The Dead Sea Scrolls, as a mystical object the majority of Jewish and Christian believers still ignore, is relatively new. As an object of study, newer still. Yet, in recent years scholars have paid more attention to the content of the scrolls more than the scrolls themselves. We have come to understand a lot about these lost desert communities, isolationists who had retreated to wait for the end of their world. While many scholars focus on the more well-known works, there is still room yet to explore the richness of works largely ignored. Such is case with Ariel Feldman
Among the unknown Jewish writings that emerged from the caves of Qumran are five scrolls rewriting the Book of Joshua. The present volume offers a detailed analysis of these texts and explores their relationship with each other and other Second Temple Jewish writings concerned with the figure of Joshua. The first full-blown study of this group of scrolls, this book is of interest to students and scholars working in the fields of the Dead Sea scrolls and ancient Jewish biblical interpretation. Part of my dissertation is looking at rewriting… so this will come in handy, I believe.
This textual study of the Gospel of John in seventeen Greek manuscripts offers a fresh investigation into the important textual group known as Family 1. The study, based on a full collation of the seventeen manuscripts, has re-defined the textual contours of Family 1, by establishing the existence of new core family manuscripts and subgroups. The study includes a reconstructed Family 1 text with critical apparatus for the Gospel of John. And from here: This is a textual study of seventeen Family 1 manuscripts in the Gospel of John: Gregory-Aland 1, 22, 118, 131, 205abs, 205, 209, 565, 872,
So I won it via their twitter giveaways, but nevertheless, I wanted to give it a shout out Since David Hume, the interpretation of miracle stories has been dominated in the West by the binary distinction of fact vs. fiction. The form-critical method added another restriction to the interpretation of miracles by neglecting the context of its macrotexts. Last but not least the hermeneutics of demythologizing was interested in the self-understanding of individuals and not in political perspectives. The book revisits miracle stories with regard to these dimensions: 1. It demands to connect the interpretation of Miracle Stories to concepts
The current trend in Lucanian scholarship began with Frederick Ahl’s aptly named Lucan: An Introduction. Other names are now added to the list of Lucanian scholars — and now, Nicola Hömke and Christiane Reitz, the editors of this volume are included, along with those in the volume, as a must read for any Lucanian student. Hömke and Reitz have assembled a collection of essays based on papers given at a 2007 conference. Each author presents a specific topic, without rejoinder, nor a central point of the volume. Simply, the essays are all regarding Lucan, but without a focus unifying the
The study of Lucan, the great and relatively unknown poet who wrote Rome into another civil war, is one worth the Classicist’s time. Paolo Asso, in the first English commentary of any magnitude on Lucan’s work, focuses on Book IV, providing an in-depth commentary and not an obese but less substantial view of the entire poem. Other recent authors (Monica Matthew, Caesar’s Storm, for instance) have begun to focus on small segments or scenes but Asso is the first to investigate fully an entire book of Pharsalia, and he has chosen perhaps one of the most illusive books to
I mention in my book Lucan using Caesar’s structure to somewhat frame his own poem. And it should be really, if you think about it. Lucan is (re)writing the Civil War, responding to the Vergilian myth of Caesar. As much as Pharsalia is anti-Aeneid, it is likewise anti-Caesar’s Commentary on the Civil War. Julius’ commentary, by the way, ends rather oddly, as does Lucan (as does Mark). Anyway, as I am reading Paolo Asso‘s commentary on Book IV of Pharsalia, I am struck by his conversation regarding Lucan’s use of Caesar’s structure. The Poet retains the general’s structure, somewhat, although