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Author: Bennie H. Reynolds III Publisher: Vandenhoeck & Ruprecht ISBN: 3647550353 Category : Religion Languages : en Pages : 422
Book Description
Bennie H. Reynolds analyzes of the language (poetics) of ancient Jewish historical apocalypses. He investigates how the dramatis personae, i.e., deities, angels/demons, and humans are described in the Book of Daniel (chapters 2, 7, 8, and 10–12) the Animal Apocalypse (1 Enoch 85–90), 4QFourKingdoms(a-b) ar, the Book of the Words of Noah (1QapGen 5 29–18?), the Apocryphon of Jeremiah C, and 4QPseudo-Daniel(a-b) ar. The primary methodologies for this study are linguistic- and motif-historical analysis and the theoretical framework is informed by a wide range of ancient and modern thinkers including Artemidorus of Daldis, Ferdinand de Saussure, Charles Peirce, Leo Oppenheim, Claude Lévi-Strauss, and Umberto Eco. The most basic contention of this study is that the data now available from the Dead Sea Scrolls significantly alter how one should conceive of the genre apocalypse in the Hellenistic Period. This basic contention is borne out by five primary conclusions. For example, while some apocalypses employ symbolic language to describe the actors in their historical reviews, others use non-symbolic language. Some texts, especially from the Book of Daniel, are mixed cases. Among the apocalypses that use symbolic language, a limited and stable repertoire of symbols obtain across the genre and bear witness to a series of conventional associations. While several apocalypses do not use symbolic ciphers to encode their historical actors, they often use cryptic language that may have functioned as a group-specific language. The language of apocalypses indicates that these texts were not the domain of only one social group or even one type or size of social group.
Author: Bennie H. Reynolds III Publisher: Vandenhoeck & Ruprecht ISBN: 3647550353 Category : Religion Languages : en Pages : 422
Book Description
Bennie H. Reynolds analyzes of the language (poetics) of ancient Jewish historical apocalypses. He investigates how the dramatis personae, i.e., deities, angels/demons, and humans are described in the Book of Daniel (chapters 2, 7, 8, and 10–12) the Animal Apocalypse (1 Enoch 85–90), 4QFourKingdoms(a-b) ar, the Book of the Words of Noah (1QapGen 5 29–18?), the Apocryphon of Jeremiah C, and 4QPseudo-Daniel(a-b) ar. The primary methodologies for this study are linguistic- and motif-historical analysis and the theoretical framework is informed by a wide range of ancient and modern thinkers including Artemidorus of Daldis, Ferdinand de Saussure, Charles Peirce, Leo Oppenheim, Claude Lévi-Strauss, and Umberto Eco. The most basic contention of this study is that the data now available from the Dead Sea Scrolls significantly alter how one should conceive of the genre apocalypse in the Hellenistic Period. This basic contention is borne out by five primary conclusions. For example, while some apocalypses employ symbolic language to describe the actors in their historical reviews, others use non-symbolic language. Some texts, especially from the Book of Daniel, are mixed cases. Among the apocalypses that use symbolic language, a limited and stable repertoire of symbols obtain across the genre and bear witness to a series of conventional associations. While several apocalypses do not use symbolic ciphers to encode their historical actors, they often use cryptic language that may have functioned as a group-specific language. The language of apocalypses indicates that these texts were not the domain of only one social group or even one type or size of social group.
Author: Bennie Reynolds Publisher: Vandenhoeck & Ruprecht ISBN: 9783525550359 Category : Religion Languages : en Pages : 0
Book Description
Bennie H. Reynolds analyzes of the language (poetics) of ancient Jewish historical apocalypses. He investigates how the dramatis personae, i.e., deities, angels/demons, and humans are described in the Book of Daniel (chapters 2, 7, 8, and 10–12) the Animal Apocalypse (1 Enoch 85–90), 4QFourKingdoms(a-b) ar, the Book of the Words of Noah (1QapGen 5 29–18?), the Apocryphon of Jeremiah C, and 4QPseudo-Daniel(a-b) ar. The primary methodologies for this study are linguistic- and motif-historical analysis and the theoretical framework is informed by a wide range of ancient and modern thinkers including Artemidorus of Daldis, Ferdinand de Saussure, Charles Peirce, Leo Oppenheim, Claude Lévi-Strauss, and Umberto Eco. The most basic contention of this study is that the data now available from the Dead Sea Scrolls significantly alter how one should conceive of the genre apocalypse in the Hellenistic Period. This basic contention is borne out by five primary conclusions. For example, while some apocalypses employ symbolic language to describe the actors in their historical reviews, others use non-symbolic language. Some texts, especially from the Book of Daniel, are mixed cases. Among the apocalypses that use symbolic language, a limited and stable repertoire of symbols obtain across the genre and bear witness to a series of conventional associations. While several apocalypses do not use symbolic ciphers to encode their historical actors, they often use cryptic language that may have functioned as a group-specific language. The language of apocalypses indicates that these texts were not the domain of only one social group or even one type or size of social group.
Author: Mathias Keller Publisher: GRIN Verlag ISBN: 3638754049 Category : Biography & Autobiography Languages : en Pages : 30
Book Description
Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,3, http: //www.uni-jena.de/, 13 entries in the bibliography, language: English, abstract: Susan Glaspell's (1876-1948) literary career increased in significance when she and her husband George Cram Cook moved to their summer residence in Provincetown, Massachusetts, in 1915. They founded the Provincetown Players, a group of dramatists who were about to change the development of American literature considerably. Against the more commercial and conventional Broadway plays, they shifted, as a part of the "'little theatre' movement," the stage into a fisher's house and performed experimental plays. One of these plays was Trifles, Susan Glaspell's most reputed dramatic piece, which was first produced in 1916 and published in 1920. Her "first solo one-act play" is based on the Hossack's case, a real murder incident in Iowa on December 2, 1900 when she was a news reporter. Her reflection of this incident deals with an investigation process which takes place in the farmhouse of the murdered John Wright and his imprisoned wife Minnie. The officials, Mr. Peters (the Sheriff), the County Attorney and the neighbour Mr. Hale, search for evidences in this house to convict Minnie of the murder. At the same time, the Sheriff's and Mr. Hale's wives, Mrs. Peters and Mrs. Hale, are supposed to collect clothes for Minnie. While they are in the kitchen, they encounter the important evidences to draw conclusions of Minnie's miserable life, her deed and, hence, take the opportunity to influence the case by concealing the most crucial evidence from the men. The play is innovative, among other things, in the respect that the main characters are absent and that Glaspell, as a consequence, creates a second explanatory level by means of symbols underneath the plot surface. This level circumscribes in detail Minnie's misery and the reasons for killing her husband. By the same means Glaspell also generally cr
Author: Chris Brooks Publisher: Routledge ISBN: 1317247779 Category : History Languages : en Pages : 247
Book Description
First published in 1984. Signs for the Times explores imaginative and creative relationships between three major areas of mid-Victorian arts: literature, painting and architecture. Through the detailed critical analysis of particular novels, prose writings, paintings and buildings, Chris Brooks establishes a fusion of realistic and symbolic values that he sees as central to the Victorian creative imagination. He argues that the creative achievement of the mid-nineteenth century needs to be seen far more as a whole than it has previously, and that fundamental imaginative terms are common to art and architecture, to major theoretical writers such as Carlyle, Ruskin and Rugin as well as to the central literary figure of Dickens. All those interested in literature, art, or architecture will welcome this interpretation of symbolic realism within the mid-Victorian world.
Author: Ilona Sontag Publisher: GRIN Verlag ISBN: 364055955X Category : Foreign Language Study Languages : en Pages : 22
Book Description
Seminar paper from the year 2009 in the subject Didactics for the subject English - Literature, Works, grade: 1,7, RWTH Aachen University (Institut für Anglistik I), course: Hauptseminar "American Drama", language: English, abstract: Tennessee Williams, born Thomas Lanier Williams, is not only known for being a “talented, perceptive and influential American playwright” (Day 1987, vii), but also for his frequent use of symbols. “A Streetcar Named Desire” (1947), the work which will be dealt with in this paper, is a good example for of usage, since it contains a lot of different kinds of symbolism, for example concerning colours, names, music and many more. Numerous works will be found, if anyone searches for essays about symbolism in Williams’ works. Moreover, it is common knowledge that Streetcar is a play which deals not only superficially with a woman going insane, but a play which “bring[s] into violent contrast a neurotic woman’s dream world and the animalistic realism of her brother-in-law” (back of the book in the Diesterweg edition). But since there does not seem to be any work which deals with the question of how exactly Williams drew this contrast by use of symbolism, it will be my aim in this paper to analyse this question. Consequently, I will try to point out the main symbols with which Williams underlined the contrast between realism and illusion, especially considering names, colours, clothes, light, music and certain rituals of the main characters. In the second part of this paper, I will deal with the question to what degree the main characters Stanley and Blanche are strictly opposed to each other or may have something in common. I will also deal with the meaning of the ending concerning realism and illusion. Therefore, what will be discussed are the most striking antinomies and similes in the main characters’ attitudes. A general conclusion about the topic of symbolism in Tennessee Williams’ Streetcar will be given in the end. To introduce the reader to the topic and also to justify my choice of symbols, a definition of the notion of symbolism will be given right at the beginning of this paper. This will be done by including different approaches, so that a broader definition can be given. Furthermore, for this paper is based on symbolism in Streetcar by Tennessee Williams, it may also be very interesting for the reader to have a look at Williams’ attitude towards symbols which will be done at the end of the second chapter. One last point to mention in this introduction is that due to space restrictions not all symbols concerning the topic of illusion and realism can be discussed in this paper. Nevertheless, it is my aim to present the most striking ones.
Author: Mathias Keller Publisher: GRIN Verlag ISBN: 3638586154 Category : Literary Collections Languages : en Pages : 26
Book Description
Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,3, http://www.uni-jena.de/, language: English, abstract: Susan Glaspell’s (1876-1948) literary career increased in significance when she and her husband George Cram Cook moved to their summer residence in Provincetown, Massachusetts, in 1915. They founded the Provincetown Players, a group of dramatists who were about to change the development of American literature considerably. Against the more commercial and conventional Broadway plays, they shifted, as a part of the "’little theatre’ movement," the stage into a fisher’s house and performed experimental plays. One of these plays was Trifles, Susan Glaspell’s most reputed dramatic piece, which was first produced in 1916 and published in 1920. Her "first solo one-act play" is based on the Hossack’s case, a real murder incident in Iowa on December 2, 1900 when she was a news reporter. Her reflection of this incident deals with an investigation process which takes place in the farmhouse of the murdered John Wright and his imprisoned wife Minnie. The officials, Mr. Peters (the Sheriff), the County Attorney and the neighbour Mr. Hale, search for evidences in this house to convict Minnie of the murder. At the same time, the Sheriff’s and Mr. Hale’s wives, Mrs. Peters and Mrs. Hale, are supposed to collect clothes for Minnie. While they are in the kitchen, they encounter the important evidences to draw conclusions of Minnie’s miserable life, her deed and, hence, take the opportunity to influence the case by concealing the most crucial evidence from the men. The play is innovative, among other things, in the respect that the main characters are absent and that Glaspell, as a consequence, creates a second explanatory level by means of symbols underneath the plot surface. This level circumscribes in detail Minnie’s misery and the reasons for killing her husband. By the same means Glaspell also generally criticizes the traditional gender roles by empowering the female characters and undercutting male authority.
Author: J. P. Stern Publisher: Routledge ISBN: 1000357295 Category : Literary Criticism Languages : en Pages : 188
Book Description
First published in 1973, On Realism is a comprehensive introduction to the complex problem of literary realism. Written from both a critical and philosophical perspective, the book brings together the concrete study of literary cases and the conceptual analysis of the terms used in describing them. It uses examples drawn from a wide range of European literature and engages in philosophical discussion to argue for a richer and freer sense of the concept than was more commonly in favour at the time of writing. The book describes the literary forms of realism as an art of the 'middle distance' and sets out its character and value against alternatives and distortions - symbolism, naturalism, socialist realism, faits divers, and the literature of language consciousness. On Realism will appeal to those with an interest in literary history, the history of literary theory, and literature and philosophy.
Author: Bennie H. Reynolds III
Author: Bennie H. Reynolds III
Author: Allen Staley
Author: Olga Markus Kolumban
Author: Bennie Reynolds
Author: Mathias Keller
Author: Chris Brooks
Author: Roland N. Stromberg
Author: Ilona Sontag
Author: Mathias Keller
Author: J. P. Stern