting their obvious differences, Beckson charts the continuities between fin-de-siècle English Symbolism and the Imagism of the early twentieth century. He further contends that turn-of-the-century “little magazines” helped lay “the foundations for Modernism” (255). Finally, Beckson emphasizes the “antidemocratic attitudes” common to both fin-de-siécle artists and intellectuals and “such early and later Modernists as Yeats, Ezra Pound, D. H. Lawrence, T. S. Eliot, and Shaw” (46). While Beckson draws links between the fin de siècle and modernism, he also usefully complicates the received vision of the 1890s as dominated by the individual aesthete. Although the book covers the familiar themes of decadence and art for art’s sake, Beckson examines a host of other topics, including Fabianism, revolutionary socialism, and anarchism; literary orders (the Rhymers’ Club and Irish Literary Society); debates over the institution of poet laureate; the public scandal surrounding prostitutes on music hall promenades; the “New Woman”; theorizations of the “Urning” and the trials of Oscar Wilde; the influence of Ibsen, Wagner, and Zola; theosophy and Celtic spiritualism; and imperial policy and imperial fiction. As this list of chapter topics indicates, at its best Beckson’s book reconstructs the histories of (largely middle-class) groups, institutions, and private and public spaces. In this regard London in the 1890s compares favorably with Carl Schorske’s important intellectual history, Fin-de-siècle Vienna. 2 If, however, London in the 1890s possesses some of the strengths of good intellectual history, it also demonstrates the limits of such an approach. Beckson’s subtitle, for example, is potentially misleading, for his history is “cultural” in a very restricted sense of the word, referring almost exclusively to the ideas and practices of a privileged clerisy. The subtitle would have been more accurate, in other words, if it had included the word “high” before “cultural.” This limited definition of culture determines both Beckson’s choice of objects and the conceptual tools that he brings to bear on them. Beckson confines his analysis of historical change within formal, distinctly literary categories, describing the decade as the schematic relationship between a “declining Victorianism... and rising Modernism” (xiv–xv). Beckson here takes for granted the very intellectual categories—“Victorianism,” “Modernism”—being negotiated in the period. Such uncritical deployments of historically constituted labels also govern the often arbitrary chapter divisions. Questions of gender are confined to the “gender” chapters, homosexuality to the “homosexuality” chapters, imperialism to the “imperialism” chapter. Since Beckson seems to have accepted at face value certain received relationships between particular authors and particular ideas, his chapter topics threaten to ossify into isolated, unrelated historical monads. For example, in the chapter that concludes the book, “Empire Builders and Destroyers,” Beckson concentrates on Kipling, Haggard, Stevenson, and Conrad—four authors whose fiction is often considered to be transparently “about” imperialism. [End Page 159] Imperial discourse, however, was not the exclusive province of such writers. The analysis of such an important and vast cultural form as imperialism cannot be limited, I would argue, to the study of literature with colonial settings, but must also attend to the more subterranean ideological effects of empire that, in practice, traversed the boundaries of various discursive fields. In contrast to Beckson, who treats imperialism and sexuality as though they were wholly discrete categories, the Indian critic Ashis Nandy has argued that in fin-de-siècle England, imperial and sexual discourses were intertwined. Focusing on Wilde, Nandy argues that the aesthete’s reconceptualization...