Search Results (12)

The relationship between the Reformation movement and print media has long fascinated scholars, yet much of the focus has centered on renowned figures, often overlooking local lay protagonists. This article shifts the spotlight onto one such unsung figure: Pamphilus Gengenbach, a Basel writer, printer, and publisher. Gengenbach, a fervent supporter of political and religious reform, emerged as a leading advocate of Protestant thought in Basel. His aggressive promotion of the vernacular and his adept use of intertextual references to contemporary debates and events reveal a sophisticated grasp of print media’s potential beyond mere dissemination. Leveraging his experience as an author, printer, and publisher, Gengenbach engaged his audience effectively, translating and transmitting Protestant teachings with remarkable impact. This article asserts that Gengenbach’s strategic communication and local influence were instrumental in paving the way for the Basel Reformation, underscoring the vital role of grassroots actors in the Reformation’s success. 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

Dohās, vajragīti, and caryāgīti are key terms associated with the poetic writings of the Mahāsiddhas. This study focuses on Apabhraṃśa dohās, their commentaries, Tibetan translations, and collections containing them, shedding light on previously neglected aspects of this text type. By investigating the historical and original contexts of these three terms and comparing them to their later applications in traditional contexts and academia, this paper argues against the prevailing notion that they are genetically distinct and that this text type is primarily defined by orality and spontaneity. Consequently, it challenges the romanticized myth of certain origin narratives, such as student–teacher encounters. Instead, this brief presentation demonstrates that the often-repeated stereotypical definitions of these terms should be largely rejected, as they are merely different labels for the same text type with blurred and ill-defined subcategories. The analysis of primary sources reveals that various facets, e.g., compilation (an important but neglected aspect), go beyond the strongly emphasized oral component of this text type, thereby leading to the inaccurate definitions of the terms. In conclusion, intertextuality, compilation, and assigned authorship are crucial yet overlooked elements in defining the text type and understanding its function. Full article

Textual reuse is a fundamental characteristic of traditional Buddhist literature preserved in various languages. Given the sheer volume of preserved Buddhist literature and the often-unmarked instances of textual reuse, the thorough analysis and evaluation of this material without computational assistance are virtually impossible. This study investigates the application of computer-aided methods for detecting approximately similar passages within Xuanzang’s translation corpus and a selection of Abhidharma treatises preserved in Chinese translation. It presents visualizations of the generated network graphs and conducts a detailed examination of patterns of textual reuse among selected works within the Abhidharma tradition. This study demonstrates that the general picture of textual reuse within Xuanzang’s translation corpus and the selected Abhidharma texts, based on computational analysis, aligns well with established scholarship. Thus, it provides a robust foundation for conducting more detailed studies on individual text sets. The methods employed in this study to create and analyze citation network graphs can also be applied to other texts preserved in Chinese and, with some modifications, to texts in other languages. Full article

This paper is a continuation of an earlier study published by the current author dedicated to the virtually unexplored tantric Buddhist scholar of the phyi dar period, *Jñānākara (11th century), through the textual analysis of his masterpiece, the Introduction to the [Path of] Mantra (Skt. *Mantrāvatāra), now available only in the Tibetan translation as Gsang sngags ‘jug pa. In the previous paper, I have discussed the broader historical framework of the eleventh-century Indo-Tibetan world and *Jñānākara’s role in establishing, what I called, the “orthodoxy of tantric practice”. I have also provided a critical edition of the root text, the *Mantrāvatāra, accompanied by an English translation. While the previous study focused mainly on the debatable and highly controversial issue of tantric sexual initiations adopted by the monastics and hermeneutical tools employed by *Jñānākara to refute the literal interpretation of tantric scriptures, the current paper will concentrate on the exposition of tantric practice understood as the accumulation of causes and conditions (hetu-pratyaya) leading to the status of the siddha. This paper will trace tantric and non-tantric elements in *Jñānākara’s construction of the Buddhist siddha that integrated the kāya doctrine of the Yogācāra. My analysis will be based on *Jñānākara’s auto-commentary to his root text, the Commentary to the Introduction to the [Path of] Mantra (Skt. *Mantrāvatāravṛtti, Tib. Gsang sngags ‘jug pa ‘grel pa) which has not received any scholarly attention so far. Special attention will be paid to the intertextual dimension of his discourse that integrates the Mahāyāna models of the bodhisattva path. 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

Euripides’ The Bacchae is a Greek tragedy that relies on its capacity to give double vision, by confusing and dismembering the senses. This idea of doubling is taken to the extreme in the Berlin Schaubühne production Die Bakchen, directed by Klaus Michael Grüber in 1974, which formed part of the Antikenprojekt, realized along with Peter Stein. For theatre historians, Grüber’s Die Bakchen delivered a completely new concept of theatre—a theatre of images—capable to bewitch and fascinate the spectators, but distant from a hermeneutic approach with reference to the dramatic text. What is often missed here, however, is the specificity of the visual aspect of the production, which features references to historical works of classical and Renaissance art, as well as to modern sculpture, Arte Povera and conceptual, as well as performance, art pieces. In fact, the idea of doubling seems to be translated by Grüber into an intertextual, intermedial play between the text, the performance on stage, and the visual arts. As a result, the different aspects of the production look familiar and unfamiliar at the same time, not merely by the uneasy separation of theatre and text, but also by the double’s interplay between vision and knowledge. Full article

In the history of Chinese Bible translation, the Psalms have been a privileged site for the encounter between biblical thinking, poetics, and Chinese classical literature. This encounter was initiated by the translators of the Delegates’ Version, followed by John Chalmers, and outstandingly represented in particular by John C. H. Wu吳經熊. In his version of the Psalms, underpinned by his cultural stance of “beyond East and West”, Wu borrows numerous Chinese idioms and popular verses and transposes Chinese traditions from Confucianism, Buddhism, and Daoism. Specifically, Wu’s rendition inaugurates an intertextual dialogue between the Psalms and Shijing, involving the disciplines of both comparative literature and comparative scripture at the same time. By adapting various Chinese classical poetry styles for his version of the Psalms, Wu transforms their spiritual traditions and broadens their representation spaces by injecting a Judeo-Christian spirit. Relocating the biblical texts among multifarious Chinese literary traditions, Wu’s translation of the Psalms achieves a deep interaction between the Bible and Chinese culture, provokes questions, and provides insights regarding the relation between biblical theology and intercultural poetics. Full article

This paper examines Chán master Jìngxiū’s preface to the original Zǔtáng jí in one scroll, which was presented to him by Jìng and Yún at the Zhāoqìng monastery in Quánzhōu around the mid-tenth century. Building on a recent TEI-based edition, it offers an annotated translation and comprehensive analysis of the preface, with special attention to its structure, linguistic features, and issues of intertextuality. The essay focuses on elements of textual history, the possible incentives behind the compilation of the Zǔtáng jí, and Jìngxiū’s perception of the text. Most importantly, this study investigates in detail two idiomatic expressions used by Jìngxiū (i.e., “[cases of] shuǐhè easily arise”; “[the characters] wū and mǎ are difficult to distinguish”), showing their significance for understanding the preface. In addition, we demonstrate that further research is needed to support the hypothesis according to which the original Zǔtáng jí would correspond to the first two fascicles of the received Goryeo edition of 1245. Eventually, this article serves as the first part of a research summary on the textual history of the Zǔtáng jí aimed at facilitating further studies on this highly important Chán text. Full article

This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre. Full article

Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system. Full article

The paper discusses the importance and role of visual story telling skills in the field of non-designers education as an effective ideation and expressive medium. It presents the process and results of an experimental design workshop held as a warm up activity inside the Visual Design and Visual Communication and Interface Design classes at University of Milano-Bicocca since 2002. The Exercises de Style written by Queneau are the field of exploration of the intertextual translation from text to graphical representation using principles and rules of the visual language. Full article