Search Results (25)

This study explores how artificial intelligence (AI) technologies can be theoretically integrated into literature curriculum development, using the works of Anton Chekhov and Lu Xun as illustrative case texts. The aim is to reduce barriers to language and cultural understanding in literature education and increase the efficiency and accessibility of cross-cultural teaching. We used natural language processing (NLP) techniques to analyze textual features, such as readability index, lexical density, and syntactic complexity, of AI-generated and human-translated “The Chameleon” and “A Madman’s Diary”. Teaching cases from universities in China, Russia, and Kazakhstan are reviewed to assess the emerging practice of AI-supported literature teaching. The proposed theoretical framework draws on hermeneutics, posthumanism, and cognitive load theories. The results of the data-driven analysis suggest that AI-assisted translation tends to simplify sentence structure and improve surface readability. While anecdotal classroom observations highlight the role of AI in initial comprehension, deeper literary interpretation still relies on teacher guidance and critical human engagement. This study introduces a conceptual “AI Literature Teaching Model” that positions AI as a cognitive and cultural mediator and outlines directions for future empirical validation. Full article

It is easy to underestimate Ruth. The story is short and sweet, in elementary Hebrew, about a loyal and obedient daughter-in-law, or so we have been led to believe. The book and its eponymous character are surprisingly complex. Although Ruth is an exemplar of Hebrew narrative, it contains two poetic insertions in the first chapter. Literal translations lose the poetry, and poetic translations are less faithful to the original language. Ruth has been chosen for road-testing a range of hermeneutical approaches, and here is one more. This paper approaches these poetic insertions and, indeed, the book of Ruth, as poetry and explores a new method for examining and interpreting Hebrew poetic texts, namely, exegetical poetry. I pay particular attention to poetic devices—parsing for parallelism, alliteration, and other poetic elements—and explore their significance. As I translate and exegete, I compose poetry reflecting the form, content, and theological themes of the Hebrew poetry through the use of similar English devices, imagery, and mood. The result is an amalgam of showing through exegetical poetry and telling through prose commentary, enriching our understanding of the characterization of Ruth and Naomi, and the relationship between these poetic insertions and the broader narrative. Full article

Building on Wittgenstein’s theory of ordinary language use and Lamin Sanneh’s insights into the effects of biblical translations in vernacular languages, this essay examines how the translation process in Niu Tireni (New Zealand/Aotearoa) in the 1830s contextualized or indigenized Christian concepts of the sacred/holy (tapu), the price (utu) paid by Christ for the sin of the world, and God’s forgiveness (muru) due to that sacrifice (utu). Through translation, therefore, Christian scripture was changed, or acquired new cultural referents. On the Māori side of the translation process, the result of reapplying fundamental Māori concepts to Christian narratives and theological categories was to re-map the Māori mental universe—so that it, also, was not the same as it was before the translation came into being. Through translating the scriptures into the indigenous tongue, they had become a Māori (native/indigenous) possession. In so doing, however, the original cultural framework had flexed towards—if not become drastically reformed by—a biblical understanding of sacred and redemptive time and the actions of a Supreme Creator/Te Atua acting within human history but neither identical with that history nor with creation itself. Nevertheless, we are also presented with a picture of intersecting but not always corresponding meanings as the result of cross-cultural translation—with creative misunderstandings or an epistemic “middle ground” (following Richard White) of multiple meanings being one of the inevitable results. Full article

Friedrich Hölderlin’s late hymns Patmos (first version) and Mnemosyne (early draft) create an intriguing tension between the “solid letter” that must be deciphered faithfully and the evocation of a “sounding script” that, together with an equally enigmatic “echo”, refuses direct hermeneutic understanding. At the point where the reader’s interpretive desire threatens to fail, musical settings like Peter Ruzicka’s MNEMOSYNE: Remembrance and Forgetting can be listened to as an attempt to actualize what Hölderlin’s original writing must leave unrealizable: the presence of real sound. In this audio-hermeneutic transfer, the act of listening opens up possibilities of the audible that are promised by the literary text without being actualized. The present essay interrogates this intermedial translatability between letter and sound by isolating a few selected passages from the facsimile reproduction of Hölderlin’s palimpsestic manuscript of multiple revisions, as provided by the Frankfurter Ausgabe. Mindful of the discontinuities and gaps in the original poems, my own analysis foregrounds its own fragmentary mode of reading Hölderlin’s poetry and listening to Ruzicka’s music. Full article

The occurrence of the term σχήμα in Phil 2:7d is analyzed in comparison with two other crucial Pauline occurrences: 1 Cor 7:31 and Phil 3:21 (here as a semanteme included in the verb μετασχηματίσει). This comparative study aims to provide a revision of the current interpretation of the word as designating the outward, sensory, accidental appearance in which Christ’s human nature was manifested to those who dealt with him. This traditional reconstruction is unsatisfactory in two respects: (1) it is tributary to a substantialist ontology that identifies corporeality as a mere spatial extension, unrelated to historicity and (2) it is fraught with highly problematic theological, potentially docetic, implications. As an alternative, the term σχήμα is here interpreted within the framework of the great Pauline theology of history: as a temporal–eschatological marker designating the peculiar temporal state of transience and suffering corruptibility inherent in physicality and corporeal life. This change also clarifies the conceptual articulation of σχήμα with the parallel expression μορφὴν δούλου. According to this interpretation, contrary to the prevailing view, the locution “slave form” does not designate ‘the’ or ‘one’ ‘human form’ but the ‘creature form’, as cosmic submission to temporal finitude. Full article

The 2023 Bible Society New Zealand’s translation of sample biblical passages into the Māori language, He Tīmatanga, caused controversy by incorporating names of Māori gods. Those who objected typically assumed inconsistency with the Bible’s purported monotheism. But ‘monotheism’, in the sense that only one god exists, is not present in the Bible. Moreover, missionary adherence to monotheism in the mid-nineteenth century widely assumed a ‘degeneration model’ that also promoted European religious, moral, and cultural superiority. This article adopts a hermeneutical strategy to counter monotheistic misreadings of the Bible, and their racist effects, by reading Māori stories of the ancient divine hero Tāwhaki alongside the ancient divine heroes who feature in Gen 6:1–4’s account of the Nephilim. First, the comparison provides resources for the translation of Gen 6:1–4 into the Māori language and worldview. Second, the Tāwhaki narratives stimulate a reappraisal of longstanding problems in the interpretation of Gen 6:1–4, especially the meaning of the phrase “the sons of the gods”. Supported by analysis also of the Sumerian King List, this article argues that all three major interpretations of “the sons of the gods” are fundamentally consistent: they are gods, elite human rulers, and also Sethites. Full article

In establishing the Christian faith on African soil, the first missionaries to Africa came along with the Bible. They were determined to share the word of God with the indigenous Africans. This was undertaken effectively; however, it came at a cost. In an attempt to produce translated versions of the Bible for the natives, they ended up producing translations, some of which did not reflect the thoughts of the indigenous people. This has called for an enterprise whereby these texts need to be retranslated and interpreted to reflect the thoughts of the indigenous people. Mother-tongue biblical hermeneutics in Ghana has been advantageous to this enterprise since it seeks to remedy the situation by examining the mother-tongue translations and making proposals for retranslations and interpretation. This has attracted some scholars to come up with a methodology and approaches that would be appropriate in this direction. This paper seeks to assess and evaluate the use of the mother-tongue interpretation, as well as its methodology and approaches in Ghana in the light of African biblical hermeneutics. Though this enterprise is recommendable to African exegetes, it is a special area of biblical studies in search of a standard methodological approach. The paper calls for much attention to how the mother-tongue interpretation could bring the meaning of the text closer to the culture of the Ghanaian reader—however, not at the expense of neglecting the cultural milieu of the original author in which the text was couched. Full article

Several scholars have observed the constructive possibilities in approaching sport as cultural liturgy. In what follows, I turn to hermeneutic resources in Paul Ricoeur and Augustine to elucidate the means of sports’ liturgical appropriation and the capacity of this appropriation to mediate values of ideological and religious significance. Drawing on Ricoeur’s analysis of Aristotelian mimesis, I approach sport as embodied metaphor and so locate metaphor as a central problem in sport hermeneutics. Following Ricoeur, I address this problem primarily by way of the ‘surplus of meaning’ within metaphor and its reference, and the role of Wittgensteinian ‘seeing-as’ in metaphor’s interpretation. Following Augustine, I observe the pivotal roles of desire and tradition within ‘ways of seeing’ and their outworkings in Augustine’s liturgical interpretation of ancient spectacles. Translating these considerations into sport, I argue that sport’s liturgical appropriation similarly proceeds through ‘ways of seeing’ or experiencing the embodied metaphor of sport, and that these ways are deeply informed by particular desires and cultural and ideological traditions. 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

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

Educated by generations of grammarians who state that the term sanguis (blood) is used only in the singular, Fathers of the Church, exegetes, and commentators were confronted with about twenty scriptural, essentially veterotestimentary tokens where sanguis is used in the plural. Justifications for this particular use appear throughout the commentaries. My study will attempt to answer a series of questions. Which passages interested the commentators the most and why? Which grammarians were involved and in what respect? What kind of justifications were provided? Was their interest purely hermeneutic or did the exegetes aim to preserve a state inherited from scrupulous translations? Were the passages treated in isolation or set in resonance? Does this assessment of the commentaries allow us to identity filiations? It will also be seen that this matter is another piece of the puzzle in the relationship between grammar and faith. Full article

Mainstream scholarship on the Laozi or Daodejing generally focuses on the “original” text and its “original” meaning. However, the Chinese study of Laoxue 老學 (translated here with the author’s neologism “Laozegetics”) offers a valuable alternative, as it shifts focus to the hermeneutical and historical value of the 2185 Chinese, 430 Japanese, and 91 Korean relevant interpretations and commentaries on the classic. The inclusive perspective of Laozegetics has further inspired the author’s creation of the term “Global Laozegetics.” This even broader topic assumes both Laozi commentaries and translations (all 2051 in 97 languages) belong within a single field of research. To better introduce the study of Global Laozegetics to an English-language readership, this article will explore the history of the term Laoxue, review contemporary related research, and present the content and significance of applying the notion of Laozegetics to the globalized Laozi. Full article

Many scholars view translations of the Chinese classics as inevitably lacking fidelity to the “original,” asserting language difference as a fundamental impediment to cross-cultural understanding. The present study disputes this viewpoint by employing the perspective of Global Laozegetics. This notion affirms a fundamental continuity between the native Laozi or Daodejing commentarial tradition and its corresponding foreign translation tradition. Specifically, I will investigate a range of interpretations of the term ziran found in Laozi Chapter 25, including 16 traditional and modern Chinese readings and 67 translations in 26 languages. My broad investigation of this narrow topic will reveal a rich historical development of interpretation and translation, highlight the philosophical ramifications of different exegetical choices, deepen our understanding of the core Daoist concept ziran, and assist in confirming the basic premise of Global Laozegetics that language, even the original language of Chinese, is secondary to interpretive strategy when engaging with classical works. Full article

Why does Aśvaghoṣa (c. second century C.E.), the first known author of a Buddhist literary work, choose a literary genre (mahākāvya) with erotic scenes and elaborate poetic language to present the truth that leads to liberation? This question, which has puzzled and fascinated scholars since the first known translations of Buddhacarita and Saundarananda, is often answered by turning to a statement Aśvaghoṣa makes, which suggests that such methods are necessary to reach his worldly audience, who are interested only in pleasure and not liberation. Dismissed as mere sugarcoating for “the bitter truth” of the Buddhist doctrine, the impact of the pleasures and poetics of Aśvaghoṣa’s work upon the reader has rarely been explored. Methods emphasizing a hermeneutic approach to scholarship, focused on interpreting what such works have to say, has meant less attention to what these works do to transform readers (their poetics). However, new attention to the literary aspects of Aśvaghoṣa’s mahākāvya, a genre of long-form narrative literature known for its poetic features, as well as recent scholarship on the Sanskrit courtly culture for which it was produced, suggest pleasure is a central feature. In this article I argue that comparative analysis of the dramatic structure of Buddhacarita and Saundarananda demonstrates that Aśvaghoṣa uses his ability as a dramatist to employ rasa, pleasurable aesthetic experiences, staged to gradually transform the minds of readers. I argue that as the plots of Buddhacarita and Saundarananda unfold, and the Buddha and his brother Nanda go from erotic and ascetic scenes to the sites of liberation, readers are engaged and moved in ways that refine their perceptions, introducing forms of concentration and insight not unlike the Buddhist practices depicted in these works. Full article

The question of the authorship of the Daodejing, otherwise known as the Laozi, is a hotly contested debate, and one’s stance on the existence and role of the author can have potential implications for one’s interpretation of the text. This paper explores how notions of authorship of a text influence, often unconsciously, a reader’s interpretation such that the possible meaning generated within that text becomes limited, reduced, or terminated. Three hermeneutic frameworks, Authorial intentionalism, reader-oriented readings, and intention of the text, are problematized, revealing both how they contribute to the production of meaning, but more importantly how a lack of critical awareness of one’s own hermeneutic stance regarding authorship might terminate potential significance. These hermeneutic frameworks are applied to the work of contemporary scholars and translators of the Laozi in order to assess how implicit notions of authorship contribute to strengths and weaknesses in interpretations of the Laozi as it regards the production of meaning and significance. Being critical in nature, this paper is meant only to reveal how the reader’s unreflexive engagement with their attitude toward authorship can lead to problematic results in interpretation and translation of any work in general and the Laozi in particular. Full article