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Job the Unfinalizable

A Bakhtinian Reading of Job 1-11


Seong Whan Timothy Hyun

In Job the Unfinalizable, Seong Whan Timothy Hyun reads Job 1-11 through the lens of Bakhtin’s dialogism and chronotope to hear each different voice as a unique and equally weighted voice. The distinctive voices in the prologue and dialogue, Hyun argues, depict Job as the unfinalizable by working together rather than quarrelling each other. As pieces of a puzzle come together to make the whole picture, all voices in Job 1-11 though each with its own unique ideology come together to complete the picture of Job. This picture of Job offers readers a different way to read the book of Job: to find better questions rather than answers.


Elizabeth Agaiby

In The Arabic Life of Antony Attributed to Serapion of Thmuis, Elizabeth Agaiby demonstrates how the redacted Life of Antony, the “Father of all monks and star of the wilderness”, gained widespread acceptance within Egypt shortly after its composition in the 13th century and dominated Coptic liturgical texts on Antony for over 600 years – the influence of which is still felt up to the present day. By providing a first edition and translation, Agaiby demonstrates how the Arabic Life bears witness to the reinterpretation of the religious memory of Antony in the Coptic Orthodox Church.


Edited by Domenico Accorinti

The Egyptian Nonnus of Panopolis (5th century AD), author of both the ‘pagan’ Dionysiaca, the longest known poem from Antiquity (21,286 lines in 48 books, the same number of books as the Iliad and Odyssey combined), and a ‘Christian’ hexameter Paraphrase of St John’s Gospel (3,660 lines in 21 books), is no doubt the most representative poet of Greek Late Antiquity. Brill’s Companion to Nonnus of Panopolis provides a collection of 32 essays by a large international group of scholars, experts in the field of archaic, Hellenistic, Imperial, and Christian poetry, as well as scholars of late antique Egypt, Greek mythology and religion, who explore the various aspects of Nonnus’ baroque poetry and its historical, religious and cultural background.


John Z. Wee

keeps altering. [“The cuneiform sign ka” means ] voice . … Excerpt 183: Comm. Sa-gig 7A, rev. 4 (§ II .1.13) [… k]a [: (?)] qí-bi-tú : ka a-mat … … “The cuneiform sign ka” [ means (?)] speech. “The cuneiform sign ka” ( means ) words. … The cuneiform sign ka (𒅗) was a potential source of


Alia Hanafi

forgiveness for Māʿiz ibn Mālik.” They said: “May God forgive Māʿiz ibn Mālik” (al-Nasāʾī, Sunan 4:276). Cf. Ibn Abī Shayba, Muṣannaf 2:474 nos. 11193; 11194 and 11199; al-Bustī, Thiqāt 1:405 no. 6975. In general the ṣaḥāba are said to have disliked the raising of loud voices at funerals (al


Tonio Sebastian Richter

, “the master spoke” (ⲡⲉϫⲉ ⲡⲥⲁϩ). Thus, the voice we hear telling us recipes is that of the master, but always quoted by a distinct ‘homodiëgetic’ 46 narrator, his pupil. See for instance ex. 3: Ex. 3 Bodl. MS . Copt. ( P ) a. 1, pag. a , 1–7 || Bodl. MS . Copt. ( P ) a. 3, r o , 1–6: 1 ⲥⲛ ⲑ ⲡⲉϫⲉ