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1. Alone with God: Wiesel's Writings on the Bible

Steven T Katz Indiana University Press ePub

WIESEL'S WRITINGS ON THE BIBLE

JOEL ROSENBERG

BETWEEN 1976 AND 2004, Elie Wiesel published four books devoted partly or wholly to biblical retellings: Messengers of God in 1976, Five Biblical Portraits in 1981, Sages and Dreamers in 1991, and Wise Men and Their Tales in 2004.1 While, properly speaking, impossible to view in isolation from his other output of this period, this material in fact forms a meaningful chapter in the history of Jewish biblical interpretation, in addition to being writing that touches the soul. Around the time the last book was published, Wiesel, along with Harvard-based biblical scholar Frank Moore Cross Jr., participated in a joint interview for Biblical Archaeology Review conducted by its editor, Hershel Shanks.2 Cross was the quintessence of the historical-critical scholar, immersed in ancient Near Eastern epigraphy and Northwest Semitic pagan poetry, committed to archaeological research and scientific historical method. Here counterposed to him, as it were, was the Jewish storyteller, still bearing within himself the yeshiva bokher: the perspective of the Eastern European Jewish village—suspicious of “biblical criticism,” steeped in the rabbinic worldview, and cherishing the naive vision of childhood. (Wiesel's upbringing and education were in fact more complex than this profile implies, but I'll let this conception prevail for now.) “I'm interested,” said Wiesel in the interview, “in [the Bible's] layers of meaning, but my relation to it is much more an emotional one. It's been my passion almost from my youth. I want to go back to the child I used to be, and to read with the same naiveté.”3 Cross, for his part, spoke of the rabbinic realm, what he called “late Judaism,” as a place where “you can't even swing a cat without hitting three demons and two spirits.” (In this respect, I should add, he found it similar in outlook to the New Testament.)4

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English Virginalists

Maurice Hinson Indiana University Press ePub

Chinese Contemporary Piano Pieces (Karlsen Publishers, Hong Kong 1979). Vol.I, 88pp. Ah Ping: The Moon Mirrored in the Pool. Wang Chien Chung: Plum Blossom Melody; Sakura. Yip Wai Hong: Memories of Childhood (6 miniatures). Kwo Chi Hung: 2 Yi Li Folk Songs. Chu Wang Hua: Sinkiang Capriccio. Lui Shi Kuen and Kuo Chi Hung: Battling the Typhoon. Post-Romantic pianistic figurations, much pentatonic usage, some charming and interesting moments. This collection is a good example of the type of piano writing going on in this area of the world today. Int. to M-D.

Chinese Piano Music for Children (N. Liao—Schott 7652 1990) 55pp. Written between 1973 and 1986 when Chinese music “increasingly absorbed the influences and ideas current in the new music of the West, without sacrificing its own tradition and national style” (from the score). Luting He (1903–1999): The Young Shepherd with his little Flute 1934; tender, artistic simplicity, national style. Shande Ding (1911–1995): Suite for Children (five pieces) 1953: folk-like but no folk songs are quoted. Tong Shang (1923– ): Seven Little Pieces after Folk Songs from Inner Mongolia 1953: a charming suite of folk song arrangements. Lisan Wang (1953– ): Sonatine 1957: three titled movements, cheerful, displays spirited humor. Int. to M-D.

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1 The Yale New Statutes Manuscript and Medieval English Statute Books: Similarities and Differences

Rosemarie McGerr Indiana University Press ePub

The Yale Law School manuscript of the Nova statuta Angliae (Goldman Library MS MssG +St11 no.1) contains almost four hundred leaves, so it offers many margins and centers for readers to explore. Modern readers coming to a manuscript copy of a medieval text discover the complexity and the potential to empower that the reading process offered in earlier times: letter forms and abbreviations in handmade books could be ambiguous, words might be rearranged or missing, and authorship could be uncertain; but medieval readers could select what texts, decoration, and illustrations were put into new manuscript books, and medieval readers often added to or removed texts or images from their books over time. Examining the layout and content of the text and decoration in a medieval manuscript, as well as the structure of the manuscript as a whole and the relationship of its components to other manuscripts, can help modern readers understand when, where, and for whom a medieval manuscript was made, as well as the process by which the texts within the manuscript were read. As Malcolm Parkes and Ian Doyle have argued, “Layout and decoration [in a medieval manuscript] function like punctuation: they are part of the presentation of a text which facilitates its use by a reader” (Parkes and Doyle 1978, 169). In this chapter, we will examine what evidence the Yale Nova statuta manuscript offers about when and where it was made, who made it, and how the parts of the manuscript construct several frames for its presentation of English law.1 We will also consider its relationship with developments in the history of medieval English statutes manuscripts. In the process, we will begin to see how the Yale manuscript transforms the New Statutes of England into a Lancastrian mirror for princes.

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Introduction: Inventing Cinephiliac Historiography

Rashna Wadia Richards Indiana University Press ePub

Inventing Cinephiliac Historiography

Her Hollywood debut is a fleeting farewell. Esther Blodgett (Judy Garland) is to wave a melancholy goodbye from a mock-up train window. On set various technicians prepare for the shot by gearing up the artificial lights, wind, snow, and steam. After Esther is quickly wrapped into a burly fur coat, the camera begins to roll. Then, there is a glitch. What is meant to be a memorable shot of a handkerchief trembling in the wind as the train leaves the station reveals a face. During the shoot, Judy Garland’s bewildered visage inadvertently peeks through the window, a disruption that cannot be afforded at this point in the narrative. The moment is cut; the shot will have to be redone.

During a second take, we see what is necessary to keep the plot rolling: just a solitary hand, waving adieu. Made at a time when the studio system had already begun its slow but ceaseless crumble, it is understandable why George Cukor’s A Star Is Born (1954) struggles with goodbye. Fortuitously, the next shot is better choreographed, so it carries the narrative along. But there is something about this other goodbye that always overwhelms me. Whereas the first take is clearly designed to be memorable, the second take has a startling irresistibility. In comparison to the former’s poetic exterior shot of a frozen train window, enhanced by a glimpse of the troubled star’s sorrowful face (Figure 0.1), this frame is highly cluttered and yet almost mundane (Figure 0.2). Next to the unglamorous inner workings of the studio system that take up more than half the frame, I am always struck by Judy Garland’s discombobulated body, estranged from her own hand waving goodbye by the frame of the mock-up train. I can never quite explain its emotional potency, but I am always startled by the unexpected pleasure of this excessive moment.

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3 Wood and Paper Products: Searching for Sustainability

Tim Bartley Indiana University Press ePub

IN 1989 TIME MAGAZINE CALLED THE DESTRUCTION OF THE AMAZON rain forest “one of the great tragedies of human history” (Linden 1989). The Amazon was burning, in large part to clear forested land for agricultural plantations and cattle ranching. Brazilian labor and environmental activist Chico Mendes had just been assassinated, and international observers were becoming increasingly concerned about the local and global consequences of tropical deforestation. Some were calling for boycotts of tropical timber not only from Brazil but also from Indonesia, Malaysia, and other places where “timber barons” were exploiting forests at the expense of local ecosystems, global biodiversity, and indigenous populations. Environmental organizations were targeting companies such as B&Q (a British home improvement retailer), Scott Paper, and Burger King, which was charged with supporting the conversion of rain forests to cattle pasture. These campaigns were part of a larger attempt to combat deforestation, which reduces biodiversity, makes local environments and forest-related livelihoods more fragile, and exacerbates global warming.

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