LIronie christique: Commentaire de lÉvangile selon Jean (Blanche) (French Edition)

Jean Grosjean

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La Reine de France, symbole et pouvoir.

Forme e contenuti dal Pastor Fido al dramma pastorale francese. Aevum 30 1, Avec les desseins, tant des machines et apparences differentes, que tous les habits des Masques. Eustathii archiepiscopi Thessalonicensis Commentarii ad Homeri Iliadem pertinentes ad fidem codicis Laurentiani editi. L Arme e gli amori. Les Amours d Armide, par P. La letteratura francese dal Rinascimento al Classicismo L Art du ballet de cour en France Paris: Un temps de splendeur. Torquato Tasso, par A.

Livraisons d Histoire de l Architecture 26 Stefano Pierguidi, Marco Ruffini. Laurent de La Hyre: Letteratura, musica, teatro, arti figurative, ed. Le petit journal des grands expositions Histoire de l Art 46 La Cour de France. La Gerusalemme Liberata, Ed. Danielle Haase-Dubosc, Eliane Vierdot. La France, les femmes et le pouvoir. L ombra del Tasso. Epica e romanzo nel Cinquecento. The hills stood out above its radiance, as Fiesole stands above the Tuscan plain, and the South Downs, if one chose, were the mountains of Carrara. She might be forgetting her Italy, but she was noticing more things in her England.

Forster, A Room with a View Alan Hollinghurst s second work of fiction, The Folding Star , like his other five published novels among which The Swimming-Pool Library and the Booker-prize winning Line of Beauty offers a reappropriation of former narratives, a rewriting of the canon see Letissier. In that respect, The Folding Star partakes of a palimpsest, as its paratext already makes clear. The main character and narrator, Edward Manners, is a disillusioned, thirty-three-year old, gay Englishman who settles in a Flemish city which remains unnamed but is reminiscent of Bruges to give private English classes.

There, he falls madly in love with seventeenyear-old Luc Altidore, one of his pupils. The central part of the novel, Underwoods, set in England, is an incursion into the past of the protagonist and a key component in the triptych that Hollinghurst s work pieces together. The Folding Star is also arguably the Hollinghurst novel that most references the visual arts: The plot sets in parallel the characters of late-twentieth century Edward, a reluctant English teacher and an aspiring writer, and late-nineteenth century fictional Belgian Symbolist painter Edgard Orst.

Hollinghurst himself acknowledged the debt to Bruges-la-Morte in a interview Pateman 17 and even wrote a preface for an English translation of Rodenbach s novel published in by Dedalus.

Both are dark tales of passion concerned with the duplication motif. In the novel, widower Hugues Viane takes refuge in Bruges, where he lives among the relics of his former wife and becomes obsessed with a dancer who bears a likeness to his dead spouse. Yet, if the debt that Hollinghurst s narrative owes to Bruges-la-Morte has already been explored see Stead , what has not sufficiently been stressed is the extent to which both works engage in a dialogue between text and image.

As Jean-Pierre Bertrand and Daniel Grojnowski underlined in their edition of Rodenbach s novel, Bruges-la-Morte is fundamentally based upon the relationship between the text and the thirty-five black-and-white photographic illustrations which initially accompanied it. Those illustrations, reproduced using a halftone engraving technique, form an intrinsic 2 The portrait of the Belgian visual artist in the Hollinghurst novel is partly based upon the life and works of Fernand Khnopff , who spent his childhood in Bruges.

According to my research, the first English translation of Bruges-la-Morte, by Thomas Duncan, dates back to Englishness through the Looking Glass: Another important visual component of the edition of Bruges-la-Morte is the frontispiece by Fernand Khnopff [fig. In The Folding Star, Hollinghurst reappropriates that visual dimension by repeatedly resorting to ekphrasis, literary descriptions of or commentaries on visual works of art, thus linking together text and image. Flammarion, In this article, I wish to explore a dual form of reappropriation in this article.

My aim is to explore the acts of intercultural and intermedial translation at work in Hollinghurst s novel, a 4 It is likely that Rodenbach was involved in the choice and positioning of the illustrations Edwards Many later editions unfortunately omitted the illustrations Rodenbach , introduction, 8. The edition of Bruges-la-Morte presenting a translation by Thomas Duncan only features three illustrations: Rodenbach s novel also inspired several artists, including Gustav-Adolf Mossa , a symbolist painter from Nice Bruges-la-Morte, watercolour, and German musician Erich Wolfgang Korngold who adapted it as an opera Die Tote Stadt, I will first look at the manner in which the experience of reading the two novels is akin to wandering in a picture-gallery, 5 or to visiting a museum hung with pictures which cast a shadow upon the text, like the tall towers of Bruges evoked by Rodenbach in his prefatory note Rodenbach , It will be argued that the reappropriation of Bruges-la-Morte in the photographic illustrations and in Hollinghurst s text is based upon the logic of metonymy, the selection of details.

Metonymies Rather like A. Housman laying claim to an imagined Shropshire while walking on Hampstead Heath, Rodenbach evoked the dead city where he had never lived from his Paris apartment. Alan Hollinghurst writes this in his introduction to Rodenbach s novel 14 , thus drawing a parallel between an English and a Belgian author and also suggesting that the novel paints a cityscape of Bruges from memory and imagination. The map of the Flemish city that Bruges-la-Morte and The Folding Star in its wake, draws is at once realistic and oneiric. Admittedly, such landmarks as the 5 The impression of musing in a picture gallery recalls Dorian Gray s strolling through the picture gallery of his country house in the eleventh chapter of Oscar Wilde s Picture of Dorian Gray.

The two novels open with an account of two of their main characters Edward Manners and Hugues Viane wandering in the town Rodenbach ; Rodenbach , 25; Hollinghurst 3 and later show the protagonists stalking their respective objects of desire Jane Scott and Luc Altidore through the streets Rodenbach , ; Rodenbach , ; Hollinghurst Yet, in both cases, the city comes out as uncanny, labyrinthine and unreal, acting as an objective correlative to the protagonists states of mind.

The idea of a dead, silted-up, out of time town is also articulated in The Folding Star: The thirty-five images, regularly interspersed in the text, represent the canals, quays, churches, buildings, streets, squares, and gates of Bruges and, at first sight, have a documentary, postcard-like quality. Yet the conspicuous absence of human figures, but for a few exceptions, 12 endows them with a ghostly quality. Yes, things have been a fraction on the dull side since about Some human figures can be made out in other illustrations for instance Rodenbach , 95, , , but they are very small and seem to be an irrelevant detail in the photographs.

Wandering through its streets is equated with visiting a picture-gallery. Significantly, the first part of Hollinghurst s novel is entitled Museum Days. Chapter 1 stages an emblematic scene, as Orst is mentioned for the first time; Edward visits the Town Museum, where he picks up Cherif, a Moroccan with whom he will have an affair: And one of these did extend a troubled greeting a woman with disordered red hair, ruby ear-rings, one breast uncovered: I stooped to read the printed title: Forster is a major influence on Hollinghurst, who wrote an M.

Hartley and Ronald Firbank. The topos of the picture-gallery points to a feature shared by Edward Manners, Edgard Orst and Hugues Viane, namely their compulsive taste for collection, which borders on fetishism and attests to their narcissism. The Faerie Queen or in Des caresses In the seventh chapter of Bruges-la-Morte, the reader is taken through a guided tour of Viane s private gallery, which only contains portraits of his dead wife Rodenbach , ; Rodenbach , It henceforth becomes a religious relic to be worshipped, in a parody of a Catholic ritual, and to be placed in parallel with the two reliquaries, that of St Ursula and that of the Holy Blood pictured in the illustrations Rodenbach , , [figs.

Both text and image point to a literalisation of the logic of metonymy at the core of Bruges-la-Morte, whereby a correspondence is established between the cut-off plait and the dead woman. This fetishism is ironically echoed in The Folding Star when Edward steals Luc s underpants or when he helps out his lover Matt, a shady character who makes a business of selling young men s dirty underwear to older men ready to spend a fortune on a sixth-former s Y-fronts or a really sweaty kind of yucky jock-strap Bruges-la-Morte and The Folding Star finally have in common a concern with visuality and scopophilia.

Theirs is also a flawed, partial or blurred vision. Edward s short-sightedness is repeatedly insisted on Hollinghurst 22, , as well as Orst s near-blindness because of syphilis , whilst Bruges-la-Morte finally underscores the main character s optical illusion consisting in seeing a likeness between his dead wife and the dancer Jane Scott Hugues was suffering. Day by day the dissimilarities were increasing. Both Edward and Hugues are narcissists, 16 as the pervasive presence of mirrors and reflecting surfaces in the novels testifies Rodenbach , 52, 53, 70, 16 In the novel, the windows of Edward s flat look onto the aptly named school of St.

The character later reflects on the figure of Narcissus, laying stress on the conflation of the Catholic saint and the Greek mythological character: I wasn t quite sure I got this Narcissus business: Luc, in the hagiological phase of our chat, had said that the saint was an early archbishop of Jerusalem, whose bones had been brought back by Godefroy de Bouillon from the crusade of But this plausible legend seemed to have been wilfully confounded with the pagan myth of the boy-flower.

Flammarion, , p [Reliquary of Saint Ursula] Figure 5: Flammarion, , p [Reliquary of the Holy Blood] ; Rodenbach , 25, 33, 56; Hollinghurst 11, 22, 59, 89, , , Gazing at The Folding Star through the looking glass of Bruges-la-Morte thus allows us to lay bare the various strategies of duplication and repetition upon which Hollinghurst s novel is based. Wilde, The Picture of Dorian Gray Doubles and Narcissi In chapter 6 of Bruges-la-Morte, Rodenbach develops a meditation upon what he calls the indefinable power of resemblance Rodenbach , ; Rodenbach , More generally, the novel hinges on the ideas of sameness and difference: Bruges-la-Morte is structured around two main analogies.

The first correspondence is between the city of Bruges and Viane s dead wife, introduced through a chiasmus: And his dead wife was Bruges. The two were united in a like destiny. It was Bruges-la-Morte, the dead town entombed in its stone quais, with the arteries of its canals cold once the great pulse of the sea had ceased beating in them, Rodenbach , 33]. The second analogy is between his dead wife and a dancer, Jane Scott, who, he initially thinks, is the exact likeness of his dead wife: The recent impression had fused with the old one, each reinforcing the other in a likeness which had almost come to give the illusion of a real presence, Rodenbach , 39].

The illusion of resemblance however gradually vanishes and the love affair between Viane and Jane turns into tragedy. The structure of The Folding Star similarly revolves around a series of chiasmi, parallels and doubling effects. Edward, the English would-be writer, settles in Belgium, while his nineteenth-century alter ego, Belgian artist Edgard Orst, travels to England and is repeatedly said to have been influenced by English art.

It turns out that Paul is, like Edward, cherishing the memories of his first homosexual encounter during World War 2 when, at the age of 17, he secretly met up with a German army officer, who would later be involved in Orst s death. Intersemiotic and Intercultural Dialogues in The Folding Star Alan Hollinghurst, and Bruges-la-Morte Georges Rodenbach, 65 Jane Byron whom he obsessively paints [see ] 19 in Marthe, a prostitute who is said to bear an uncanny likeness to the Scottish actress The scene of the encounter between Marthe and Orst is described in almost the same way as that between Viane and Jane Scott: He felt he was seeing an apparition, as if the image he had been painting over and over for the past twenty years had suddenly come to life come back to life, as it were.

Ce fut une secousse, une apparition. It was a jolt, an apparition. The same clash between night-dark eyes and the blazing noon of her hair. An almost frightening miracle of resemblance that went as far as identity. Rough Common is Edward s hometown, south of London, 21 bearing a metonymical name based on the expanse of open public land which is its main feature and which, over the years, has become a gay cruising area where the narrator-protagonist had his first sexual experience. The middle section of The Folding Star, Underwoods, is an elegiac interlude which evokes the memories of an allegedly pastoral adolescence and a first love that is tragically overshadowed by the experience of loss Lassen , namely the accidental death of Dawn, Edward s first lover.

Edward, like his Aunt Tina a British expatriate in Africa who wrote novels offering a topsy turvy, romanticised picture of the England she no longer lived in 46 rewrites England and his own past in the light of his present Belgian experience. I knew nothing of this country, to me it was a dream- Belgium, it was Allemonde, a kingdom of ruins and vanished pleasures, miracles and martyrdoms, corners where the light never shone.

Not many would recognise it, but some would. I seemed to have lost Luc in it He underlines the discrepancy between the obscure Symbolist refinement of Rodenbach s poetic prose and what he calls the illustrations of a Baedeker Rodenbach , This idea echoes the prejudices of earlier critics, such as Thomas Duncan, the first translator of Rodenbach s novel, who specifies in a note following his preface: The illustrations referred to in the foregiving preface have been, for the most part, omitted in this translation, as they do not appear to succeed in conveying the imaginative impression intended by Rodenbach Rodenbach , I would tend to disagree, for a number of reasons.

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First of all, these illustrations, which endlessly feature the same places and the same 21 Rough Common, like Stanmore Hill in Hollinghurst s The Stranger s Child, is also situated in Forster territory, namely suburbs that used to be rural before World War 1 and have now become part of Greater London. Intersemiotic and Intercultural Dialogues in The Folding Star Alan Hollinghurst, and Bruges-la-Morte Georges Rodenbach, 67 buildings the quai du Rosaire, for instance, onto which the windows of Hugues Viane s residence look, is pictured four times Rodenbach , 83, 94, , [figs ], with subtle variations of standpoints harmonize with the poetics of stasis that the narrative develops and with the reflection upon sameness that the novel offers.

The canals and their reflecting surfaces, a prominent feature in Bruges-la-Morte and its illustrations, are conspicuously absent from the topography of the Flemish city in which Hollinghurst sets the action of The Folding Star. My contention is that Hollinghurst treats the motif metaphorically and transposes it in the very writing strategy for which he has opted.

Just as the multiplicity of reflections in the still waters of the canal [fig. Transfers and Transpositions The Folding Star sometimes playfully blends languages, as, for instance, during a discussion between Edward and his friend Edie about the trio formed by Luc, Edward s paramour, and his two friends Patrick and Sibylle: It features a main character whose mother s tongue is Dutch 27, , , who can speak French and teaches English: For instance, the belfry 91 does not bear a close relationship with Viane s night at the theatre related in the chapter in which it is placed.

Flammarion, , p [Quai du Rosaire]. It is worth noticing that Rodenbach himself was in an in-between situation, being both a French-speaking Flemish as were the other members of the more privileged classes in Belgian Flanders at the time who drew upon Flemish culture in his works the description of the procession of the Holy Blood in the thirteenth chapter of Bruges-la-Morte, for instance and a Belgian who spent the last ten years of his life in Paris and whose poetics is described as being based on a to-and-fro movement between his native land and his adoptive country Rodenbach , introduction, Orst is said to have been famous in England 36 ; some of his works are exhibited in museums in the United Kingdom, such as in the British Museum and in the imaginary Corley-Cripps Museum in Eastbourne The novel also embeds a fictional article by an English journalist s recounting a visit to Orst s house in , and it emphasises the influence of English artists upon Orst s works.

As a boy, Orst was set the task of copying his grandfather s English watercolours before being allowed to paint Belgian landscapes He is also reported to have been influenced by and to have befriended Edward Burne-Jones This testifies to the extent to which Hollinghurst drew on anglophile Fernand Khnoppf s life and works to create the character of Orst. The discovery of Burne-Jones at the Paris exhibition was a key-element in the evolution of Fernand Khnopff s career: Mercure de France, ; Oscar Wilde. Oil on canvas x cm.

The oil on canvas by Khnopff ushers the viewer into a closed, oneiric world, juxtaposing and reassembling disconnected fragments a bust of Hypnos, the Greek god of sleep, a poppy, a charm dangling from a chain. The status of the rectangular frame to the right of the composition is ambiguous: The long-haired creature leaning against a blue surface recalls the recumbent Ophelia of the frontispiece for Bruges-la-Morte [fig.

This frontispiece, moreover, epitomises the 27 Khnopff also entitled a drawing from Who shall deliver me? For more details, see Cousseau. It first transposes the English theatrical heroine into a visual work of art, and, secondly, it places her against a backdrop which is clearly identifiable as Bruges, with canal, bridge and belfry in the distance.

Ostend is also the place where the novel ends, with Edward tracking down the missing Luc: Luc was waiting at Ostend, staring out to sea through salt-stippled glass. He gazed past me, as if in a truer kinship with the shiftless sea. A few late walkers passed us, and saw me vigilant in my huge unhappy overcoat; they didn t know if it was the charts of tides and sunsets I was studying, or the named photos of the disappeared. Luc has become a revenant forever condemned to haunt the seashore, a grey place akin to the funereal Bruges described by Rodenbach, 30 a liminal space, between Belgium and Britain Ostend is the harbour from which the ferries bound for Ramsgate leave , between life and death.

Chapter 6 expands on that colour: It is as if the frequent mists, the veiled light of the northern skies, the granite of the quais, the incessant rain, the rhythm of the bells had combined to influence the colour of the air; and also, in this aged town, the dead ashes of time, the dust from the hourglass of the years spreading its silent deposit over everything Rodenbach , 61 ]. It also reminds us of the function of photography as relic recalling the pictures of the reliquaries of St Ursula and of the Holy Blood in Bruges-la-Morte [figs. The notion of triptych may link together the different modes of reappropriation this article has tried to outline.

At the core of Hollinghurst s novel is the attempt to reassemble a triptych by Edgard Orst entitled Autrefois, dispersed during World War 2. This imaginary painting gives rise to an ekphrasis in the text The right-hand panel is a seascape and the larger central panel represents a deserted town. The form of the triptych points to Hollinghurst s own reappropriation of the Symbolists reappropriation of medieval altarpieces.

The imaginary painting also materialises both the rewriting of Bruges-la-Morte and the two-way relationship between text and image which, in Bruges-la-Morte and The Folding Star alike, mirror and complement each other. To shift metaphors, The Folding Star builds a large chamber of echoes, a melancholy symphony wherein text and image, Belgium and Britain, past and present, respond to each other.

Les Obsessions de Khnopff. La Chambre claire Camera Lucida Trans. Ode to Evening Web. Georges Khnopff ou la reconversion cosmopolite de l homme de lettres. Textyles [En ligne], Web. Le Symbolisme en Belgique. A Room with a View London: Penguin, Penguin Classics, Maurice London: Alan Hollinghurst s The Stranger s Child Le Secret de Bruges-la-Morte. Penguin, The Folding Star.

Chatto and Windus, The Line of Beauty. Picador, Bruges of sighs. The Guardian 29 January Web. The Stranger s Child. Goodbye to Berlin The Berlin Novels. Deborah Esch and Jonathan Warren. Alan Hollinghurst and the Vitality of Influence. New Versions of the Pastoral. Postromantic, Modern and Contemporary Responses to the Tradition. David James and Philip Tew. Queer, Quaint and Camp: Tel qu en songe. Jean-Pierre Bertrand and Daniel Grojnowski. Studies in Transpositional Aesthetics. Shirley Stew and Alistair Stead. The Picture of Dorian Gray Ed.

Norton, The Sphinx Complete Works. Charcoal and red chalk, heightened with white, on blue-grey paper x Triptych composed of Solitude central panel, charcoal and white chalk on paper, , x44 cm, Neumann Collection, Gingins, Switzerland , Acrasia left-hand panel, charcoal and white chalk on paper, , x43 cm, private collection and Britomart righthand panel, pastel and white chalk on canvas, , x43 cm, private collection.

Oil on canvas x45 cm. Pencil heightened with white x15 cm. Crayon and charcoal on paper. Oil on canvas x This, however, was a complex phenomenon Silver illuminatingly analyzes, placing it in its multi-layered bibliographical and cultural context. Readers became increasingly interested in Woolf s private life at a moment when intimate documents were made available after a biography was published in by her nephew Quentin Bell, under the guidance of Leonard Woolf, Virginia Woolf: The first volume of her letters, edited by Nigel Nicolson and Joanne Trautmann, The Letters of Virginia Woolf, was published in , and the first volume of her diary, edited by Anne Olivier Bell, Quentin s wife, in This was the first of five volumes, the last published in , editing Virginia Woolf s complete diary, giving access to much more intimate or contentious entries than the selection edited by Leonard Woolf in , A Writer s Diary, which focused on her intellectual life as a reader and a writer.

This glimpse of her privacy, not just as a writer but as a woman too, radically altered her perception by academics as well as by the common reader. There was a renewed interest in the arts and politics of the Bloomsbury Group, of which she was a leading light, at once an excentric genius and the quintessence of the Bohemian. At a moment when the education of women was developing and fear of feminism growing, Women s Studies also cristalized on British, born into the intellectual aristocracy, Virginia Woolf who represents par excellence the rentier class identified with European cultural systems Silver 52 because she allowed American academics to oppose themselves to European and British Academia.

As Virginia Woolf was making her way into the Western, male canon and the American, feminist university, her figure became ubiquitous in world popular culture, overshadowing Shakespeare on t-shirts and mugs her face even selling Brass Beer. It thus appears that Virginia Woolf has long been constructed as cultural shifter, one that both constructs cultural boundaries, or rather takes both actively and passively part in the cultural battles of the brows Silver 36 , and defies them: Part of her complexity arises from her residency at the borders between long-established dualisms, for example, those of mind and body, powerful and female, the voice of high culture and popular culture.

Doing so, Woolf emblemizes not one side or the other but the possibility of dwelling on both or all sides and, as a result, the possibility of disrupting familiar categories and boundaries. Stimpson xii Such everywhereness, from top to bottom of the scale of cultural values, is what Brenda Silver has called the versioning of Virginia Woolf, a marketing term that refers to the offer of wide range of products declined into higher- to lower-value models. It is with such versioning of Virginia Woolf the production of multiple versions of her texts and her image Silver xvi in mind, that I would like to look at Caroline Picard s graphic adaptation of her first novel, The Voyage Out , which was published in the third and final volume of an anthology of world literature edited by Russ Kick, The Graphic Canon.

The word anthology is: Virginia Woolf for the Common Comics Reader: The very format of an anthology prompts canon formation [ ]. Anthologies convey the notion of evolution the succession of literary movements and hierarchy the recognition of masterpieces. They create and reform canons, establish literary reputations, and help institutionalize the national culture, which they reflect.

Mujica The Graphic Canon sets out to constitute World literature and not national culture, which shows how anthologies adapt to new cultural values. Rooted in concepts of ownership from Latin appropriatus, made one s own , the term conceives of Shakespeare as a kind of property to which groups claim control. The term springs from Marxist analysis and retains the connotation that this struggle to claim Shakespeare is contentious, a matter of a weaker party wrestling something of value from unwilling or hostile hands.

As in all anthologies, the selection of authors, works and extracts in the Canon mirrors what the editor and adapters would have us read and see in them, reflecting a particular moment of cultural appropriation and reshaping up to the point, perhaps, of adulteration, manipulation or contradiction. However the purpose of this essay is not to point to deviation or disparity and analyze variations from the sourcetext.

I agree with Thomas Leitch that one of the quandaries of Adaptation Studies is that they are still haunted by the notion that adaptations ought to be faithful to their ostensible sourcetexts, overlooking the fact that any text is essentially bathed in Bakhtinian intertextuality 64, This essay, then, will try not to wrestle with the un-dead spirits that continue to haunt it however often they are repudiated: Looking at an extract, when adaptation studies usually deal with self-contained works, probably helps 2 It does not position itself in relation to the theoretical frame of world literature as articulated in Damrosch.

This, however, poses the question of the delimitation of the sourcetext. How does the graphic medium, itself torn between highbrow and mass culture, appropriate the first novel of the Queen of Bloomsbury? What text does the adapter appropriate? Is it merely the extract or is the passage cleverly selected to epitomize the entire sourcetext?

Does it echo other works by Woolf? If the graphic adaptation implies a shift from highbrow to lowbrow, does it necessarily do away with references to high culture? These are typical questions when dealing with transmedia adaptation, but it seems to me revealing to look at them from the unusal angle of the adaptation of an extract in the specific editorial and commercial context of an anthology. This essay will show in what way The Graphic Canon may be read as cultural battlefield between the highbrow and the popular. Then, it will propose a reading of Caroline Picard s Voyage Out within the series of adaptations of female authors in the graphic anthology.

Finally, it will show that this embodies a new form a feminism and produces a new versioning of Virginia Woolf. The World s Great Literature as Comics and Visuals engages with the canon, and therefore with cultural value and hierarchy, in two ways. First, it seeks to legitimize the graphic medium in combining it with long-acclaimed literary masterpieces, as underlined in reviews: It both establishes an alternate literary canon and forms a new graphic canon, inviting budding artists, and even amateurs, 3 alongside well-established ones: Julie Sanders s remark that: Caroline Picard s Appropriation of The Voyage Out in The Graphic Canon 3 81 Second, it seeks to decompartmentalize cultural categories and markets, by bringing the literary canon to the popular readership of comic books.

Gulliver s Travels, Wuthering Heights, Leaves of Grass these works of literature do not reside just on the shelves of academia; they flourish in the eye of our imagination, Weatherwax producing a must-buy for all academic libraries, many public libraries, and many high schools Cornog. Here you will discover that literature can be hilarious or that: Work that might normally put you to sleep will leave you awe-struck Weatherwax. That remark is about William Blake s Jerusalem, which is illustrated by reproductions of Blake s own colour plates, so that the value opposition literature boring vs.

This fantasized antagonism might stem from another misrepresentation, that of two radically different readerships, the highbrow readers of the boring literary canon never leafing through a comic book and the mass readers of comics, if, as the Guardian has it: But is that really so? As Stuart Hall points out, the category popular culture is constructed against the culturally, morally and economically dubious category not of the people Furthermore, it presupposes fixed cultural values and groups, whereas: It is a conception of culture which is polarised around this cultural dialectic.

It treats the domain of cultural forms and activities as constantly changing field. Then it looks at the relations which constantly structure this field into dominant and subordinate formations. It looks at the process by which these relations of dominance and subordination are articulated. It treats them as process; the process by means of which some things are actively preferred so that others can be dethroned.

It has at its centre the changing and uneven relations of force which define the field of culture that is, the question of cultural struggle and its many forms. If what is at stake here is cultural and political rather than aesthetic, since what the concept of appropriation stresses is above all, the motivation of the appropriation: Such ambivalence, it could be said, is what defines The Graphic Canon 3 as a cultural object, a constant confrontation of values, in Hall s terms: A battlefield where no oncefor-all victories are obtained but where there are always strategic positions to be won and lost What matters for me in Russ Kick s countercanon is that, like any anthology, it manifests a political agenda.

He had published Psychotropedia: A Guide to Publications on the Periphery in , an attack on the hierarchy of information that promotes popular sources of information such as fanzines and blogs. The Graphic Canon presents itself as a space for poetical justice where the wrongs of literary history are righted and disregarded authors integrated into the canon. Kate Chopin is thus adapted in full alongside James Joyce s Ulysses, widely considered the greatest, most important novel of the twentieth century, because if The Awakening is now recognized as a classic [ ] Chopin has never quite gotten the recognition she deserves Kick , What is Virginia Woolf s place in Russ Kick s new canon?

Is she closer to Chopin or Joyce? What is at stake in the choice of The Voyage Out as the appropriate sourcetext for this anthology? In what way does The Graphic Canon appropriate it, and what image, or version, of Virginia Woolf does it disseminate in return? However, a woman author s place in the canon is always controversial and peripheral at best, as illustrated in the publication of a Norton Anthology of Literature by Women in to sidestep the accusations of male-centredness repeatedly leveled at the Norton Anthology of English Literature.

The Norton Anthology is a case in point because it presents itself as the expression of the canon. In the first edition, in , Virginia Woolf appeared in a section entitled Directions in Modern Fiction. In the second edition in , that section disappeared and Woolf and Conrad joined the Twentieth Century section.

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This is in stark contrast to the selection of works by James Joyce. While James Joyce s position as a canonical novelist has been clear and stable from the first edition, Virginia Woolf s categorization has been more uncertain and changeable as well as more complex: The Graphic Canon 3 contains two adaptations of Joyce s Ulysses, one on-going hypertextual adaptation by Robert Berry and Josh Levitas which is expected to take them 10 years to complete, and one minicomic by David Lasky which condenses the whole novel into 36 panels abridged to 7 pages here.

Araby from Dubliners is there too. This selection is very much in keeping with Norton s, while the selection of two novels by Woolf has nothing in common with the Norton Anthology. It may be read as a political gesture to show that Woolf s fiction is as canonical as that of Joyce.

To the Lighthouse, her fifth novel which sold so well that it bought her a car and which is listed in Time s best English-language novels published since it also gives Three Panel Reviews of A Room with a View 65 , 5 The Catcher in the Rye , Lady Chatterley s Lover , and Death in Venice It is Woolf s first novel, however, that becomes a ten-page adaptation by Caroline Picard. Like Joyce s Araby, The Voyage Out is an early work dealing with youth, its frustrations, alienation and aspirations.

However, Mark Wollaeger has shown that it allows for a more political reading, not unlike that of Conrad s Heart of Darkness, which was published in and, precisely, opens The Graphic Canon 3. Kick sees it as the perfect landmark of a new literary era: Volume 3 of The Graphic Canon is all about the twentieth century, and Heart of Darkness is the perfect way to start: He also emphasizes the poetical complexity of the novel, illustrated by Matt Kish page by 5 See.

The work he produced is complex, layered and ambiguous, leading to numerous interpretations and endless debate. Although it deals with atrocities, it s not straightforward tut-tutting 2. Wollaeger believes Conrad s novel has haunted [Woolf s] first novel from its inception, providing, among other things, a model for the journey upriver that effectively initiates and ends Rachel s marriage plot and bec[omes] a nodal point for Woolf s troubled yet productive relation to masculine power in The Voyage Out 45, 46, The dominant theme of the novel is Rachel s self-discovery, and it is this exploration of the self which is the strongest link between The Voyage Out and Heart of Darkness Pitt Rosemary Pitt also underlines that: One standard reading of Rachel s death sees it as an expression of Woolf s fear of heterosexuality: Rachel s marriage to Terence cannot be consummated in Woolf s imagination litterally, she would rather Rachel be dead.

But I would argue that the really deadly snake is bourgeois marriage rather than heterosexuality per se DeKoven Virginia Woolf started experimenting with form and plot, helping lead the way to Modernism Kick However, Caroline Picard s graphic adaptation seems to contradict Kick s slightly low-key presentation of the novel, as it celebrates Woolf s watery imagery, the fluidity of her writing, her experiments with focalization, feminine consciousness, and dream-states. The Voyage Out, however, is not part of the Woolfian Modernist canon.

It is deemed too close to the tradition of romance, the Bildungsroman, and Jane Austen, as the presentation reminds us: At the center of this bleak take on life is Rachel, who s led an extraordinarily sheltered existence in England. Her Aunt Helen tries to educate her about the ways of the world, especially love Kick The novel s interest precisely 6 Wollaeger s analysis occasionally relies on unconvincing biographical conjectures. But the selected extract ignores that political and poetical shift to focus on the self-discovery structure. In the extract, Rachel, a woman in her early twenties traveling from London to South America with her father, uncle and Aunt Helen, receives her first kiss from a married man, Richard Dalloway.

Picard shows Rachel s confusion and the way she comes to draw a lesson from it, under the guidance of Helen: I can be m m myself? In spite of you, in spite of the Dalloways and Mr. The Graphic Canon Reproduced by permission of the artist. Both Caroline Picard s extract selection and Kick s presentation of Woolf s first novel screen out the political reverberations that allow a critical dialogue between Heart of Darkness and The Voyage Out. Their stance and choices make it difficult for the common comics reader to see that, like Conrad s tale, it functions as a bridge Kick 2 between twentieth century literature and earlier literary traditions.

However, that misreading is productive, as it allows Caroline Picard and The Graphic Canon 3 to shape a new version of Virginia Woolf s text that is relevant to our contemporary cultural tastes and needs, or what Picard and Kick either consciously or unconsciously sense them to be. Woolf s feminist standpoint in The Voyage Out is very much like that illustrated in Kate Chopin s The Awakening, which, in Kick s words, tells of Edna Pontellier, who is dissatisfied and upset with her roles as wife to a dickish husband and as mother of two children. She expands her vistas in various ways, including welcoming the attentions of a certain charmer However, the story, as visually interpreted by Migdal, loses some of its political force.

Edna s two sons are mentioned once, when her father takes them with him and she remains in a happy state of solitude Migdal 21 , but in the sourcetext she feels alienated by her children and rejects her prescribed role as a mother, just as she decides to no longer live with her husband. In Migdal s adaptation, even though her husband clearly stands for conformity and social conventions, her despair stems primarily from her love for Robert.

For instance, after he runs to Mexico, Edna fails to receive calls on Tuesday, and when blamed by her husband People don t do such things , her unconventional attitude is accounted for by her unhappy passion: Robert s going away had taken the meaning out of everything The psychological is highlighted at the expense of the political, and Edna even seems possessed when she declares that: There must be spirits abroad tonight, and he answers: One of them has found Mrs. Perhaps he will never wholly release her from his spell Consequently, through selection, Edna s story is no longer paradigmatic of the married woman s condition.

The visual version downplays the fact that Edna commits suicide not so much because Robert has left her to preserve her honour, but because society compels her to be either a dutiful wife and mother or an isolated outcast, and leaves her no option if she wants to be neither. Caroline Picard s Appropriation of The Voyage Out in The Graphic Canon 3 87 This representation of marriage as a social trap is very much what Rachel fears, and both adaptations tone it down, although Russ Kick, Rebecca Migdal and Caroline Picard all explicitly propose a feminist updating of the canon.

This makes The Graphic Canon a readable cultural battelfield, one where different conceptions of feminism, feminine discourse, and a feminist agenda are confronted.

It reminds us that we tend to think of cultural forms as whole and coherent: Whereas they are deeply contradictory; they lay on contradictions, especially when they function in the domain of the popular Hall Barbara Mujica s statements about anthologies of Spanish literature, that a writer s entry into the canon reflects above all else his or her conformity with the ideals of the dominant political and intellectual elite, and that anthologies tell us as much about the cultures that produce them as about the writers they showcase , , are convincing insofar as we remember that culture is a dynamic battlefield.

The Graphic Canon 3 operates as a progressive force attempting to update the canon, to make it right, more inclusive and, at the same time, it is a conservative force that unquestioningly assumes that women s literature tells stories about women, a rearguard conception that has long been associated with popular culture. Feminist theory argues that women are excluded from the serious aspects of culture, probably because of the age-old but persistent division between a feminized object-language and a masculine metalanguage Morris In that perspective, readers of The Graphic Canon 3 might find themselves in the same position as Meaghan Morris looking in vain for feminist theory in Postmodern theory: BSide BMovie, she writes: This comic tells the story of a material-girl gang that travels through time performing bank heists.

They live in the future, at the end of time and even live past the final apocalypse, at which point they merge into one chubby sphynx cat. There is more to it, I suppose, but the concept began when I tried to imagine what the world would be like if female arousal punctuated public space. And because I wanted to make a fem-bmovie in comic form Meosers. In the first volume of The Graphic Canon, she illustrated an Incan play, Apu Ollantay, because she loves Incan design and liked the feminist stance of the play: There are a number of strong female protagonists in the play, at the center of which lies Cosi Cuyllur, the princess, who has decided to go against her father s wishes and sleep with a husband she chooses for herself Contributor Interview.

What does Picard s adaptation of Woolf as we read it within The Canon tell us about the cultural evolution of feminism, and what version of it is largely acceptable at this very moment for a specific market? The question of feminism: Appropriating The Voyage Out and versioning Virginia Woolf The Graphic Canon proposes to include all marginalized literature, as Kick s enumeration of gender, colour and Western places in the Preface suggests: We have two men who seem quintessentially nineteenth century, but keep going well into the twentieth: Wells and Rudyard Kipling.

Then it s onto the Modernists, lots of them. Which of course leads us to the Postmodernists. The Beats are here. As well as Orwell, Nabokov, and Steinbeck. Black Elk, Khalil Gibran, Herman Hesse and Aldous Huxley provide much-needed doses of spirituality in the often bleak landscape of twentieth-century lit.

Magical Realism, Existentialism, jazz, Southern Gothic, avant-garde science-fiction, hard-boiled detective fiction, war poetry, theoretical physics all this and more appear in these pages. It sure is goin to be a whole lot tougher in hell now! Kick deems Nin important as a pioneering female writer of erotic literature and as an explorer of the diary genre, as she herself analyzed: The diary taught me that there were no neat ends to novels, no neat denouement,.

So I began an endless novel, a novel in which the climaxes consisted of discoveries in awareness, each step in awareness becoming a stage in the growth like the layers in trees Kick In The Graphic Canon 3, female empowerment is achieved mostly through sexual themes. Drawing the variations of female intimacy, and the female fear of sexuality, expressed in both Heart of Darkness and The Voyage Out through water images, 9 was an incentive for Caroline Picard as she decided to illustrate Virginia Woolf s novel: Plus I got to play around a lot with underwater sea creature motifs, as these shadowy, peripheral fears of sexuality for instance, when Rachel is trying to talk about what happened between her and Mr.

Dalloway to another, older friend. What I especially loved was the way Woolf s characters are kind of blase about the whole thing. Contributor Interview The overcoming of that fear through sisterhood is in keeping with The Graphic Canon s feminist commitment, somehow boiled down to a focus on women searching for identity and independence 13 , as Kick sums up Chopin s perspective in this light, Picard s misrepresentation of Helen as a friend and not an aunt is interesting. Such consensual political stance is deemed typical of popular culture and anthologies, in particular in relation to genre, as illustrated in Barbara Pace s pithy description of such editions: The textbook canon 10 does not affirm differences of opinion or lifestyle.

It whitewashes any issues of life in the United States and thus makes controversy seem unamerican, a dangerous practice in a nation where free speech and debate provide fire to impassion the electorate. It also anchors the notion that those who are different had better be quiet, that those who are angry have no constructive outlet.

Cornog somehow contradict the feminist bias he puts forward? However this may be, it seems to me that Picard goes beyond the production of a 9 In her chapter entitled Vaginal Passages, DeKoven argues that the main connection between Heart of Darkness and The Voyage Out is the water imagery and its sexual connotations. First, I examined five commonly used US literature anthologies from major publishers: Next I compiled a textbook canon by listing authors whose works appeared in three of the five books.

When patterns of genre emerged, I grouped works according to genre. Finally I considered how this canon presents people of color and women, as characters and as writers. First, it points to the historicity of perception and reception through interpicturality. It thus renders the transfer from highbrow to middlebrow culture more complex than first meets the eye, as it highlights the artificiality of the great narrative imposed on literature and its canon Lerer Picard creates a sequence of self-contained imbricated shapes, creating a tension between frames and organic growth, which allows for a temporal reading, as though the eye there are many eyes in the drawings were led through temporal depths.

Picard s manner itself is a palimpsest of the history of graphic styles. The hairstyles and clothes of the vividly sketched figures are very s, as are the decorative elements inspired by Art Nouveau design. This is evocative of the time when The Voyage Out was published. Interpicturality selfreflexively shows that we read the world through pre-existing pictures in a never-ending negociation of cultural gaps and shifts. For instance, when Rachel asks Helen about those women in Piccadilly Picard The Voyage Out , the silhouettes of the prostitutes are redolent of posters by Toulouse Lautrec.

The opposite page, however, brings to mind the s psychedelic posters, especially those of Wes Wilson, with their graphic use of typography. These rock posters were themselves palimpsests, redesigning Art Nouveau artists, Aubrey Beardsley or Alfons Mucha in particular, in a rebel attempt to revamp the pictorial canon and shatter cultural hierarchies.

Interestingly, the resemblance of the fullpage format with posters calls attention to the shift of values negociated by the graphic medium, itself drawn between highbrow culture and the mass market. As pop appropriation of highbrow culture, Caroline Picard s adaptation of The Voyage Out self-reflexively draws from culturally hybrid pre-existing images that themselves negotiated tensions between cultural values and shifted the boundaries between what is proper and what is not.

As it appears, popular culture does not shy away from highbrow references how could it, it defines itself in relation with it. It plays on their value reverberation and historicity there is nothing shocking in Lautrec s representation of prostitutes today as they are sported on tote-bags and on the complicity their familiarity establishes with certain readers.

Caroline Picard s Appropriation of The Voyage Out in The Graphic Canon 3 91 Second, it shapes a new version of The Voyage Out through a new versioning of Virginia Woolf herself, from self-proclaimed outsider to positive role model based on the woman as much as on her texts. Any reader who has remotely heard of the Bloomsbury Group will see Picard s Rachel in the extract, the young woman kissed without her consent, as a fictional double of Virginia herself, who was molested by her step-brother as a young girl, Gerald Duckworth who published The Voyage Out and who was only able to confess it two years before she died, in A Sketch of the Past.

Any reader more familiar with the massive material about her life will probably see Virginia the unconventional woman, getting too close to her sister s husband, art critic Clive Bell, after their first child was born. That Caroline Picard should give a visual quote of her sister Vanessa s lifetime companion, painter Duncan Grant, seems to legitimize such biographical reading of Picard s appropriation of the image of Virginia herself. A full-page drawing [fig. The virgin preyed on by the Victorian male 16 and the flirt are postures that partake to the Woolf mystique.

These female stereotypes also take us back to Edna Pontellier s dilemma, Rachel s first kiss, and, more generally, to the double bind of female sexuality, as summed up by another female figure in The Singing-Woman from the Wood s Edge, a Modernist poem by Edna St. This control of female sexuality by a stifling patriarchal society is the major theme unifying women s narratives in The Graphic Canon 3. In Mardou s Diaries, Nin also proclaims: I m a virgin-whore. I intend to follow every impulse Frakes selects five chapters from Edith Wharton s The Age of Innocence that show how manipulative, innocent-looking May Welland instrumentalizes that system to repeatedly trap Newland Archer into a loveless marriage.

Molly Kiely illustrates her Blood and Guts in High School, which tells of Janey, a girl who has a series of sexual relationships with her father, gang members, a Persian slave trader, and the French writer Jean Genet, among many, many others, before dying of cancer at the age of fourteen. Kick Of course female writers present in the anthology are not the only ones who deal with sexuality, marriage or feelings; so do Rain by Lance Tooks after Somerset Maugham or Lady Chatterley s Lover by Lisa Brown after D.

Lawrence, to name a few. However, as a series, these adaptations of literary works by female authors make sense and reveal cultural stances or premises. First, women write stories, and mostly about themselves, since they are especially interested in self-discovery the only notable exception is Jeremy Eaton s adaptation of The Heart of the Park by Flannery O Connor. See Picard, Smells like a movie star. Why can t I just write a novel? Second, texts by women have been selected for their exemplary value. This shows in many presentations of female writers by Kick. Sylvia Plath s The Bell Jar, of which Ellen Lindner gives a one-page illustration, [l]argely autobiographical, albeit with a hopeful ending, [has] become a touchstone for young women who feel ill-at-ease in the world The Voyage Out is made to illustrate a moment of self-knowledge and empowerment, one of female education: Her aunt Helen tries to educate her about the ways of the world, especially love In the end, the ultimate figure of empowerment in The Graphic Canon is that of the women writers themselves, Kick suggesting metonymical shifts from work to author: Colette is noteworthy because she has left her scandalous mark , and Acker is presented as the ultimate ousider female artist: She and her work are just too untamable and confrontational, her techniques too experimental and personal for the literati.

Still, through sheer, raw power, she created outside classics of Postmodernism. The Graphic Canon 3, then, is not without a few contradictions. For instance, Kick includes Gabriela Mistral, a Chilean poetess who, he points out with a frown, even in her native country [Chile], [ ] has been watered down to make her safe for consumption The single-page illustration of her poem The Dancer, part of a cluster of poems called Crazy Women Locas Mujeres , by Andrea Arroyo is nevertheless a good example of watering down.

As Julie Sanders shows, the effort to write a history of adaptation necessarily transmutes at various points into a history of critical theory Adaptation is frequently involved in offering commentary on a sourcetext. This is achieved most often by offering a revised point of view from the original, adding hypothetical motivation, or voicing the silenced and marginalized. Yet adaptation can also constitute a simpler attempt to make texts relevant or easily comprehensible to new audiences and readerships via the process of proximation and updating.

Sanders The stories adapted from female writers in The Graphic Canon 3 are feminist mostly in that they are about empowerment, liberation and self-discovery. They propose positive role-models for young female readers, a trend which probably ought to be put in relation with the fact that the market of self-help books is flourishing today. Reading Caroline Picard s adaptation of Virginia Woolf s The Voyage Out as part of an anthology shaping an alternative canon has shown that, although it may be considered that adaptation is an inherently conservative genre Sanders 9 that whitewashes Pace 38 its sourcetexts, such conservatism is also ran though by contradictory forces, that adaptation looks both backward and forward.

First, it historicizes our reception of it by turning it into a graphic palimpsest, in the process reasserting that the values projected onto art works evolve in time. Second, it shapes a new version of Woolf our contemporary which reflects a particular moment in the history of her appropriation by the market and illustrates the tensions inherent to a massified feminism. The extract selected ignores the ironical political statement of Woolf s novel to adapt a generally circulated cultural memory Ellis 3, qtd Sanders 25 not of that novel The Voyage Out is not one of those novels anybody could say a few words about even though they might never have opened it like, say, Mrs Dalloway not even other novels by Virginia Woolf, but rather Virginia Woolf herself.

Picard allows us to grasp a new version of Woolf such as she is appropriated by popular culture today. She has long been a feminist icon Silver but her new versioning illustrates the contemporary need for a popular feminist discourse that proposes concrete, inspiring female figures. Like Helen, who, in the extract, guides Rachel without any hint that she might also manipulate her, Virginia Woolf, or rather her generally circulated cultural memory, is rewamped as a self-help role model.

The ambiguities of sexuality Virginia Woolf is usually associated with are wiped out, as Rachel seems to definitly overcome her fear of sexuality, visualized as sea monsters.

I n t e r fa c e s I m a g e T e x t e L a n g u a g e - PDF

What allows this revamping is an identification process brought to light by Lanier about the adaptations of Shakespeare s works, namely how popular audiences use popular culture. Caroline Picard s Appropriation of The Voyage Out in The Graphic Canon 3 95 as raw material to make meaning in their own lives, uses often contradictory to those for which the works were originally designed in a way that is best exemplified by the phenomenon of fans 7.

The Virginia Woolf Icon has grown even more independent of her published works, Academia, and popularization academic literary biographies, as it became familiar, and fans now identify with her globally. The Study of Textuel Crticism: La critica testuale e l'edizione critica del Nuovo Testamento en italien: BA de critique textuelle. The Study of Textual Criticism: The Brethren of the Lord - J. The Development of the Canon of the New Testament. Greek in a Nutshell. The art of Papyrus Making - La fabrication d'un papyrus.

Comment la Bible nous est parvenue: Lightfoot sur la transmission des Ecritures. First published SPCK First published Oxford University Press First published by Collin's Bien suivre les instructions! Hemmer, Lejay, Oger et al. Early Christian Fathers par Cyril C. Ante-Nicene Fathers, par A. Volume 10 - Original Supplement to the American Edition. Migne , 2 vol. The Online Critical Pseudepigrapha: First and Second Book of Adam and Eve: Les livres apocryphes par Neil R.

Comment ils en sont sortis. The Apocryphal New Testament: Introduction to the Apocrypha, B. Pourtant les travaux scientifiques en histoire font une impasse notoire sur la chronologie. Et surtout qu'ils permettront la naissance d'une chronologie scientifique en France et dans le monde. New Bible Atlas John H. Nazareth, Babylon, Laodicea, Ephesus Conrdance NT entre 1 et Concordance AT entre 1 et Hitchcock's Bible Names Dictionary.

American Tract Society Bible Dictionary. Synonym of the New Testament - Richard Trench. Glossaire de l'Eglise catholique. Coup d'oeil rapide non exhaustif: Cette remarque me suffit pour m'en faire une opinion: Ici au format iSilo! Nouveau Testament uniquement pour l'instant , avec ses notes. En tous les cas, un travail magistral. Ici au format html. Christian Classics Ethereal Library, , v1. Avec accent anglais, c'est le moins qu'on puisse dire Matthieu , Marc , Luc et Jean. De nombreux fichiers audio. Moi je les trouve excellents.

Certains livres du NT ont des notes. Elle emploie Yahweh pour le nom divin. Cependant, dans son introduction, J. The New Simplified Bible is unitarian, monotheistic one God biased. It is the position of the New Simplified Bible, that God is unitarian in nature in that He is a single spirit being. The doctrine of the Trinity was established by the Roman Catholic Church in the fourth century after Christ. After the Reformation the Protestant churches continued to teach about this mysterious Trinity.

It is not a part of the origional teachings of the Holy Scriptures and therefore should not be considered when translating from the origional language. Delforge , La Bible en France et dans la francophonie: Soucieux de fournir aux francophones un texte bien meilleur, il entreprend la traduction du Pentateuque. Ouvrage complet de Alfred Edersheim, M. The Works of Flavius Josephus transl. An Arabic version of the Testimonium Flavianum and its implications. Jerusalem, Israel Academy of Sciences and Humanities, In the Loeb Classical Library.

Harvard University Press, An Exploration , par E. Cet ouvrage traite des questions suivantes: Ce sont les deux premiers chapitres d'un ouvrage plus complet sur les versions de la Bible. Pour chaque livre biblique, il y a le texte et de nombreux liens vers des commentaires. Ouvrage complet, par by Sir Frederic Kenyon. Le fameux passage de Gn 6: C'est en quelque sorte un requiem en faveur du dialogue interreligieux.

Le christianisme est comme un grand fleuve grossi et nourri de multiples affluents. L'essai est donc tumultueux lui aussi, un peu comme Hislop, Les Deux Babylones. Gesenius ou ici en un seul fichier PDFp. Quels en sont les auteurs? Bauer en allemand: With an appendix, By George E. Ici les Confessions en latin avec commentaire. Baal and Yahweh in the Old Testament: Voir le Dictionnaire du copte de W.

The Gospel of St. John according to the earliest Coptic Manuscript. The Religion of Babylonia and Assyria. Rhetorical criticism and Zechariah: Remarks on the Use of the Definite Article in the Greek Text of the New Testament containing many new proofs of the divinity of the Christ from passages which are wrongly translated in common english versions. Il y a comme cela de nombreux passages, et d'autres sont plus ambigus: Les plus signifiants sont Tite 2: Bibliographie sur le sujet: Baker, Granville Sharp's rule: Semantics and Significance" Ph. A Reexamination of the Granville Sharp Rule ou word.

Ed Komoszewski , Th. Wallace, who accepts Sharp's rule as having some validity , has this to say about the man whose name it bears: He noticed further that this rule applied in several texts to the deity of Jesus Christ" Wallace, page Daniel Wallace however demonstrated that the claim of this rule is too broad.

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Instead, a phrase that follows the form aticle-noun-"and"-noun, when the nouns involved are plurals, can involve two entirely distinct groups, two overlapping groups, two groups of which is one a subset of the other, or two identical groups Wallace, page ". Dans le passage de Tite 2: Elle se formule ainsi: No longer should Colwell's rule mislead us into thinking that an anarthrous predicate nominative preceding the verb is just as definite as the articular predicate nominative following the verb and that "there need be no doctrinal significance in the dropping of the article, for it is simply a matter of word-order.

First, Colwell's rule cannot be applied to the verse as an argument for definiteness. Colwell's rule says that definite predicate nominatives preceding the verb usually are anarthrous. The rule asserts nothing about definiteness. It does not say that anarthrous predicate nominatives preceding the verb usually are definite.

This is theconverse of the rule, and as such is not cessarily valid. Second, on the basis of the contrast with 1: Dont les conclusions sont les suivantes: Regular Uses of the Article E. Absence of the Article D. Absence of the Article pp. Wallace, Greek Grammar Beyond the Basics: Dictionnaire de poche du Nouveau Testament, p. An Evaluation par Bart D. A Non-Specialist's Perspective ". The development of punctuation in the West 2. Punctuation in Hebrew 2a. The Jewish Academies - Mishna and Talmud 2b.

From Talmud to Masoretic Text b. Hebrew Orthography and the Punctuation System 1. Masoretic points and accents 2a. Other non-punctuating Masoretic signs 2c. The 22nd Century New Testament Visitez son site officiel. Metzger quelques coquilles dans le fichier pdf. Metzger, The Text of the NT Voyez par ex les p. L'ouvrage traite des sujets suivants: C'est ce qui fait encore que vous n'y voyez pas aussi clair que vous voudriez bien le faire crorie; car vous ajoutez quelques lignes plus loin: Voir aussi les figures des p.

Franck, - p, 3,8Mo: De nombreux exemples originaux. An introduction to New Testament textual criticism: Nous ne le savons pas. C'est elle que C. Et de citer Courcelle: Ici nous trouvons en traduction anglaise: Paul, dans sa lettre aux Colossiens Col. Ici une autre traduction anglaise par M. Goodspeed University of Chicago Press, Chicago: Introduction au Nouveau Testament. Latimer Jackson et The Fourth Gospel: Paul's First Epistle to Timothy , H. Les figures du tabernacle. Russel soit pour les deux groupes une figure historique importante. The Messiah Jesus , tr.

Did Jesus Live B. Theosophical Publishing Society, William Hendriksen and Dr. Simon Kistemaker , 12 vol. Paul to the Galatians. Paul Epistle to the Philippians. Paul Epistles to the Colossians and to Philemon. Rethinking the Hellenistic Background to John 1: Les arguments sont assez convaincants. PDF, Ko, 22p. On reste sur sa faim, mais il faut saluer l'initiative.

New York and London, Petit cite les versets in extenso, et, bien que ses affirmations ne soient pas toutes d'une parfaite exactitude par ex. Je ne suis personnellement pas croyant au sens classique du terme. Une ironie acerbe qui vise souvent juste Emploi et Signification de Elohim: Thesis de Hoover parue dans la Harvard Theology Review. Histoire du des dogmes 7. Paul the Traveler and the Roman Citizen , W. St Paul le Voyageur et le Citoyen Romain. Texte Grec avec Introduction, Commentaire jusqu'au chapitre 4 verset 7 et Notes additionnelles.

The Meaning of Philippians 2: Voir le Tome I en mode texte sur le site excellent de Philippe Remacle. Loeb Classical Library, Histoire auguste, Vita Hadriani 14,2: Hadrien la fit interdire [lex Cornelia de sicariis et veneficis]. On apprend ainsi qui enseigna la sorcellerie et les sorts aux humains, mais aussi la botanique et l'astronomie. On regrette seulement la lenteur du serveur. Ted Hildebrandt [Gordon College]: Faire une rechercherche sur ce site: Wallace, Burton, Wescott, Philippians, Babel, etc.

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