The independence of adaptations: the metanarrativity and metafictionality of Ian McEwan´s Atonement adapted for the cinema

Conceiving of cinematographic adaptations as being independent of their source material has come to be the standard approach for most specialists in this area. The stress on fidelity has made way for many other approaches, such as those focused on intertextuality, on the dilemma of form v. content, or on questions of genre and gender. The objective of this article is to present an overview of the principal theories which have been developed in the area as from 2000 in order to support this notion of independence, which will be exemplified by an exposition of the strategies used to adapt the metafictional and metanarrative elements in Atonement (2001) for the cinema.

For New Year and the Day of Atonement : The Mussaf, Minchah and N'ilah Services

Mit handschr. Widmung: Herrn Oberkantor A. Baer in Gothenburg... auf dem Titelblatt

Requiem for the Day of Atonement

composed and arr. for soli & chorus with English & German words and organ accompaniment / by A. Kaiser

Unsane taukef : liturgick song of the Hebrew New Year and Day of Atonement ; [voice and piano solo]

by Joachim Kurantmann

Unsane taukef : liturgick song of the Hebrew New Year and Day of Atonement ; [violin solo]

by Joachim Kurantmann

Collingwood on religious atonement

R. G. Collingwood’s philosophical analysis of religious atonement as a dialectical process of mortal repentance and divine forgiveness is explained and criticized. Collingwood’s Christian concept of atonement, in which Christ TeX the Atonement (and also TeX the Incarnation), is subject in turn to another kind of dialectic, in which some of Collingwood’s leading ideas are first surveyed, and then tested against objections in a philosophical evaluation of their virtues and defects, strengths and weaknesses. Collingwood’s efforts to synthesize objective and subjective aspects of atonement, and his proposal to solve the soteriological problem as to why God becomes flesh, as a dogma of some Christian belief systems, is finally exposed in adversarial exposition as inadequately supported by one of his main arguments, designated here as Collingwood’s Dilemma. The dilemma is that sin is either forgiven or unforgiven by God. If God forgives sin, then God’s justice is lax, whereas if God does not forgive sin, then, also contrary to divine nature, God lacks perfect loving compassion. The dilemma is supposed to drive philosophy toward a concept of atonement in which the sacrifice of Christ is required in order to absolve God of the lax judgment objection. God forgives sin only when the price of sin is paid, in this case, by the suffering and crucifixion of God’s avatar. The dilemma can be resolved in another way than Collingwood considers, undermining his motivation for synthesizing objective and subjective facets of the concept of atonement for the sake of avoiding inconsistency. Collingwood is philosophically important because he asks all the right questions about religious atonement, and points toward reasonable answers, even if he does not always deliver original philosophically satisfactory solutions.

The eve of atonement

by J. B. Arenstein

The sacred musical compositions of the late Israel Lazarus Mombach : containing the services for Sabbaths and festivals, New Year and Day of Atonement, consecration hymns, psalms and choral wedding service

ed. by M. Keizer

Musical service for the Eve of Atonement : according to the union prayer book for jewish worship

by Edward J. Stark

Musical service for the Day of Atonement : according to the union prayer book for jewish worship

by Edward J. Stark

Tertullian's idea of the atonement ...

Typewritten.

Instructions on the atonement /

Mode of access: Internet.

The problem of atonement.

Mode of access: Internet.

The divine service of American Israelites for the day of atonement.

In Hebrew, English and German.