The Testimony for Marcion's Gospel in NA28: Revisiting the Apparatus to Luke in the Light of Recent Research

2021 ◽  
Vol 68 (1) ◽  
pp. 52-60
Author(s):  
Dieter T. Roth
Keyword(s):  
Scholarly Work ◽  
The Third ◽  
The Past ◽  
Textual History ◽  
History Of

AbstractScholarly work on Luke has often noted the significance of Marcion's Gospel for understanding the textual history of the third canonical Gospel. It is not surprising, therefore, that in the past new insights into Marcion's Gospel have led to revisions in the apparatus of the highly influential Nestle-Aland Novum Testamentum Graece, now in its 28th edition. In view of the precedent for continually updating the Nestle-Aland text and apparatus, this article revisits the apparatus to Luke in the light of recent research on Marcion's Gospel in order to highlight problematic references that should be changed or removed in the apparatus of future Nestle-Aland editions.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

“Solidarity is Something you can Hold in your Hand”

2022 ◽  
pp. 1-25
Author(s):  
Torkil Lauesen
Keyword(s):  
Third World ◽  
Detailed Account ◽  
Popular Front ◽  
Global Context ◽  
The Third ◽  
The Past ◽  
The Future ◽  
History Of ◽  
The Third World ◽  
Support Work

Abstract This article tells the story of an organization based in Copenhagen, Denmark, which supported the Liberation struggle in the Third World from 1969 until April 1989. It focus on the support to the Popular Front for the Liberation of Palestine (pflp). The story is told in a historical and global context. The text explains the strategy and tactic behind the support-work. It explains how the different forms of solidarity work developed over two decades (for a more detailed account of the history of the group, see Kuhn, 2014). Finally, the article offers an evaluation of the past and a perspective on the future struggle for a socialist Palestine.

The Will of Cardinal Giordano Orsini (ob. 1438)

Traditio ◽  
1996 ◽  
Vol 51 ◽  
pp. 257-286 ◽  
Author(s):  
Christopher S. Celenza
Keyword(s):  
Fifteenth Century ◽  
Cultural History ◽  
Italian Renaissance ◽  
Short Introduction ◽  
Renaissance Humanism ◽  
The Third ◽  
Textual History ◽  
History Of ◽  
The Will ◽  
First Time

There are many still unstudied aspects of the cultural history of early Quattrocento Rome, especially if we consider the years before 1443, the date of the more or less permanent re-entry into the civitas aeterna of Pope Eugenius IV. The nexus between the still ephemeral papacy and the emerging intellectual movement of Italian Renaissance humanism is one of these aspects. It is hoped that this study will shed some light on this problem by presenting a document that has hitherto not been completely edited: the original will of Cardinal Giordano Orsini. As we shall see, this important witness to the fifteenth century provides valuable information on many fronts, even on the structure of the old basilica of Saint Peter. The short introduction is in three parts. The first has a discussion of the cardinal's cultural milieu with a focus on the only contemporary treatise specifically about curial culture, Lapo da Castiglionchio's De curiae commodis. The second part addresses the textual history of the will as well as some misconceptions which have surrounded it. The third part contains a discussion of the will itself, along with some preliminary observations about what can be learned from the critical edition of the text here presented for the first time.

Activities for Students: Estimating African Elephant Populations (Part 1)

2009 ◽  
Vol 102 (7) ◽  
pp. 534-539
Author(s):  
Sarah Quebec Fuentes
Keyword(s):  
Mathematics Classroom ◽  
African Elephant ◽  
Entire Area ◽  
The Third ◽  
The Past ◽  
Elephant Population ◽  
History Of ◽  
Representative Area

How many elephants remain in Africa? For a variety of environmental reasons, monitoring the population of elephants in Africa is extremely important. When attempting to estimate the size of an elephant population in a certain area, a researcher must make several decisions. Should the count be conducted from the air or from the ground? Should the elephants in the entire area be counted or only those in a representative area? Should only the elephants themselves be counted, or should signs of their presence—such as dung, tracks, and feeding evidence—be considered as well? Over the past four decades, the approaches used to count elephants have become more statistically refined. This twopart article, to be continued in next month's issue, will explore the mathematics of some of the methods used to count elephants and will present related activities for the mathematics classroom. In this part, we will provide a brief but pertinent history of the African elephant and then present two different methods of counting elephants. This activity may be used as an entire unit or as an application of a particular concept and may be incorporated into several courses. Algebra and geometry students will be able to handle the necessary mathematics. Although this activity informally exposes students to several statistical concepts, a sophisticated understanding of statistics is not required to complete the first two scenarios. The mathematics for the third scenario is more advanced, however; thus, it could be used in higher-level classes such as statistics and calculus. The tasks involved in all three scenarios encourage students to make connections between mathematics and other disciplines and touch on the various implications of mathematical decisions.

The Oxford Handbook of Aesthetics

2009 ◽  
Keyword(s):  
Recent Work ◽  
Aesthetic Experience ◽  
The Third ◽  
Extensive Survey ◽  
General Overview ◽  
The Past ◽  
The Arts ◽  
History Of ◽  
Theory Application ◽  
Music Film

The Oxford Handbook of Aesthetics looks at a fascinating theme in philosophy and the arts. Leading figures in the field contribute forty-eight articles which detail the theory, application, history, and future of philosophy and all branches of the arts. The first article of the book gives a general overview of the field of philosophical aesthetics in two parts: the first is a quick sketch of the lay of the land, and the second an account of five central problems over the past fifty years. The second article gives an extensive survey of recent work in the history of modern aesthetics, or aesthetic thought from the seventeenth to the mid-twentieth centuries. There are three main parts to the book. The first part comprises sections dealing with problems in aesthetics, such as expression, fiction or aesthetic experience, considered apart from any particular artform. The second part contains articles on problems in aesthetics as they arise in connection with particular artforms, such as music, film, or dance. The third part addresses relations between aesthetics and other fields of enquiry, and explores viewpoints or concerns complimentary to those prominent in mainstream analytical aesthetics.

scholarly journals Colombia’s elusive peace: perspectives for a peace process in Colombia

Criterios ◽  
2011 ◽  
Vol 4 (1) ◽  
pp. 199-229
Author(s):  
Farid Samir Benavides Vanegas
Keyword(s):  
Peace Process ◽  
Public Discussion ◽  
The Third ◽  
The Past ◽  
Peace Processes ◽  
Peace And Security ◽  
Political Conversation ◽  
History Of

Why the enthusiasm for peace faded? What are the perspectives for peace in Colombia? How peace came to be understood as the opposite to security? In this paper I want to make sense of the first two questions, leaving for another time the third one. But I would like to say, that peace and security are not opposites, for peace without security is unstable, and security without peace is authoritarian and undemocratic. In the first part of this paper I wish to show a brief history of past peace processes in Colombia in order to highlight the elements that have led to success or failure in the past. In the second part I focus on Andres Pastrana ́s peace process to show how it set the bases for the discredit peace processes currently have and then I analyze how peace became a dirty word in Colombia ́s political conversation and the possibilities of recovering peace as part of public discussion.

scholarly journals Il Museo di Storia Naturale dell'Università degli Studi di Firenze. Le collezioni antropologiche ed etnologiche / The Museum of Natural History of the University of Florence. The Anthropological and Ethnological Collections

2014 ◽  
Author(s):  
Jacopo Moggi Cecchi ◽  
Roscoe Stanyon
Keyword(s):  
Natural History ◽  
New Technology ◽  
History Museum ◽  
The Third ◽  
The Past ◽  
History Of ◽  
History Of The University ◽  
The Many ◽  
University Of Florence ◽  
The University

This volume is dedicated to the Anthropological and Ethnological section of the Natural History Museum. First the historical journey of the collections is traced from the antique nucleus of the Medici to the foundation of the National Museum of Anthropology and Ethnology, when Florence was the capitol of Italy, and the discipline of anthropology was born. The second part illustrates the multivariate collections from all over the globe. They are a precious record of the past and present biological and cultural diversity of our species opening wide horizons that rigorously connect science to the many faces of human culture, including art. The third section is dedicated to current research and opens new prospectives on the significance of ethnological and anthropological collections due to new technology and in light of a new appreciation of the museum as a living “zone of contact”.

The Latin third stem and its survival in Romance

2018 ◽  
Author(s):  
Martin Maiden
Keyword(s):  
Romance Languages ◽  
Past Participle ◽  
The Third ◽  
The Past ◽  
Word Forms ◽  
History Of ◽  
Definition Of

The implications of Aronoff’s classic example of a morphome—the Latin third stem—for the history of the Romance languages are considered; the third stem is shown to persist in Romance in the form of the past participle (also, in Romanian, in the supine) and to display truly ‘morphomic’ properties in diachrony. Some criticisms of the morphomic status of the third stem in Latin are reviewed. The significance of apparent counterexamples in Portuguese and elsewhere is considered. The diachronic data disclose a probably crucial distinction between derivational and inflexional domains in the definition of morphomic patterns. Such patterns reveal themselves as robust only within inflexional morphology, and it is suggested that perfect lexical identity between alternating word forms is crucial to the existence and persistence of morphomic patterns.

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