Search Results (8)

The Western genre has traditionally been associated with American identity and male-dominated narratives. However, recent decades have seen increasing attention to female protagonists, particularly the European woman as a cultural mediator within the frontier context. This study aims to identify the archetypes of the European woman in the Western genre through a diachronic and comparative analysis of the visual language found in European painting from the late 17th to early 19th centuries and in 20th–21st century cinema. The research methodology combines narrative, visual, and semiotic analysis, with a focus on intermedial and intertextual parallels between visual art and film. The study identifies nine archetypal models corresponding to goddesses of the Greek pantheon and traces their transformation across different aesthetic systems. These archetypes, rooted in artistic traditions such as Baroque, Classicism, Romanticism, and others, reappear in Western films through compositional, symbolic, and iconographic strategies, demonstrating their persistence and ability to transcend temporal, medial, and geographical boundaries. The findings suggest that the woman in the Western genre is not merely a central character, but a visual sign that activates cultural memory and engages with deep archetypal structures embedded in the collective unconscious. Full article

The present study looks at how gentilics, usually attested in traditional biblical topoi from the Pentateuch, are re-contextualized in Ezekiel to provide a mental map of the peoples of the known Earth during the Exilic period. The basic constituents of Ezekiel’s mental map of foreign peoples recall some of the configurations known from the Babylonian mental map tradition. One known iteration of the latter is the Babylonian World Map (BM 92687). The document presents several interesting features as to how mental maps are formed in the Babylonian context. Its composition may date back to the late eighth century BCE. It is an iteration of the Babylonian mental map with a unique unmarked epicentre. Furthermore, it was probably impressed on clay on the occasion of a military campaign or itinerant work concerning specific toponyms in southern Babylonia. Finally, it was copied for scribal purposes in the Neo-Babylonian period. The present study proposes that these dynamics of the Babylonian mental map help understand Ezekiel’s mental map of foreign peoples. Aspects of Ezekiel’s mental map owe to an older Hebrew tradition partly known from the Pentateuch, although it is a unique iteration for Ezekiel’s oracles against the nations with historical references to the Exilic period. Jerusalem is the epicentre. Two main rings of foreign peoples encircle Jerusalem. The first circle comprises Judah’s neighbours from the east, south, west, and northwest. The second circle picks up from the northwest going up the coast, then south to Egypt, and finally east and northeast with Gog of Magog. Ezekiel concludes with the Temple Vision confirming Jerusalem’s central position. This case study implies that Ezekiel encountered and independently adapted aspects of the Mesopotamian mental map. Comparisons such as the one attempted here can illustrate the potential of ancient Near Eastern intertextuality and cultural hybridity. Full article

The concept of intertextuality often remains a catchphrase for many different phenomena, but it is really a crucially important concept involving all narrative processes from the past to the present. What writer would not borrow from a plethora of sources, whether s/he does it deliberately or unconsciously? In fact, we could identify literature as an infinite fabric of narrative threads, and the more closely we examine a literary work, and the denser its composition, the more we can recognize the essential weave it is composed of. This can be powerfully illustrated in the case of the many different narratives involving the water nixie Undine (or Melusine), who was already popular in the Middle Ages, then was discussed in the sixteenth century, subsequently entered the fantasy of Romantic writers, and has most recently become the subject of a major modern movie. The cultural-historical arc from the past to the present powerfully demonstrates the fundamental working of intertextuality on both the vertical and horizontal axes. Writing, whether creative or factual, constantly operates within a web of narrative exchanges. On this basis, we are on firm ground when we claim that ancient or medieval literature is just as important for us today as nineteenth- or twentieth-century literature as a source of inspiration and influence, shaping both our worldview and value system and this through an intertextual chain of narratives. Of course, we move (hopefully) forward in our own time, but many of the analytic tools available to us are historically grounded. Full article

In recent scholarship on Philippians, there is renewed interest in Paul’s use of Israel’s Scriptures. While the separate textual interactions between Phil 2:12–18 and its evoked texts have been explored in detail by McAuley and others, this article attends to the simultaneous presence of the allusions to Deuteronomy, Deutero-Isaiah, and Daniel as a contribution to a coherent overall pragmatics, which does not, however, reduce the allusive force of scriptural passages. Attention to the composite nature of Paul’s scriptural intertext discovers the motif of the word of God as a central concern of the evoked texts, which has implications for the interpretation of the word of life in Phil 2:16. Full article

Canadian author L.M. Montgomery did not set out to write stories about romance. As she indicated in her journals, she wrote character-driven stories of young girls navigating their way through girlhood. However, she understood that the public, and her publishers, expected these girls to experience romance that culminated in marriage, following the societal traditions of the time. Montgomery managed this dichotomy by having many characters experience a suspended romance, delaying the romantic aspect of the relationship for as long as possible. Arts-based practice is a mode of analysis and offers the opportunity to find a new way of understanding and communicating Montgomery’s type of suspended romance. Music is, in many ways, considered romantic, so it is an appropriate medium to communicate Montgomery’s romantic narrative structures. This paper investigates Montgomery’s use of suspended romance in her novels and how this delay provided her characters with time to develop other areas of their lives. An arts-based methodology was used to identify and analyse recurring themes in Montgomery’s work, as the question is not can Montgomery’s theme of romance be musically represented but how. The result of this creative experimentation is a new musical composition that articulates these suspended romances using six different musical devices. This creative work exemplifies the intertextual link that exists between Montgomery’s work and new musical compositions. Full article

In this paper, I focus on the puzzling ending of the apostolic letter in Acts 15 in which the addressees are told that if they hold to four “essential” prohibitions, they will “do well” (εὖ πράξετε, v. 29). The question as to how, exactly, can destabilise some understandings of the decree, with alternative translations creating different problems, and particularly so where theological commitments are at play. Following Danker’s call for greater attention to this phrase, I undertake a fresh, stratified survey of Greek usage across corpora ranging from the arguably less to the more proximate and bring this into dialogue with the senses given in various literary and social approaches to the decree involving epistolary rhetoric, reciprocity theory, and intertextuality. This reveals how purely linguistic data can stand in tension with compositional arguments in different ways and require a more complex arbitration between possibility, likelihood and coherence when both lexical- and discourse-level constraints are applied. Whilst not solving the problem of the decree outright, observing the impacts of different readings of εὖ πράξετε on the delicate balances involved presses some oblique but productive questions into the interpretive task. Full article

The maritime route connecting the Chinese continent and the Japanese archipelago facilitated a significant exchange of commercial goods and sociocultural knowledge throughout the Southern Song dynasty. Within this context, Japanese pilgrim monks traveling along this route acted as key conduits for the transmission of Buddhist teachings. Their journeys profoundly influenced the establishment and development of new Buddhist monasteries in Japan. Focusing on biographical accounts that portray the experiences of these pilgrim monks during their twelfth- and thirteenth-century sea voyages, this paper aims to explore how these accounts drew on intertextual links with existing Buddhist records to fulfill the compilers’ intentions. Specifically, this paper examines the structure and sources of biographical accounts detailing miraculous encounters between pilgrim monks and Buddhist deities during perilous situations at sea. By interpreting the role of these deities in the corpus of Buddhist literature and within Japanese Buddhist monasteries founded by pilgrim monks, this paper argues that the increasing emphasis on pilgrim monks’ attainment of divine protection in their biographical records suggests a growing concern for reinforcing the authority of their dharma lineages. Moreover, the composition and reception of these miraculous accounts reflected the changing religious needs and reshaped strategies for promoting specific Buddhist sects in subsequent periods. Full article

This article explores the intersections among music composition, religious history and spiritual texts, with their attendant concepts. It focuses on two works with medieval sources—the concert piece Ave generosa (1996) and the chamber opera The Song of Margery Kempe (2008)—which were featured in the online Gallery of the conferences in 2021 and 2022, respectively, of the British and Irish Association for Practical Theology (BIAPT). Through the lenses of semiotics and intertextuality, it explores the ways by which theological concepts and spiritual contexts can be evoked and ‘translated’ into musical sound, both instrumental and vocal. A sampling of the literature on medieval monasticism and St Hildegard of Bingen, whose corpus forms the source of Ave generosa, supports a musical exegesis of its ‘spiritual programme’. In the case of The Song of Margery Kempe, recent scholarship on the text frames examples of the multiplication of meanings provided by dramatisation and musical setting. Art in general and music composition in particular are presented as a commentary, or gloss, on both religious history and enduring spiritual themes, and a different way of thinking about religion and spirituality. Full article