Wild Man Research Articles

Walk on the Wild Side

AbstractThe figure of the wild man is one that crosses artistic disciplines and genres in the cultures of medieval Iberia. In this article I show how the wild man operates within a variety of meanings in diverse literary contexts that, working simultaneously at different narrative levels, cross over from literature into daily life and spectacles, from legal to political discourses. The figure's continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work through context, providing the possibility of different, perhaps even contradictory readings. As commonplace, then, the wild man is presented as a case study for the reconsideration of other elements in the paintings of the Hall of Justice of the Alhambra, often interpreted to have a specific or fixed meaning, and thus programmed within a particular narrative. Seen in its entirety as a repository of commonplaces, I interpret the complex of the lateral paintings of the Hall of Justice in relation to the central one, in which a set of ten kings in Nasrid dress are depicted as conversing, as pretexts for narration that can be of a literary or juridical nature. I then go on to provide a possible itinerary of reading for the wild man scene not only in its immediate context, but as part of he overall visual project in a political key that illustrates the productive makeup of the paintings as pedagogical and ideological enterprise.

Israeli Gnosticism: Amos Oz's Gospel According to Jephthah

AbstractAmos Oz's early story, Ish Pere' [Wild Man, 1966] is analyzed here as a modern Midrash that superimposes Jephthah's sacrificial story [Judges 11] on the analogous story of the Aqedah [Genesis 22], thereby following in the footsteps of the Christian tradition, which had early on elevated Jephthah to the status of a “hero of faith” [Hebrews 11] and later prized the daughter as a model of female martyrdom. I argue moreover that Oz was not content to allude to normative Christianity alone but rather made use of the Church's subversive margins, of the Gnostic sects that rejected the Judeo-Christian tradition. Hence the Jephthah of this story represents three “bad” guys turned “good.” He is not only also Ishmael—he in fact aspires to be Cain too! Not however the biblical Cain—the rejected son, but rather the Gnostic Cain—the beloved son. The political meanings of this story for 1966 [!] are explored in the study from which this paper is culled, Glory and Agony: Rewriting Isaac/Sacrifice in Tel Aviv (Stanford: Stanford University Press; forthcoming).

First Contact: (Ignaz Schuppanzigh’s apartments. A musical salon.)

First Contact(Ignaz Schuppanzigh’s apartments. A musical salon.) Rita Dove I hear he’s a wild man, a proletarian who forgets to shave and rejects tutelage; who’ll dare nobility to trespass wherever he decides to take his constitutionals but at the keyboard a wonder. So I am exactly where I need to be, tuning my instrument with Vienna’s finest on a sun-blown April afternoon. I’ve made the rounds, Baron to Count to Prince, had my letter of introduction passed on tray after tray like an after-dinner drink. It’s all a bit dizzying— the lilting queries, coifed heads bobbing in murmured goodwill; I watch late light soften the stucco into creamy arabesques as polite chatter swirls around me, whirls and dips until I feel I’m being slowly stirred by a celestial coffee spoon. At last! Schuppanzigh moves toward the foyer, maneuvering his gut past a mahogany secretaire and two nattering poufs to welcome—too late!—his friend who bursts into view, a squat invasionary force not quite as dark as me—in coffee-speak [End Page 688] a Kleiner Goldener, Small Gold to my Big Brown—but pocked, burly; a dancing bear who’ll refuse to entertain, who’d ignore the yanked chain until they slit him for a coat. He’s clapping shoulders now, shaking hands, moving forward as the room expands, laughing. And why not? This is his party, after all; we are here to play him––this ugly, flushed little man everyone calls “The Moor”— although not to his face nor, I suspect, within my earshot. [End Page 689] Copyright © 2008 Rita Dove

Wild men and mystics: Rethinking Roy Agnew's early Sydney works

Sydney of the late 1910s and '20s was not as parochial as music historians have long assumed. The early piano music of Roy Agnew benefited from and reflected the richness and diversity of his surroundings. Through an analysis of representative works from this period and an examination of their cultural context I argue that Agnew’s music belongs to the large body of modern music from the early twentieth century described by Jim Samson as ‘transitional’ and that Sydney's musical elite was aware of and could access the most recent modern European music.

Dialectic of Knighthood: the Function of the Wild Man in "The Knight with the Lion"

Dialectic of Knighthood: the Function of the Wild Man in "The Knight with the Lion"

Wod et wude dans la littérature médiévale anglaise ou l'espace de la folie

<titre>Wod and wude in medieval English literature or the geography of Madness. </titre> Lunatics are not familiar figures in English medieval works. In particular, they hardly play any role in Old English literature. (...) Before the introduction of romance, in the 12th century, the few examples of lunatics are Biblical heroes or those considered as possessed by the Devil (sick people, sinners, or pagans). On the other hand, Lives of Saints present men and women madly in love with God, hermits withdrawn into deserts, and fascinating mystics while in epics madness is associated with anger: infuriated warriors fight on the battlefield. In the 14th and 15th centuries, with romance now a well-established genre, knights are often shown as temporarily unsound. Mental disorder is then a (necessary?) stage in their inner development: deeply bewildered, they separate themselves from society and find refuge in the forest; in romances, the madman is a wild man. Quite different is the urban fool, the court jester, whose (pretended) madness reveals concealed wisdom. The king’s fool appeared in medieval works but had his hour of glory, later on, in Elizabethan drama. Lunatics, fools, all those beside themselves, though not totally absent from English medieval texts, remain, throughout the period, in the background.

On the Cusp of Christianity: Virgin Sacrifice in Pseudo-Philo and Amos Oz

This article suggests that the Apocryphal "rewritten" Bible known as "Pseudo-Philo" had a significant impact – heretofore unacknowledged - on Amos Oz's early story, Ish Pere [Wild Man, 1966]. I argue that four decades ago the young Oz fortuitously stumbled on a Hebrew rendition of a small fragment of "Pseudo-Philo," which had been published without any attribution. Oz was obviously unaware of the problematically marginal source of this text. Yet it was precisely its marginality, or perhaps liminality, that offered him a different vantage point, an "extraneous" perspective, from which he could re-envision the two troubling sacrificial narratives of the Hebraic [and Zionist] canon: The Binding of Isaac, and the Sacrifice of Jephthah's daughter. The particular sacrificial amalgam created by Oz was greatly facilitated by one of Pseudo-Philo's celebrated narrative extravagancies: his magnification of the role of Jephthah's daughter, whom he named for the first time ever, and whom he daringly made identify - self consciously and enthusiastically - with Isaac as a willing sacrifice. This move was to be later embraced by Christianity but severely criticized by Rabbinic Judaism. It was this proto-Christian blending, I suggest, that inspired Oz's unobtrusive anticipation of both the feminist critique of the daughter's sacrifice and the Israeli psycho-political assault on the son's binding-qua-sacrifice, commonly traced to the impact of the 1967-1973 Wars.

Wild Humans: The Culture/Nature Duality in Marie Darrieussecq's Pig Tales and Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde

This, too, was myself. Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde, 1886 Jungian analysis has the virtue of stating for us in a new way the problem of the nature and origin of evil. It warns us that, when we finally return to Ithaca, we will find evil there too. --Roger Bartra, The Artificial Savage, 1997 The part-human, part-animal character refers to a semi-bestial being that lives between the human and the natural world. This hybrid creature shares characteristics of two different realms. Since the character is composed of two different and contrasting tendencies, each corresponding to a specific disposition and environment, the human/animal character is caught between two personalities. Be it female or male, the character lives a life of negotiation between two worlds drawn in conflict against each another. The Wild Human is a mythological figure that serves as undercurrent for the human/animal characters featured here. The figure has been recognized as a mythical subtext through literary history, from antiquity (the hairy Enkidu) through the biblical tradition (Nebuchadnezzar, John the Baptist, Mary Magdalene), the Middle Ages (Merlin, Mary the Egyptian), and the Renaissance, as well as in romantic literary characters (Spenser's Sir Satyrane, Ariosto's Orlando, Shakespeare's Caliban, Rousseau's Noble Savage, Frankenstein's creature, and Kipling's Mowgli). The Wild Human is a place of contingency where the human realm encounters the animal one. The figure is made up of two essences which he or she internalizes from abstract notions of that which is conventionally considered human (culture) and that which is conventionally considered animal (nature). The human and the animal are then organized within the figure in a false binary opposition. The pair is falsely opposed because, as has been well established already, more recently by the ecological sciences, the human element coincides with the animal. (1) Indeed, the culture/nature binary in its civilization/wilderness form is at the heart of the figure of the Wild Human and thus the human/animal character. The civilization/wilderness binary derives from the timeless culture/nature binary, focusing on the antagonism between the human environment and the nonhuman one. The aspect of civilization brought forward here is that of an ordered community based on human interaction and cooperation and providing the individual all that is needed in order to lead a satisfying life, including protection from chaotic external forces. On the other hand, wilderness, exemplified by the desert or the forest, is nature in its most frightful guise. Uncultivated and peopled with all kinds of mysterious beasts, the wilderness is dangerous, out of human control or influence, incapable of sustaining human life--the world untamed. Wilderness differs from nature in that, because the latter has been molded and altered by the human will, it is now useful and complementary to society, not detrimental to it, and thus has become part of civilization. The opposition between civilization and wilderness can thus only be understood hierarchically, for both cannot be seen as desirable simultaneously; one is always preferred to the other. (2) Like the human/animal character the Wild Human engenders, this personage is defined by his or her duality of essences. Richard Bernheimer, who has studied the figure of the Wild Man in detail through the Middle Ages, (3) describes him: It is a hairy man curiously compounded of human and animal traits, without, however[,] sinking to the level of an ape. It exhibits upon its naked human anatomy a growth of fur, leaving bare only its face, feet and hands, at times its knees and elbows, or the breasts of the female of the species. Frequently the creature is shown wielding a heavy club or mace, or the trunk of a tree; and since its body is usually naked except for the shaggy covering, it may hide its nudity under a strand of twisted foliage worn around the loins. …

“A Fowler Man Ther May Non Be”: The Wild Man in Ipomadon A

The literature of the Middle Ages is populated with fantastic creatures that captivated the imagination of writers and their audiences alike. One such creature is the Wild Man, who with his pseudo-...

To Catch A Sex Thief: The Burden of Performance in Rape and Sexual Assault Trials

All the world's a stage, And the men and women merely players: They have their exits and their entrances; And one [wo]man in [her] time plays many parts. (1) Jacques' observation in Shakespeare's As You Like It describes the typical rape and sexual assault trial in the United States. The complainant (2) plays many different characters throughout the course of the trial. Prewritten cultural scripts dictate her (3) lines. The setting is both the courtroom and the scene of the alleged rape as imagined by the jury. Unique to a rape play, however, an accuser cannot be sure which role the jury will assign to her by the time it begins its deliberations. Is she to be cast as a whore? (4) A vengeful liar? A tease? Mentally unstable? If she has the proper background and the defendant is a stranger, can she play the role of an innocent Madonna whose perceived purity may result in the rarest of events: a guilty verdict? While every trial has elements of theater, (5) rape and sexual assault cases are unique because they emphasize the gender performances of the accuser and the accused. Complainants who testify are not just recounting the events of the alleged They are also defining the essential parts of their gender roles for the jury. Every statement, mannerism, action, and emotion of the accuser on the witness stand relays information about her gender to the jury. If the jurors deem a performance emotional, they may assume the accuser is stereotypically hysterical and unreliable. If, however, she appears cold and calculating, the jury may believe she is a gold-digger using the criminal trial as a prequel to a lucrative civil suit. If she shows much anger (as though it were possible for someone who has been raped to be too angry), the jury may see vengeance as her motive for crying rape. Which predefined gender roles the jury assigns the accuser and accused during the trial are important in determining whose story the jury will ultimately believe. At its core, a criminal rape trial taps into the linguistically and culturally founded beliefs of the jury in order to reach a desired outcome. In most cases of simple (6) as Susan Estrich has labeled acquaintance rape, the defense attempts to access certain meta-narratives about sex and rape to convince the jury that the alleged rape event was really consensual sex. These rape myths and the rhetoric of rape and sex, not statutory rules and procedures, are the critical pivot points for shaping the jury's decision. (7) The trial itself is like a play where the actors and their agents fight to define the roles and script utilizing these meta-narratives. As Stephen Schulhofer has written, [s]ocial attitudes are tenacious, and they can easily nullify the theories and doctrines found in the law books. The story of failed [rape law] reforms is in part a story about the overriding importance of culture, about the seeming irrelevance of law. (8) The William Kennedy Smith, Jr., Big Dan's Tavern, Central Park wilding, and Mike Tyson trials, as well as the failed trial of Kobe Bryant, illustrate an important concept of law in America: the roles assigned by the media and jurors to the accuser and accused are fundamental to the outcomes of rape trials. When the defense attorneys for Kennedy Smith, Jr. successfully painted him as a respectable doctor from a good family and his accuser as an unstable money-grubber, the jury found him not guilty. (9) Kobe Bryant's defense team successfully deployed a similar strategy and his case did not even go to trial. (10) In the Big Dan's Tavern trials, the defendants were portrayed as wild Portuguese immigrants who represented a culture built on misogyny. (11) Similarly, the Central Park wilding cases were framed less as traditional rape cases than as general acts of violence by Black and Hispanic hordes against innocent, civilized New Yorkers who needed protection. (12) Mike Tyson was the embodiment of the wild man who could not be controlled by society's rules and the prosecution exploited that perception. …

Botany Bay: Where Histories Meet

Contents..List of figures..Acknowledgments..Introduction: The road to Botany Bay..1. A place for stories..Captain Cook, colonial origins and hairy wild men..2. Sydney's backdoor..Isolating the city's unwanted at Botany Bay..3. boomerangs for sale..Tourism in the birthplace of the nation..4. A little piece of France..Commemorating the French at Botany Bay..5. From shantytowns to suburbs..Botany Bay's residential landscape..6. The past as future..Industrial development and environmental politics..7. Remembering dispossession and survival..Botany bay stories revisited..Notes..Bibliography..index

Long on Nerve: An Interview with Ronnie Hawkins

THE INTERVIEW EXCERPTED HERE took place in October 2002 under bizarre circumstances. interviewee, cancer in his pancreas, was assumed near death by himself, by his doctors, and by archivists in Fayetteville who dispatched interviewer to his digs in Canada. Ronnie Hawkins had been a prominent and flamboyant figure for a very long time. In on rock and roll's turbulent rockabilly beginnings in 1950s and, as '60s dawned, first boss of combo would become famous as Band, he was still living large in century's final decade, gracing Bill Clinton's 1993 inaugural with his august and raunchy presence. It was important, before final bell, to record his impressions. Things turned out differently, however-humbling, once again and not for last time, all who claim to know shape of tomorrow. It's 2006 now, May 7 as this is written, more than three years have passed, and just yesterday, cancer mysteriously, miraculously gone, man was holding forth at a Hawkins family reunion on old family homeplace outside St. Paul in Madison County, Arkansas. Enthroned on a wooden bench under a hillside pavilion next to his cousin and fellow musician Dale Hawkins, lovely Ozark Mountains looming preternaturally green in a light rain, he spun out once again his fabulous, ribald tale, cracking up men and charming women. And it was there, beneath water's gentle patter, essential element in rock and roll fame suddenly flashed out again. He s over seventy now, but Hawkins still has a firm hold on what he knew before he was twenty-that one thing above all is expected of leader of a rock and roll band: incarnation of Dionysos, master of revels. Country songwriter Harlan Howard is credited with genre s most succinct characterization-country music is three chords and Then Bono added red guitar in U2's version of Bob Dylan's Along Watchtower: I've got is a red guitar, three chords, and truth. But for Hawkins, as for Sonny Burgess, Billy Lee Riley, Jerry Lee Lewis, and other rockabilly wild men, red guitar (or piano) was often mostly a prop, and truth was nowhere to be seen, a notion of little interest. Hawkins called it that monkey act, did backflips on stage, and moonwalked decades before Michael Jackson. Women charged stage, so many when he first hired a teenaged Robbie Robertson, Hawkins told him he couldn't pay much but promised he would get more girls than Frank Sinatra. As decades passed, outrages shifted their focus, even as underlying persona remained unchanged. Where he once violated behavioral conventions, running whiskey and carousing with underage daughters of community pillars (they said it was an orgy but I called it eight or ten people in love ), he turned in later years to flaunting of conversational standards. In 2005, at an elegant party celebrating his honorary doctorate at Laurentian University in Ontario, Hawkins announced his arrival in stentorian voice: The Doctor is in. All ladies line up on left for physicals. To this day, he bills himself in e-mails as The Housewives' Companion and The Working Girls' Favorite. As an afterthought, way down epithet list, he adds Advisor to Presidents and puts a Dr. in front of sign-off thanks to honorary degree. And there on hillside he s still at it, youthful Dionysos altered by years to aged satyr Silenus, but still laughing, still making ladies blush, ever and always Mr. Dynamo, Rompin' Ronnie, face of rock and roll, life of party Nero would be ashamed to attend. This excerpt centers on Hawkins' beginnings-from his birth in rural Madison County and move in childhood to the big metropolis of Fayettevitle, where he went to school and formed his first bands, to later travels in pursuit of musical goals, first to Memphis and Helena and then, in 1958, to the promised land of Canada, where his career really took off. …

H. Basil S. Cooke FRSSAf: a biographical note

Basil Cooke is the last surviving giant of a cohort of pioneering African palaeontologists, which included Robert Broom, Raymond Dart and John Robinson in South Africa, as well as Louis Leakey in East Africa. Whereas palaeoanthropologists tend to have high public profiles and earn sobriquets such as 'Wild Men of Africa', Basil has been a very gentlemanly 'scientist's scientist', who is appreciated by his colleagues for his seminal work over an incredible 70-year career.

O selvagem na "gesta Dei": história e alteridade no pensamento medieval

O propósito do artigo é examinar a noção de selvagem no pensamento medieval e sua relação com o sentido de história. Resultado da combinação de idéias herdadas da Grécia antiga, da tradição judaica e de concepções européias pré-cristãs integradas a uma concepção providencialista da história, a noção de selvagem surge como mediadora das relações de alteridade no tempo e no espaço. Concomitantemente, revela a dificuldade de lidar com a diferença.

Wild Enlightenment: The Borders of Human Identity in the Eighteenth Century (review)

276 EIGHTEENTH-CENTURY FICTION17:2 excellence. Cheek is perhaps more successful and illuminating in her localized discussions oftopics such as die ideal brodiel (a real tour de force) dian in her theoretical efforts aimed at "placing sex" in die new global world of die later eighteentb century, tiiough her arguments are always substantiated and provocative. Conversely, one might have wished diat Turner had offered more in the way of a theoretical overview than the almost unrelieved "Deluge" of local libertinage and radicalism he so experdy serves up and analyses. Finally, I wish to call attention to die lamentable omission ofbibliographies (apparendy current university press policy for Cambridge, Stanford, and odiers) . Robert A. Erickson University of California, Santa Barbara Richard Nash. WildEnlightenment: TL·Borders ofHuman Identity in tL· Eighteenth Century. Charlottesville: University ofVirginia Press, 2003. 248pp. US39.50. ISBN 0-8139-2165-1. While general consent would be given to die idea diat the struggle over notions of "nature" and "wilderness" and "savagery" was central to the Enlightenment and to eighteenth-century thought more generally, litde attention has been paid to die exemplars of wildness who were examined and assessed by writers and scientists of die period, constituting a complex alter ego (die "wild man") to the abstraction of the "citizen of Enlightenment ," who comes to embody die ideal inhabitant of die emerging public sphere. Richard Nash unearths die stories of these "wild men" and demonstrates in convincing detail die impact diey had on literary texts that are now too often read in ignorance of historical context. Nash's century runs from 1699 to 1818, but the book focuses intensively on particularyears: 1726, 1773, and 1816. Its "wild men" include Tyson's orangoutang , "Lord Peter," the WildYoudi ofHameln, and Victor ofAveyron—die best known of feral children, in part because of François Truffaut's film L'Enfant sauvage. The literary texts illuminated by WildEnlightenmentinclude Gulliver's Travels, Robinson Crusoe, and Frankenstein. The critical thrust of Wild Enlightenment is historicist in the sense diat it encourages us to understand die terms ofearly eighteenth-century debates before the consolidation ofterminology (and diought) diat we associate widi Linnaeus. "Human" was still a deeply contested term, and Nash's book brilliandy illuminates some of die debates around die notion, debates diat REVIEWS/COMPTES RENDUS277 laid die foundations ofmodern andiropology, in particular, and ofdie whole raft of human sciences more generally. As an aid to diinking beyond die binary divisions diat often limit consideration of diese issues, Nash tentatively offers a version ofGreimas's semiotic square. Here the opposition between Enlightenment citizen (social/rational) and feral children (solitary/passionate) is mediated by orang-outangs and Yahoos (social/passionate) and castaways (solitary/rational) (8). This square recurs periodically, never forcing die audior's thought in particular directions but often clarifyingjust what is at stake. More than half die book focuses intensively on 1726, die year in which "Lord Peter," the wild youdi who had been found running naked through die forests ofHanover, was presented at die court ofGeorge I. Several pamphlets alluded to Lord Peter, and Nash offers some detailed readings of die ways in which his case was interpreted and, in particular, ofdie role it played in die emergence of a political opposition during diat summer. Several of die pamphlets have clear Scriblerian associations: Nash argues diat It cannot Rain but itPours may well have been written by Swift, an attribution common in die eighteentb century but usually rejected in recentyears. He also supports the contested attribution of another litde-known work about Peter, Mere Nature Delineated, to Defoe. The arguments about attribution are carefully made, but Nash's purposes are in no way limited to claims about audiorship. He uses bodi discussions about Peter to illuminate die great work of that year, Gulliver's Travels, and die slighdy earlier Robinson Crusoe. The penultimate chapter takes as its central moment the famous meeting between DrJohnson and Lord Monboddo, whose views were the butt of Johnson's humour for his steadfast beliefin die kinship ofhumans and apes (often made with reference to the figure of Peter). As with his earlier reading of Edward Tyson's Orang-Outang, sive Homo Sylvestris, Nash makes sense of Monboddo's...

Josephus slavonice versus Josephus graece: Towards a Typology of Divergence

THE SLAVONIC AND EAST EUROPEAN REVIEW Volume 83, Number i January 2005 Josephusslavonice versusJosephus graece: Towards a Typology of Divergence H. LEEMING THE relationshipbetween the Slavonic and the extant Greekversions1 ofJosephus Flavius'_ewishWarhas been the subjectof controversyand polemic since the publication of A. Berendts' studies and German translation of the first four books of the Slavonic version.2 Berendts believed that the Slavonic text was not translated from the Greek version, extant in numerous codices from the tenth century onwards and well known in English and other Western translations,but from the originalAramaic edition, of whichJosephus himself tells us in the preface of the Greek text. This view was energeticallypropagated by Robert Eisler, who believed that the original of the Slavonic version could be reconstructedon a word-for-wordbasis.3 This view was categoricallyrejectedby N. A. Mescerskij,editor of a full and scholarly edition of the Slavonic or Old Russian version Henry Leeming retired as Reader in Comparative Slavonic Philology at the School of Slavonic and East European Studies in I 985. He is a corresponding member of SAZU and Polska Akademia Umiej,tno?ci. ' Here quoted according to the following editions: for Slavonic, N. A. Mescerskij, Istoria IudejskojVojnyIosifa Flav#a v drevnerusskom perevode,Moscow-Leningrad, 1958 (hereafter, Mescerskij); for Greek, JosephusinNine Volumes, vols 2 and 3, 7The Jewish War,with an English translation by H. StJ. Thackeray, London, 1927 28. For the synoptic edition, see note 8. Note that a literal rendering has been substituted for Thackeray's wvordingwhere, for comparative purposes, this departs too far from the Greek original. 2 A. Berendts and K. Grass, Flavius josephus vomJfidischenKriege,Buch I-IV. Aach der slavischen Ubersetzung deutsch herausgegeben mitdemgriechischen Textverghichen, Dorpat, 1924-27. 3 R. Eisler, Iesousbasileusou basileusas(in Greek uncials). Die messianische UnabhdngigkeitsbewegungvomAuftretenJohannes des Tdufersbis zum UntergangJakubs des Gerechten nach der neuerschlossene 'Eroberungvon Jerusalem' des Flavius Josephus und den christlichenQuellen, Heidelberg, vols 1-2, 1929-30. 2 JOSEPHUS SLAVONICE VERSUS JOSEPHUS GRAECE accordingto the so-calledVilna Chronograph.ForMescerskijthe Old Russian version 'derives in the main precisely from the generally accepted Greektext'.4He assertsthat 'comparisonof the Old Russian translationwith the Greektextwith all itsvariantreadingsin the copies we know,persuadesus that the translatoras he workedhad before him the generally accepted Greek text'.5 But the translator was using a particularmanuscriptdistinctfromallsurvivingcopies. In hiseagerness to confute Berendts'theory,Mescerskijcasts doubt on the existence at any time of an Aramaic edition and suggeststhatJosephus' mention of it may have been 'simply a literarymystificationby the author, who thus strove to ensure greaterintereston the part of Roman readersin the book offered for their attention'.6This observation occurs at the end of chapterseven of the lengthy studywhich formsthe introduction of Mescerskij'sedition, and may have been intended as no more than a light-heartedquip, a snappyending to the discussion. The most strikingdifferencebetween the Slavonicversion,which we may referto asJS orJosephus slavonice, and the standardGreekversion, which we may designate asJG orJoseplusgraece, lies in the numerous, occasionallylengthypassagesfound in the formerbut not in the latter. In a spirit of deference to Greek seniority, which I would term hellenocentric, these passages have become conventionally known as 'additions'. Mescerskij lists forty-one of these:7 Eisler supplied an English translation, based on Berendts' German version, of twentythree 'principaladditionalpassages'as an appendixto the Loeb edition of H. St J. Thackeray's translation. Berendts and Eisler wished to ascribe authorship of these passages to Josephus himself, while admitting that some might be the work of later hands. Meserskij regards them in the main as the work of the Old Russian translator himself. The 'additions' are classified according to their content as 'Christological'and 'non-Christological';the formerwith their stories of 'the wild man' (John the Baptist),'the wonder-worker'(Christ)and 'the servantsof the wonder-worker'(the apostles)are widely regarded as the workof devout Orthodox interpolators. It is hoped that the synoptic edition of the Slavonic and Greektexts in English translation8will enable a wider readership,not necessarily versed in Greek and Slavonic, to make their own judgment. The projecthasaligneda moderntranslationof the Slavonictext, according 4 Mescerskij, p. 69. 5 Ibid.,p. 75. 6 Ibid., pp. 68-69. 7 Ibid., pp. 5 I-64; the first of these should be discounted as the result of a...

Den skæggede eskimo

Den skæggede eskimo

Panting for ‘the Wild Man’ and Tobias Schneebaum: A review of Keep the river on your right: A modern cannibal tale by David and Laurie Shapiro

Anthropology TodayVolume 20, Issue 4 p. 25-26 Panting for ‘the Wild Man’ and Tobias Schneebaum: A review of Keep the river on your right: A modern cannibal tale by David and Laurie Shapiro Stephen O. Murray, Stephen O. Murray som1950@hotmail.comSearch for more papers by this author Stephen O. Murray, Stephen O. Murray som1950@hotmail.comSearch for more papers by this author First published: 06 August 2004 https://doi.org/10.1111/j.0268-540X.2004.00286.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume20, Issue4August 2004Pages 25-26 RelatedInformation

Beyond Petrarch: Garcilaso's Thoroughly Modern Galatea

Research Article| January 01 2004 Beyond Petrarch: Garcilaso's Thoroughly Modern Galatea Edward Dudley Edward Dudley State University of New York at Buffalo Edward Dudley is Professor of Spanish and Comparative Literature (ret.) at the State University of New York at Buffalo. His most recent book, The Endless Text: Don Quixote and the Hermeneutics of Romance (State U of New York P, 1997), received an “Outstanding Academic Book Award” from Choice magazine. The present article, “Beyond Petrarch: Garcilaso's Thoroughly Modern Galatea,” is part of an on-going book entitled The Aesthetics of Power: The Galatea Icon in Raphael, Garcilaso, Cervantes and Góngora, and was presented in shorter form at the 2001 SRBHP conference at Ohio State University. His initial Galatea publication (Calíope [1995]: 1.1-2) explicates the connections between Raphael's Il Trionfo di Galatea and the Galateas of Garcilaso and Cervantes. A contingent article, which utilizes Kristeva's concept of intertextuality in Garcilaso and Cervantes's evocations of the Galatea icon, is included in an homenaje dedicated to Ciriaco Morón Arroyo (Ed. Francisco La Rubia-Prado, Juan de la Cuesta, 2003). The problematics of myth and literature form the focus of both his Endless Text book and an earlier study, The Wild Man Within (U of Pittsburgh P, 1973), which he co-edited. epdudley@verizonnet. Search for other works by this author on: This Site Google Calíope (2004) 10 (1): 105–122. https://doi.org/10.5325/caliope.10.1.0105 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Edward Dudley; Beyond Petrarch: Garcilaso's Thoroughly Modern Galatea. Calíope 1 January 2004; 10 (1): 105–122. doi: https://doi.org/10.5325/caliope.10.1.0105 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressCalíope Search Advanced Search The text of this article is only available as a PDF. Copyright © 2004 The Pennsylvania State University2004The Pennsylvania State University Article PDF first page preview Close Modal You do not currently have access to this content.

Aristotle FR. 44 Rose: Midas and Silenus

AbstractScholars have identified two supposedly separate folk-tale patterns: (a) the questing hero's initial encounter with an ambivalent helper figure; (b) the capture of a demonic figure from whom crucial information is extracted. This article establishes that (a) and (b) are identical aspects of one and the same pattern and that the story of Midas' encounter with Silenus exemplifies this pattern. Two Appendixes show how Silenus resembles that primeval and widely disseminated figure the Wild Man; and that the folk-tale sequence whereby one helper sends on the hero to another helper (or helpers) lurks beneath the surface of several stories that exemplify the relevant pattern.