The Rise and Fall of a Translational Compound: ‘Only Begotten’ in the English Translations of the New Testament

The present paper is an attempt to account for the emergence of the designation “only begotten” in the English Bible, its widespread use in pre-modern versions, and its gradual and almost complete disappearance from most contemporary translations. A close examination of the origins of this designation, traceable to its Latin cognate unigenitus, first introduced into the biblical tradition by St. Jerome to render selected occurrences of the Greek adjective monogenes, reveals a unique theological inspiration behind it. “Only begotten,” recurring in English translation of the Bible for almost six centuries as an important christological title, has recently been replaced by translational solutions reflecting a more accurate understanding of the underlying Greek word.

Modes of Griot Inscription in African Cinema

A recurring idea in criticism of African cinema has been that the films frequently deploy the narrative techniques of ‘the griot’, the storyteller of African tradition. In particular, Manthia Diawara (1989) has alerted us to the inscription of the oral narrator within the visual discourse of particular African films, while other critics have considered how the films recall the narrative forms of traditional oral tales. However, these critics’ exclusive attention to the visual track and/or narrative form overlooks another inscription of the griot - an inscription that exists at the level of music. Examining music and image relationships in an aesthetically diverse set of African films, this paper demonstrates how griot inscription emerges as a major variable, modulating between music and image within and between texts. This propels music, and the griot, to a status of primary importance in terms of understanding the ways in which the films engage with, and re-appropriate, notions of ‘African-ness’, while negotiating the tensions of address generated when oral forms of narrative meet the literate, industrial form of cinema.

A Socio-Legal Analysis of Jihad

Since many offensive and defensive wars or acts of terrorism, such as the atrocities of 11 September in the United States and the July 2005 bombings in London, are committed under the banner of Islam and the duty of jihad, it is important to shed some light upon the Islamic laws of war in general, and the controversial concept of jihad in particular. This article traces the origins of, and rationale for, the use of force within the Islamic tradition, and assesses the meaning and evolution of the contentious concept of jihad within its historical context. Following an analysis of the opposing doctrinal views on the potential implications of jihad, the study argues that the concept of jihad should not be interpreted literally, but be adjusted in accordance with new historical and international conditions, and conducted by peaceful means, rather than by the sword.

Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of Ring

This essay examines the British critical reception of the Japanese horror ? lm Ring. Critics claimed that Ring was representative of a non-graphic, suggestive tradition in horror, and used the ?lm rhetorically to present a sense of difference from teen horror ?lms such as Scream.

The Reception of Byzantium in European Culture since 1500

Studies on the reception of the classical tradition are an indispensable part of classical studies. Understanding the importance of ancient civilization means also studying how it was used subsequently. This kind of approach is still relatively rare in the field of Byzantine Studies. This volume, which is the result of the range of interests in (mostly) non-English-speaking research communities, takes an important step to filling this gap by investigating the place and dimensions of ‘Byzantium after Byzantium’.
This collection of essays uses the idea of ‘reception-theory’ and expands it to show how European societies after Byzantium have responded to both the reality, and the idea of Byzantine Civilisation. The authors discuss various forms of Byzantine influence in the post-Byzantine world from architecture to literature to music to the place of Byzantium in modern political debates (e.g. in Russia). The intentional focus of the present volume is on those aspects of Byzantine reception less well-known to English-reading audiences, which accounts for the inclusion of Bulgarian, Czech, Polish and Russian perspectives. As a result this book shows that although so-called 'Byzantinism' is a pan-European phenomenon, it is made manifest in local/national versions.
The volume brings together specialists from various countries, mainly Byzantinists, whose works focus not only on Byzantine Studies (that is history, literature and culture of the Byzantine Empire), but also on the influence of Byzantine culture on the world after the Fall of Constantinople.

Jamming the Law: Improvisational Theatre and the 'Spontaneity' of Judgment

Modern ‘nonscripted’ theatre (NST) clearly owes much to improvisation. Perhaps less obviously, and more surprisingly, so too does modern law. In this article I will contend that, despite all the rules of evidence and procedure, statutes and legal precedents that fundamentally govern the decisions and actions of a judge, it is only through ‘spontaneity’ that judgment can take place. This claim may appear strange to those well-versed in the common law tradition which proceeds on the basis of past legal decisions, or reason where no precedent exists. NST, on the other hand, is assumed to rely heavily on the unprecedented and unreasoned. Therefore, when the public watches a NST production, it places its faith in the belief that what is being observed is entirely new and is being produced ‘on the spur of the moment’.

An Absence of Ghosts: cultural and theatrical translation in the British Reception of The Mysteries-Yiimimangaliso

Mark Dornford-May’s widely-acclaimed adaptation of the medieval English Chester “mystery” plays, The Mysteries-Yiimimangaliso, reveal the extent to which theatrical translation, if it is to be intelligible to audiences, risks trading in cultural stereotypes belonging to both source and target cultures. As a South African production of a medieval English theatrical tradition which subsequently plays to an English audience, The Mysteries-Yiimimangaliso enacts a number of disorientating forms of cultural translation. Rather than facilitating the transmission of challenging literary and dramatic traditions, The Mysteries-Yiimimangaliso reveals the extent to which translation, as a politically correct - and thus politically anaemic - act, can become an end in itself in a globalised Anglophone theatrical culture.

The Sacred and the Obscure: Greek in the Carolingian Reception of Martianus Capella

Carolingian scholars paid considerable attention to the Greek found in Martianus Capella’s De nuptiis Philologiae et Mercurii, a late antique Latin work full of obscurities in language and imagery. This article, focusing on glosses on De nuptiis from the oldest gloss tradition, demonstrates that a range of material was available to ninth-century scholars to elucidate Martianus’s Greek and that Greek seems, at times, to have served as a means to obscure. I argue that their interest in obscurity reflects a widespread epistemology and strategy of concealment, hence their intellectual investment in Martianus. For ninth-century readers, then, the Greek in the glossed Martianus manuscripts, however decorative it may have been, also operated at the core of medieval hermeneutics.

'A new sword on an old anvil': W.B.Yeats, Robert Graves and the Anglo-Irish Tradition

Throughout his writing life, Robert Graves was consistently and often publicly hostile to the work of W.B. Yeats, whilst still also owing a considerable debt to the older poet (who he never met). This essay explores Graves' complex responses to Yeats, arguing that his antagonism may be understood in the light of his own Anglo-Irish background, and is implicated in his relations with his father, Alfred Perceval Graves, as well as his experience of the First World War. Probing the suggestiveness of Graves's claim in 1959 that his poems 'remain true to the Anglo-Irish poetic tradition into which I was born', it traces the relation between Yeats and Graves through correspondence, critical writings, and through a comparative reading of Yeats's A Vision and Graves's The White Goddess, and reveals underlying similarities in their critical and mythological thinking in spite of Graves's public disavowal of the Yeatsian aesthetic.

Authorizing a tradition: Theory, criticism and (self-) canonization in French Caribbean writing

As critics have noted, Antillean literature has developed in tandem with a strong (self-) critical and theoretical body of work. The various attempts to theorize Antillean identity (négritude, antillanité, créolité) have been controversial and divisive, and the literary scene has been characterized as explosive, incestuous and self-referential. Yet writers aligned with, or opposed to, a given theory often have superior visibility. Meanwhile writers who claim to operate outside the boundaries of theory, such as Maryse Condé, are often canny theoretical operators who, from prestigious academic or cultural positions, manipulate readers’ responses and their own self-image through criticism. While recent polemics have helped to raise the critical stock of the islands generally, they have particularly enhanced the cultural capital of Chamoiseau and Condé, whose literary antagonism is in fact mutually sustaining. Both writers, through a strong awareness of (and contribution to) the critical field in which their work is read, position themselves as canonical authors.

The comparative solvatochromism of arylazo and heteroarylazo compounds based on N,N-diethyl-m-acetylaminoaniline and N,N-diethyl-m-toluidine

Azobenzene dyes derived from various anilines and aminothiaheterocycles ate-coupled with commercially important N,N-diethyl-m-toluidine (T series) and iv,N-diethyl-m-acetylaminoaniline (A series) are positively solvatochromic. The visible spectra of 16 pairs of derivatives have been measured in up to 22 solvents, and the transition energies related to Kamlet-Taft solvent polarity parameters. In general, A-series dyes are more bathochromic than their T-series counterparts in nonpolar solvents, consistent with colour chemistry tradition, However, in more dipolar solvents the more bathochromic T-series representatives unexpectedly become more bathochromic than their A-series partners. The relative solvatochromic shifts of the A and T series are related to their respective dipole moments, These in turn are distinguished by the effect of the anilide carbonyl group dipole moment, which is antiparallel to, and thus reduces, the dipole moment of the chromogen.

Annotated Bibliography: Grande Bretagne / Great Britain: Part Two The Textbook Tradition.

(With C.N. Doe.)