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In this article, I argue that the ritual experience of water-baptism plays an essential role in Paul's metaphorical expression and rhetorical purpose in 1 Corinthians 12:13. To explore the role of baptism, I use conceptual blending theory from cognitive linguistics to define and demonstrate the metaphorical ways in which ritual functions in the human mind. In so doing, I emphasize the performance of a ritual itself and the contextual perception of its performance, arguing for a metaphorical relationship between the two. I apply conceptual blending analysis to interpret the complex interplay of three metaphors in 1 Corinthians 12:13. I argue that Paul forms a conceptual blend of three metaphors in this verse, and that baptism, the water-rite, plays a pivotal role in this blend by providing the physical pattern of immersion and the cultural understanding of this immersion as a new belonging. Using baptism, Paul achieves his purpose of re-picturing the reception of the Spirit and appealing for social union. This verse thus presents an excellent case of the role of ritual in the emergence of early Christianity and the explanatory power of ritual studies to the New Testament texts.

The article examines the status of free speech in Vietnam in light of some of the explosive debates that have flared up in both the US and Europe. It argues that unlike in the West the Vietnamese case requires a critical defense to augment the space for free speech as such. To lead up to this conclusion, the essay looks at two case studies of literary censorship in Vietnam to demonstrate that, since the middle of the twentieth-century, literary speech has been synonymous with political speech. Given the limited space for political speech itself, the essay concludes by advancing a version of the autonomy defense of free speech as one viable critical resource in the Vietnamese context.

In the field of children’s literature studies, much attention has been devoted to investigating differences between children’s and adult literature. Works of crosswriters, authors who write for both readerships in different works, are an excellent source for this research. This article applies stylometry, the computational method of analysing style, to the oeuvres of 10 Dutch and English crosswriters to trace potential differences in their individual style and similarities between the authors. The analyses also take into account the age of the intended reader (as listed in the paratext) and the publication date, to study the influence these aspects have on writing style. Four case studies zoom in on a specific author or age category of the intended readership to study general tendencies as well as outliers. The results from the stylometric analyses are complemented with peritextual information about the author’s view on style and writing for readerships of different ages. The main conclusion drawn from the case studies is that the style of the texts usually correlates more strongly with the age of the intended reader than with the time period in which it was written. Young adult literature clusters more closely with adult literature. The style associated with a younger readership is distinct in the oeuvres of most authors studied in this article and even transcends the differences between authors.

A critical review of the 50-year-old Marxist theory of dependency and its current situation includes discussion of its analyses of the world-system, the concepts of superexploitation and subimperialism, its reflections on development, democracy, and proposals for emancipation, and its perspectives on the rise of the Latin American left in the twenty-first century and the prospects of neoconservatism. It concludes that with the globalization of capital, Marxist dependency theory must oppose not only internal structures of dependency but the imperialist world order, and this will call for the development of national, continental and global strategies. Uma revisão crítica dos 50 anos de debates sobre a teoria marxista da dependência e seu estado da arte, que inclui a discussão de suas análises do sistema-mundo, os conceitos de superexploração e subimperialismo, suas reflexões sobre desenvolvimento, democracia e propostas de emancipação, e suas perspectivas sobre a ascensão da esquerda latino-americana no século XXI e as perspectivas do neoconservadorismo. Conclui que, com a globalização do capital, a teoria marxista da dependência deve assumir sua vocação de luta não apenas contra as estruturas internas da dependência mas também contra a ordem mundial imperialista, e isso exigirá o desenvolvimento de estratégias nacionais, continentais e mundiais.

Gender is rarely considered in the works on state socialism in Czech history writing. Given the prominence of the equality of the sexes in communist rhetoric and the heated anti- and pro-feminism media and intellectual debates of the 1990s, the omission stands out as a remarkable loss of opportunity in historical research. It also defies logic. For if “emancipation” and “equality” were so strongly present in pre-1989 discourse and women constituted half the population, does it not follow that the plain demographic fact should drive the interest of researchers to inquire where this population was, what it did, and what it had to say? The question has so far attracted primarily sociologists, but how does it fare in historiography? What are the losses of the absence and the gains of the inclusion of a gender perspective on the history and memory-making of state socialism? This article will first consider the status quo of gender blindness in Czech historiography and its possible reasons in the context of the legacy that state socialism left to social sciences and humanities: the legacy of expertise, disciplinary legitimation and epistemological legacy. A discussion of the consequences of the near absence of gender history and analysis from post-1989 interpretations of state socialism in historiography follows: blind spots and loss of knowledge, lack of precision and a gender bias of historical accounts, and perpetuation of false legacy. Finally, the article discusses the gains to Czech historiography, memory-making and international discussion, if scholars do consider gender.

The article focuses on Dārā Shukoh’s Majma‘-ul-Baḥrain (written, 1654–55), which is basically a comparative and systematic study of modes of Hindu thought and belief from the view point of Islamic Sufism. There is thus the need to establish the degree of authenticity achieved in Dārā Shukoh’s exploration of the different Hindu philosophical and religious beliefs, especially keeping in view his own preference for pantheistic aspects. This naturally involves also a partial re-exploration of the field in which Dārā Shukoh had sought what he deemed to be the ultimate truth.

At the end of the prayer with which he begins Works of Love (1847), Søren Kierkegaard notes that while ‘works of love’ might normally be viewed as a subset of worthwhile human endeavours or ‘works’, from heaven's perspective no work can be pleasing unless it is a work of love. From this arises the question—which Kierkegaard himself moves swiftly to address—of what distinguishes a work of ‘love’ from other, non-loving works? In this article, and with particular reference to Jacob Boehme (1575–1624), I highlight how Kierkegaard's answer to this question draws upon the theological tradition that Bernard McGinn has called ‘the mysticism of the ground’.

The Ottoman defeat of the British and French imperial forces during the Gallipoli campaign of 1915, known in Turkish as the Çanakkale Wars, had already shown how the theatres of war would extend beyond Europe. While much of the poetry in English that came from Gallipoli is well known in the Anglophone world, the Turkish poetry from Çanakkale is less well known outside Turkey itself. This article analyses selected Gallipoli poems written in both languages in order to show how they had similar recourse to overlapping narratives of history and myth in their efforts to place the experience of war within a wider transhistorical and transcultural framework. By reflecting on the different uses of this double palimpsest, it aims to show how a transnational and transcultural approach to memorial culture can develop our understanding of how the Great War was written.

Feminist activist, novelist, literary critic, bio-ethnographer, legal autodidact, and political writer: Rebecca West (1892–1983) was a 20th-century phenomenon. She was also a lifelong critic of communism’s appeal to the intelligentsia. Communism, West claimed, was attractive to three groups of intellectuals outside the Soviet bloc: a minority of scientists who viewed politics as merely a sum of technical problems to solve; the emotionally devastated for whom communism was a means of mental reorientation; and a déclassé segment of the middle class who envisaged communism as a means of material and status advancement. I examine West’s three explanations for communism’s allure, and then proceed to evaluate her account. My assessment is both empirical, using sociological data on American and European communist parties, and methodological, examining the techniques of West’s style, a mix of novelistic empathy and unmasking political partisanship. This mixture I consider fatal because while the novel, like historical interpretation, allows a generous understanding of human agents, unmasking tends towards caricature and denunciation.

Within the Italian Canadian literary corpus, fiction written in Italian has occupied a special spot. Because Italian Canadian authors have written primarily in English or, secondarily, in French, works by italophone writers have had an even more meagre circulation than that, already itself quite reduced, enjoyed by their anglophone or francophone counterparts. Yet, despite this limitation or perhaps also because of it, Italian Canadian italophone is nonetheless literature which does raise important issues. Focusing on the short stories and novels of Nino Famà, this article traces those issues in order to show not only how they summarize the main thematic and stylistic gist of Italian Canadian italophone fiction but also, most importantly, how they relate to some of the concerns which have always been associated with the Western modern novel.

With the help of the concepts ‘aura’ and ‘autopoiesis’, the relationship between poetry and natural phenomena can be defined as a ‘translation from nature’. Gennadij Ajgi translates his auratic manner of perceiving into poetry. For him, the poem becomes an epistemic medium transcending the sensory perception of nature for a hidden, spiritual level. Les Murray, conversely, demonstrates an autopoietic understanding of nature: The poet himself becomes the medium of the living being. Christian Lehnert takes up impulses from both orientations. He combines the opposing concepts so that they correspond to the hierarchical levels of his religious and metaphysical vision of the world. The three authors all aim to alter the attitude of humans towards nature through their ‘translation from nature into poetry’ so that humankind will open itself towards nature and raise it from an object which can be instrumentalised to an autonomous subject on equal footing with humanity itself.

The common image of a reader is that of a person alone with a book, but reading is actually a social activity. The purpose of this study was to examine the ways in which social aspects influenced a group of emerging adults’ comics reading when they were children and/or teens. Data was collected by surveying and conducting semi-structured interviews with 34 emerging adults in the Southeast region of the United States about their comics reading histories. The research findings describe who the participants felt had the most impact on their comics reading, as well as the extent to which the participants felt that they belonged to a community of comics readers. Significantly, the participants’ notion of comics readers as “nerds” emerged from the data, which the participants largely connected to gender, and which participant Lauren noted, “It’s not something I’ve really thought about ‘til now.’” The implications of these findings suggest that some of these participants felt that there was a social cost to comics reading. Suggestions for making comics reading more accessible for more readers are discussed.

Scriptures are often used to make patriarchal control sacrosanct over women’s bodies. A stereotypical monogamous woman is generally idealised by patriarchy; Polyandrous Draupadī in the Mahābhārata, however, stands sharply in contrast and the epic struggles to legitimise it by different myths to soothe the moral discomfort. Principal women characters of the epic like Draupadī, Kuntī and Satyavatī having more than one man in their life suggest that during the early stages of development of the epic, the values that governed man–women relations were not as rigid as they became later. During the growth of the epic, the lives of these women characters were transformed according to patriarchal perception, which expects that a woman should be a virgin when a man marries her. As a way out, the epic repeatedly restores the virginity of these women characters. As men are considered as owners/protectors of womens’ bodies/sexuality, the restoration seems to have restored the sense of honour and also redeemed the transgressions of men who ‘soiled’ them. Obsession with virginity also indicates the attitude of the commodification of the woman’s body. These women characters are portrayed as passive, whose lives and bodies are manipulated according to men’s perception.

An overview of the appendices in NA28 and UBS5 reveals that the editors agreed regarding the number of quotations in Hebrews on 37 occasions. They disagreed, however, as to whether an intertext was a quotation or an allusion on nine occasions. The compilers of these lists did not provide a basis for their conclusions, and inability to agree on the number of intertexts could be due to multiple reasons. The purpose of this study, therefore, was to develop a set of criteria by which to identify quotations in Hebrews. Auctor’s quotations were determined to possess four characteristics: (1) introductory formula, (2) a recognizable source, (3) verbal correspondence with the hypotext and (4) syntactical tension. These four characteristics were then utilized to assess the nine disputed intertexts between NA28 and UBS5. By assessing the nine intertexts for the presence of the criteria, four out of the nine were determined to be quotations, whereas five were deemed to be allusions.

This essay interprets Machiavelli’s famous letter to Francesco Vettori in terms of a play-element that runs across his works. The letter to Vettori is a masterpiece of epistolary form, but beyond its most memorable passage, where Machiavelli recounts his evening in study, it has not received much scholarly attention. Reading the letter in its entirety is to discover Machiavelli’s account of an eclectic political education and the pleasures of playing with others. Machiavelli’s letter speaks to a basic ludicity in his political thinking, in which play is not opposed to the serious, and diverse play forms can be thought together. Hans-George Gadamer’s Truth and Method, Johan Huizinga’s Homo Ludens, and Roger Caillois’s Man, Play, and Games provide resources for reconstructing this play-element in Machiavelli’s thought.

The nearly unanimous consensus of modern scholarship is that 2 Thess. 2.2 refers to a letter either written or alleged to have been written by Paul, as captured in the most common rendering of the text, ‘a letter allegedly from/by us’. The thesis of this article is that the relevant phrase, ὡς δι’ ἡμῶν, does not serve to qualify ‘letter’ or the other two substantives that precede (‘a spirit’, ‘a word’), but that it identifies Paul (the implied author) as a medium of information alternative to the other three media, thus posing a contrast between teaching conveyed through Paul and teaching conveyed through not-Paul, in a manner analogous to Gal. 1.8. In addition to the greater probability of this interpretation grammatically, this interpretation is offered as resolving further difficulties concerning 1 Thess. 2.2, as well as its relationship to 2.15. Evidence is also offered that the consensus view does not find unanimous support among ancient interpreters.

Drawing from recent ancient historical, New Testament and Second-Sophistic scholarship, this article proposes that the enigmatic 2 Peter can be better understood with closer reference to anti-sophistic polemical writings. Increasing light has been shed on the sophists’ interest in wisdom, display and rhetoric in contexts such as Athens, Rome, Corinth and cities of Asia Minor in the first centuries CE. After introducing historical attempts to identify a worldview compatible with 2 Peter’s polemical response, this article (1) describes the nature of the Second Sophistic in the first century with reference to two contemporary anti-sophistic polemicists, Epictetus the Stoic and Philo the Jew, (2) highlights features of 2 Peter which resonate with contemporaneous anti-sophistic writings, beginning with 2 Pet. 1.16-21 and (3) observes the way in which the Ante-Nicene Fathers, when seeking to discredit later sophistic opposition, drew heavily from 2 Pet. 2–3. It may outrun the evidence to conclude that 2 Peter’s opponents were professional σοϕισταί‎ per se. It can be affirmed, however, that 2 Peter bears significant resemblance with first- and second-century anti-sophistic polemic and may be best understood with reference to it.

Hebrews 4.3-5 introduces tension where the author cites Ps. 95.11b, ‘they will never enter into my rest’, then describes the available rest, and then quotes Ps. 95.11b again. The author appears to undercut the promise of rest by citing the prohibitive oath. This article argues that the tension in Heb. 4.3-5 can be dissolved by translating Ps. 95.11b not as an emphatic negative oath (‘they will never enter into my rest’) but as an open-ended conditional statement (‘if they will enter into my rest’). This is argued in the following way: first, the issue of an assumed Hebraism is explained. Second, three problems with the Hebraism solution are presented. Third, the Interlinear Paradigm of the New English Translation of the Septuagint (NETS) is introduced resulting in two further criticisms of the Hebraism translation. Last, the author’s argument in Heb. 4.3-5 is read with the meaning of the open-ended conditional.

This article is an attempt to understand the significance of autobiographies with particular reference to Punjabi dalit women. In fact, autobiographies are one of the effective mediums for breaking the silence and create a constructive dialogue among people. These dialogues are prerequisite for the solidarity, democracy, equality and fraternity in the society. Besides, the autobiographies from the marginalized section challenge the exploitative established norms. Therefore, to write autobiographies is a courageous act full of risk and daring. In this context, there are more than hundred dalit autobiographies written in Indian languages, but in Punjabi literary discourses only a few dalit autobiographies have been written. However, according to Census 2011, in Punjab state, population of Scheduled Caste people is highest in India that constitutes 31.94% of the population in comparison to 16.6% in the entire country. Despite the largest population of dalits in Punjab, shockingly, there is not a single autobiography that has been written by a dalit woman until date. In this situation, it is a challenge for educated Punjabi dalit women to write their life narratives or autobiographies. They have to represent not only their pain in front of the world but also write about the consciousness, unconsciousness and subconsciousness of their community women who have not got opportunity to attain education. This article will examine and trace the problematics and complexities of gaps and silences so far as autobiographies of Punjabi dalit women are concerned.

This article confronts the theoretical tenets of reader-oriented short story collection theory and its implications for a literary analysis of Benni’s Il bar sotto il mare (1987) with the results of an empirical study of 12 readers. Through free recall tasks and open questions, we collected their recall of stories, specific passages, recurring topics and general interpretation to assess the processes of reticulation (i.e. searching for recurring elements in stories) and modification (i.e. modifying initial hypotheses based on the identification of new elements) advanced by Audet (2014). This confrontation revealed noticeably disagreeing results. Our findings suggest that flesh-and-blood readers adopt a more straightforward and intuitive approach when reading and interpreting collections as they are subject to a strong primacy effect, privilege personal appreciation of specific stories and passages, and rely on a disinclination to alter initial interpretative hypotheses. The findings pave the way for further investigation into the readers of SSCs.

This article considers the translation process of Arden of Faversham and the method that I have employed to translate collaborative plays, which is based on Matthew Reynolds's concept of prismatic translation, followed by examples of relevant textual variations found in the three earlier editions of Arden of Faversham as well as in the modern editions. I argue that by preserving textual differences based on different resources, the translation highlights the history of the text. It opens up possibilities accorded by the play's material existence, considering different textual elements, such as the words of the title, playtext, characters, and authorship.

This essay assesses the current state of scholarship on British and American melodrama and introduces the cluster of articles on that topic that follow. It suggests that recent advances in the field have made evident the trans-cultural, trans-medial and reproductive nature of melodrama as an art, re-focusing critical attention on melodrama's performance, production and formal evolution not within but among, and by movement between, the different cultures, media, creators, audiences, forms and works it involved. Drawing attention to British and American melodrama's critical role in this vast, largely unrecovered history of relational, migrational and reiterative creation, and noting the immediate challenges such a history presents to critical understanding and study, the essay describes the manner in which each of the cluster's articles responds to those new challenges and the ways in which, both individually and as a group, they have begun to lend that history more clarity.

This article questions the commonplace that Edmund Spenser always depicted Philip Sidney as his poetic authoriser by finding undercurrents in works through 1595 and by reading the Mount Acidale scene in the 1596 Faerie Queene as jettisoning Sidney. This study calls into question the accepted version of Spenser’s role in the historical development of Sidney’s image. It demonstrates that Spenser rethought his relationship to Sidney and reimagined himself as a poet. This study also resolves the disjunction between earlier depictions of Sidney as poet and the Sidney-like qualities of the unpoetical Calidore.

One of the key points at which Platonism and magic or what could be called ‘Platonic magic’ is found in Edmund Spenser’s Faerie Queene is in his use of the image of the classical Titan Prometheus. Examining Spenser’s text in light of Renaissance Platonist Giovanni Pico della Mirandola’s writings on magic, we can see that Prometheus serves as a model for Spenser’s tremendous creative ability as a ‘poet magus’. However, an examination of the Promethean qualities of ‘Two Cantos of Mutabilitie’ also reveals that in the final sections of The Faerie Queene Spenser appears to lose hope in the Promethean power of the poet.

The order, frequency and variety of names given the personified city in Lamentations 1-2 enhances a sense of readerly empathy that the personification of the city imbues. In the first stanza of Lamentations 1, the names for the personified figure are ordered such that the most specific name appears in the description of the most personal violence. In Lamentations 2, the personified city is named with a similar frequency to the violent and angry language used to describe the deity. Combined with an increased use of endearment terms, this violence requires readers to hold together both the violence and the deep relationship between the city and her God.

Similar ideas and tropes found in the Wisdom of Solomon and 4QInstruction (4Q415–418, 423; 1Q26) have considerable significance for the study of early Jewish sapiential literature. One feature shared by both compositions is teaching about “mysteries.” Previous studies on these two wisdom writings conclude that there are distinct differences in what these mysteries are and how they function in the thought world of each composition. This article argues for an alternative understanding of mysteries in 4QInstruction to those presented in previous comparative studies. In light of this reassessment of mysteries, the Wisdom of Solomon and 4QInstruction are seen to participate within an intellectual space much closer to one another than previously perceived.

This paper examines the occurrence of the ‘Assyria-Egypt’ pair in the MT of Hosea. On a literary plane, the paper introduces two new definitions: Assyria-Egypt is defined as a correlative pair in this book, and based on the recurring meaning of the pair and its diverse application, the pair is defined as a motif. This motif consistently serves to describe distance from God. From an ideological perspective, the paper discusses the perceptions that emerge from the application of the motif in the units with regard to God’s description, and to the relationship between Israel’s two central sins in Hosea: idolatry, and turning to foreign nations for assistance. Based on this, the paper addresses the motif’s contribution to mirroring the relationship between God and Israel. The paper’s insights evolve from each other, altering the perspective on the motif, on the units’ contents, and on the relationship between the units.

Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film.

Rhetorical questions are an important feature of Israelite rhetoric as exemplified in the Hebrew Bible. This paper builds on scholarship regarding rhetorical questions and irony to reevaluate one form of unmarked question. Previous scholarship called it an alarmed or surprised rhetorical question, characterized by the speaker’s heightened emotional state and linked by a vav to a previous thought to which it lies in opposition. This paper argues that the construction is better understood as a rhetorical strategy, whereby the speaker takes the opinion or suggested course of action of the interlocutor and restates it as the conclusion to a syllogism, after providing premises that make the conclusion absurd. This construction is called an ironic syllogism, as the absurd conclusion is a pseudo-quote said ironically. The pseudo-quote could still be considered an unmarked conducive question since it expects a negative reply from the addressee.

This essay argues that technical rhetoric in ancient Athens is neither well nor fully understood in its present historical characterization but rather is best realized as occupying a position on a spectrum of literate skills ranging from an art to a craft. The dismissive views of technical writing advanced by Plato and Aristotle should be reconsidered and specialized literate practices be recognized as an important feature of rhetoric in Athens’ classical period. A review of discursive and material (archaeological) evidence reveals that technical writing was evolving into a craft-skill in Athens as early as the archaic period and, by the classical period, would be regarded as a respected “rhetorical” profession of artistic expression. This essay urges readers to reconsider the restrictive characterization of rhetoric advanced by some historians of rhetoric and include the specialist craft-skills of writing as a manifestation of technical rhetoric that both illustrates, and more accurately represents, the range of classical rhetoric in ancient Athens.

Yokozuna Hakuhō, a prominent Sumo wrestler, is a Mongolian-born Japanese national hero. However, he, as other Mongolian wrestlers, presents Sumo with tensions between worldviews, which are battled both within the hierarchical setting of the Sumo association, and in public opinion. Those concern questions of etiquette and ethical behavior, between what is understood the “real Japanese” spirit, and the Mongolian attitude. Moreover, the Mongolian attitude also coincided with modern tendencies and the culture of celebrities so that those tensions are also a case of a Japanese way of dealing with the external influences of globalization. Moreover, since both Japanese and Mongolian cosmos are “inclusive,” namely, tend toward the non-dual, the tensions are not resolved but rather create a cultural enclave of shifting assemblages yielding both new regulations and popular opinions. And while those tensions are negotiated, the common belief as to what constitutes true Japanese traits is also forged and inculcated.

The poet Sikhamani is a teacher and a Dalit poet who writes in Telugu. His contribution to the corpus of Dalit poetry in Telugu is significant. Sikhamani’s poetry exposes the hypocrisy, inhumanity, exploitation, atrocities, discrimination, etc., of the caste Hindu society. The Black Rainbow: Dalit Poems in Telugu (2000), a collection of Sikhamani’s poems, portrays the problems of Dalit lives. His use of mythological figures, metaphors, similes, allusions, etc., enrich his poetry. Every poem reflects a protest/rebellious attitude from which the identity of Dalits emerges. He attacks the physical, cultural, social and even literary atrocities perpetrated over Dalits and interrogates Brahmanism.

This article offers a critical examination of the term mixed cities, concentrating mainly on its usage in Zionist and Israeli discourse. It posits that the term is uniquely reserved to denote Israel’s Jewish Arab urban spaces. Presented as bureaucratic and value-free, the term sharply contrasts with the anti-Arab reality of Israel’s mixed cities. The article traces the origin of the term to pre-State, Zionist discourse, which denounced Arab Jewish “mixing,” situating it between “pure” Zionist and “foreign” Palestinian Arab spaces. The article identifies four general forms of urban (anti-)mixing: pluralistic, racial, sovereign, and colonial. It locates Israel’s mixed cities within the latter two categories. Abandoning this ideologically charged trope and replacing it with Urban Studies concepts are proposed. The advantages of this perspective are demonstrated with a test-case analysis of Arab-Jewish cities in British Palestine (1918-1948) through the lens of Scott Bollens’s model for the study of ethno-national contested cities.

This article is concerned with the image of Yahweh as portrayed in Amos 4:13, 5:8-9 and 9:5-6. It argues that Yahweh is portrayed as Creator, Lord of creation, all-powerful, all-knowing, transcendent, and immanent and emphasizes his unique creative skills in bringing into being all natural existence in complete independence. It also demonstrates Yahweh's sovereign freedom in controlling the cosmos and indicates that all in the universe is dependent upon him and is subject to his authority. For not only has he created all that there is, he continues to renew and sustain the entire creation. For the author, then, Yahweh owns the cosmos and has the power to rule all creation by summoning, sustaining, governing, and using the forces of nature for his purposes. This sets him over the nations and creation as Lord and gives him the right to claim the worship of all people, as he confers on all creation his own protection. This also becomes an appropriate foundation for understanding the message of divine judgment against the nations in Amos 1:3–2:16.

One of the most contentious debates coursing through sociology is what to do with the canon of Marx, Weber, and Durkheim: abandon the canon, start afresh with a new canon, or reconstruct the existing canon? In this paper I examine the claims of Connell, the foremost advocate of abandoning the cannon. She claims the canon is an arbitrary imposition that bears no relation to the actual history of sociology and we would be better off examining how the canon came to be. She does not consider the intrinsic value of the canon and instead advances the idea of Southern theory. It is not clear what is Southern about Southern theory nor what holds together the array of theorists she proposes. As an alternative I propose reconstructing the canon with the life and work of W.E.B. Du Bois who was propelled by precisely the issues that concern Connell. The canon is relational so that Du Bois is not simply added but brought into conversation with Marx, Weber, and Durkheim, leading to a rereading of each theorist. The canon has always been subject to revision when it atrophies, when it moves out of sync with questions raised by the world and by sociology. I agree with others that contemporary questions push Du Bois to the forefront—however, not at the expense of Marx, Weber, and Durkheim but in dialogue with them. I outline a possible direction of such dialogues from which all would benefit. Just as the inclusion of Marx had dramatic consequences for the recalibration of Weber and Durkheim, so the same will happen with the inclusion of Du Bois with regard to Weber, Durkheim, and Marx, and, at the same time, stiffening and advancing a Du Boisian sociology. Incorporating Du Bois into the existing canon may appear to be a reformist move but if attention is paid to the whole gamut of Du Bois’s oeuvre, then the consequences could be revolutionary, even to the point of sidelining one or more of Marx, Weber, and Durkheim.

This article discusses the Punjabi New Testament in Persian script. It explores different phases of its preparation and its translation features, as well as the individuals who contributed to its translation and revision.

In this study, a textual analysis of the linguistic characteristics of Goodreads user-generated reviews associated with popular graphic novels revealed reviewers’ rich evaluations of both textual and visual characteristics of the novels as well as the embodied orientation of the reviewers’ narrations, wherein positive emotions associated with the reading experience dominated. Overall, the blend of users’ unique perceptions of textual and visual characteristics of graphic novels contributes to the genre’s vivid representation and discoverability. The machine analysis of user-generated reviews revealed a high rate of function words, pronouns, and auxiliary verbs, which may suggest reviewers’ social orientation. This high rate of function words and the overall positive tone of the reviews may also be interpreted as reviewers’ attempts to promote their reviews and influence others’ reading choices.

This article is an experimentation in poetry on the topic of combat and killing derived from interview data. Such writing is called many things, but I named it documentary poetry which, regardless of its origins, is a manifestation of the indeterminacy and autonomy of art. I have taken the words of Finnish military cadets, poetic in themselves, and exhausted the possibilities of translation by abandoning accuracy for the sake of sensual precision. The zealless yet unsettling depictions of combat are reassembled in poems troubling the mystique and exceptionalism of the military while pointing to the fragility of the military itself.