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This study proposes a new analysis and translation of Job 42:7–8, focusing on the renderings of the prepositions אל and כ. Understood correctly, these verses indicate that the three friends have spoken falsely, not about God, but Job. In this way they have borne false testimony about Job to God, and it is for this reason that his wrath is kindled against them. [ABSTRACT FROM AUTHOR]

The present work is intended for literature teachers. Its purpose, both scientific and methodological, is to provide the most comprehensive, reliable, and relevant research material that meets the needs of modern schools. In contemporary literature teaching, there is a need to combine the methodology of school analysis with literary research, incorporating its achievements, interpretations, and information. Therefore, the work includes extensive excerpts from the research of modern scholars on Dostoevsky. Such works are not always accessible to schoolteachers; however, without them an analysis of Dostoevsky’s novel Crime and Punishment that aligns closely with the author’s intention can be challenging or even impossible. Conceptually, the article focuses on identifying what is the true punishment in the novel, offering an interpretation that diverges from traditional views. An original approach is proposed to create a structure of the lessons dedicated to the study of Crime and Punishment, based on the concept of punishment in the novel. This structure can be developed in accordance with the milestones of the protagonist’s journey from crime and spiritual death to salvation and resurrection.

The intrinsic spirituality of Arrigo Boito's art in the opera Mefistofele results from the vibrant expressions of the sacred that directly accompany the tumultuous path of the Faustian quests. The present article highlights the way in which the composer penetrates through music and text into the metaphysical mysteries of the fight between good and evil, in the scene of Faust's salvation - the Epilogue. The violent confrontation of the antagonistic forces of the universe takes place when Faust, at the end of his life, manages to free himself from Mefistofele. The musical, literary and scenic means of expression imposed by the composer - being the sole creator of the libretto, music and mise-en-scène - masterfully reproduce this confrontation. The fragment we analyzed emphasizes this by noting at the same time how metaphysical space can be rendered with the help of music. Placed at the end of the opera Mefistofele, through the dramatic unfolding rich in sacred symbols, the scene of salvation crowns the series of defining elements with which Boito contributes to the evolution of the Faustian myth. [ABSTRACT FROM AUTHOR]

A reduction in fingertip forces during a visually occluded isometric task is called unintentional drift. In this study, unintentional drift was studied for two conditions, with and without "epilogue." We define epilogue as the posttrial visual feedback in which the outcome of the just-concluded trial is shown before the start of the next trial. For this study, 14 healthy participants were recruited and were instructed to produce fingertip forces to match a target line at 15% maximum voluntary contraction. The results showed a significant reduction in unintentional drift in the epilogue condition. This reduction is probably due to the difference in the shift in λ, the threshold of the tonic stretch reflex, the hypothetical control variable that the central controller can set. [ABSTRACT FROM AUTHOR]

This article explores the concept of the "six voices of logue" in qualitative inquiry, discussing the importance of reflecting on subjectivity and positionality in research. It delves into the different voices, such as prologue, monologue, dialogue, polylogue, metalogue, and epilogue, and their relevance in understanding our experiences during the pandemic and the impact of technology. The author encourages readers to critically evaluate and incorporate these voices into their own inquiries, emphasizing the significance of relationships, relevance, and rigor in facilitating meaningful and transformative conversations. The article also mentions the books "Mind in Society: The Development of Higher Mental Process" by S. (1978) and "Writing up Qualitative Research" by H.F. Wolcott (2009), as well as provides a brief biography of James A. Bernauer, a retired University Professor. [Extracted from the article]

Many works have been given in Turkish literature in the form of mesnevi verse, which has been rooted from Iranian literature and has gained a national identity in terms of both form and subject over the centuries. Various subjects are handled in a certain order in mesnevis. When we look at the arrangement formats of mesnevi in general, they consist of three parts. These are prologue, section that handles the issue and epilogue. Poets describe the story in the second main part of the mesnevi. In prologue and epilogue, they give the reader historical and chronological information about their works, poetics, poetry and the period in which they lived both to shed light on the history of literature and to provide historical and chronological information. In this study a comparative assessment was made on epilogue of mesnevis. The 15th century was chosen as the period because it is accepted as the turning point of Turkish mesnevi literature. In this century Mesnevis written with the concern of art are close to perfection in terms of style, language, originality in selected subjects and narrative technique. In this study, it has been tried to reveal what kind of contributions the information given by the poets in the chapters of epilogue has made to the history of literature. [ABSTRACT FROM AUTHOR]

The book of Job apparently ends happily ever after, with the restoration of the protagonist's family and fortune (42:7–17). Juxtaposed with the rest of the book, however, this epilogue may appear incongruent and deeply problematic. In light of that, this article argues that a double reading is warranted. On the one hand, the epilogue may be read with a hermeneutic of suspicion, which resists superficial worldviews and protests against injustice. This reading will unmask troubling features in the representation of Job's God, Job's restoration, and Job's speech. On the other hand, though—and drawing on Paul Ricœur—the text can be approached with "second naivety." The audience is thereby welcomed to inhabit the symbolic wholeness of the textual world. The text invites both these readings and does not adjudicate between them. By holding them in dialectic tension, both hermeneutics and theology are enriched. [ABSTRACT FROM AUTHOR]

This article sets out to examine the epilogue of L’amica geniale as the site in the novels where Lila can be said to claim true authorship outside the bounds of Elena’s text. It contends that the mysterious return of the lost dolls at the end of the novel should be interpreted as a triumph on Lila’s part, offering warrant for that contention not by claiming that Lila herself orchestrated the return, but rather by positing that, in the novel’s treatment of the life-plot tension, Lila tends to be representative of the former and Elena of the latter. Thus, in marking the closing of the plot, the dolls index a return to “life,” and thus a recalibration of the text’s energies in favor of Lila. The article then employs Peter Brooks’s narrative theory to understand the thermodynamic effects that the return has on the text, proceeding to apply Teresa de Lauretis’s concept of the “space off” to argue that Lila’s victory extends beyond the simple competitiveness that governs her relationship with Elena and into the institution of an entropic, liberatory desire.

This epilogue comments on the Reflections: Narratives of Professional Helping double Special Issue: A Call for Social Work Educators to Confront and Dismantle Systemic Racism Within Social Work Programs. The articles highlight the lived experiences, observations, and treatment of Black, Indigenous, and People of Color (BIPOC) in social work programs across the country and the impact on individual productivity, higher education institutions, social work curriculum and the social work profession. The issues create a lens for examination of behaviors and practices and suggest paths forward to address systemic racism within social work programs. [ABSTRACT FROM AUTHOR]

The article deals with the transformations of Dostoevsky’s Crime and Punishment, with an emphasis on the actualization of the epilogue of the novel in the cinema, from the beginning of the 20th to the beginning of the 21st century. The research focuses on films that are of significant importance for the ‘spirit of the time’ of their era, and, at the same time, that most actively participated in the creation of the cultural phenomenon of Raskolnikov’s transmedial metatext. The analysis reveals the dialogism of film authors in reference to the epilogue, which, in the researcher’s opinion, contains the ‘original message’ of the novel. Several variants of screen interpretations of the epilogue of Crime and Punishment are here analyzed. A first option is when the author develops Dostoevsky’s ideas, so the hero abandons the idea of ‘having right’ and ‘permissiveness’ and evolutes to a new worldview (Raskolnikov by Robert Wiene, Crime and Punishment by Joseph von Stenberg and Georges Lampen, Pickpocket by Robert Bresson). A second option is when the hero remains fixed on his idea and the correctness of his own convictions, however he goes to surrender (Crime and Punishment by Lev Kulidzhanov and Aki Kaurismyaki). A third option means that the hero insists on his ideological platform, but the authorities punish him (Alfred Hitchcock’s Rope, Jean-Luc Godard’s Breathless). A fourth option is when the hero does not surrender to the police, does not confess the crime, and continues to live in his usual way (Silent Pages by Alexander Sokurov and Match Point by Woody Allen). A fifth option means that the hero does not hide from the law and continues to be a part of the existing social system (Taxi Driver by Martin Scorsese, Nina by Heitor Dhalia).

This article suggests that the multifaceted concept of “genre” is a fruitful tool with which to examine the complex conventions of early modern dramatic epilogues. With the ability to reflect upon the play which they conclude whilst also looking forward to its reception, epilogues of this period enjoy – and provide – a unique vantage point. By employing corpus analysis, this paper examines how epilogues create a formal genre in themselves, yet also contribute to the conceptualisation of genre in plays more broadly. It concludes that epilogues are deeply intertextual in two senses: as a discrete genre in themselves, and as commentators on specific works.

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper analyses the only preserved foreign silent screen version and twelve foreign sound film versions and adaptations of Dostoevsky’s novel Crime and Punishment, produced in Europe, Asia, both Americas, and Australia from 1923 to 2016 — and defined as “faithful”, “based on”, “associated with”, “with reference to” etc. Specific objects of the analysis are the basic attitudes of cinema makers towards literary sources (originals) and the artistic potentials of the common motto of film directors: “This is how I see it”, applied to the process of translating a book into a film. The contents and quality of various screen versions of Crime and Punishment are here explored from the point of view of the transformations of the chronotope. To what time and place is the plot of the novel transferred, when it does not remain in its original ones? What happens with the plot, the characters, and the meaning of the novel, if the events are transferred to another cultural milieu and/or to another historical period? How is the novel’s epilogue (the perspective of Raskolnikov’s renewal and rebirth in the time after the novel) interpreted? An analysis of the screen versions shows that the fate of Raskolnikov remains a painful moment for the cinema worldwide: the central character of the novel is too deeply connected with the last century, he rhymes too much with its tragic fate.

Copyright of Bohemistyka is the property of Instytut Filologii Slowianskiej Uniwersytetu im. Adama Mickiewicza w Poznaniu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Experimental contributors to the field of superconducting materials share their informal views on the subject.

This article provides a close reading of the prologue and epilogues of two fictionalised family biographies: Hungry Hill (1943) and The Glass-Blowers (1963). It is not standard practice for Du Maurier to offer prologues and epilogues to her novels, but she ends Hungry Hill with a lengthy epilogue and provides The Glass-Blowers with both a prologue and an epilogue. This article examines the plausible rationales for this aesthetic feature, in terms of the function of contextualisation and characterisation, and analyses how closure is achieved both for the characters concerned and the readers. It shows that the development of these features is not the result of accident, but of narrative experimentation.

Ce travail propose une réflexion sur les seuils métaphoriques du livre (son vestibule, ses portes de passage ou de clôture), en vue d’approfondir sur la conception du livre lui- même, ses fonctions et les problèmes de commercialisation, de création et de poétique des auteurs. D’abord, on analyse le livre en tant que porte ou moyen pour atteindre la sagesse et la vérité. Ensuite, on montre comment les paratextes littéraires, c’est-à-dire les portes du livre, nous indiquent la poétique des auteurs, ainsi que l’évolution de leur projet littéraire. Finalement, on expose comment un livre polémique, sous la forme d’une lettre, renferme la défense d’une auteure, à travers son autobiographie, et ouvre la porte à son intimité. Les exemples sont tirés des auteurs suivants : Don Juan Manuel, Sebastián Mey, Francisco Gutiérrez de los Ríos, Baltasar Gracián, Miguel de Cervantes, Lope de Vega, María de Zayas y Sor Juana Inés de la Cruz.

Elegies constituted a dominant thematic pattern in Islamic literature, or Islamic conquests’ literature, due to its representation of what wars are related to of killing or facing death. Hence, the theme of elegies was an important one especially what was related to new aspects that were inserted in the Islamic Era which surpassed the religious aspects and their rituals to go up to metaphysics and attempt to balance between the obliteration of the body and its mortality, and the continuance of the soul, its purity and immortality. We cannot imagine that the elegy of Malik ibn al- Rayb which was approached in many studies has addressed the philosophy of selfobliteration and soul continuance and the strategy of self- purification which was discovered in the prologue and the epilogue of the poem; the connection or association and the difference between the prologue and the epilogue in this poem worked on strategies that started from self- alienation and their obliteration in search of immortality at the end of the poem by way of maintaining the eternal and sublime meanings. Since the introduction was the front of the Arabic poem, so the ancient poets were proficient and creative in it. Our poet Malik bin-Al-Rayeb followed their approach and excelled as they excelled and innovated in their poetic production [ABSTRACT FROM AUTHOR]

The article is an attempt to remember the recently deceased, eminent researcher, Prof. Dr. Sylwester Dworacki, based on his article on prologues in Menander's ancient Greek comedy. [ABSTRACT FROM AUTHOR]

This paper proposes to look at two contemporary British novels that, contrary to traditional practice, use their final pages to unsettle the conclusion reached earlier, and leave the reader in a state of uncertainty. Both A. S. Byatt’s Possession, a Romance (1990) and Ian McEwan’s Atonement (2001) play games with their readers when, rather than being part of a deflating and decelerating process of conclusion, the closing pages prolong and encourage rather than put an end to “retroactive reading” and “retrospective patterning”. Indeed, the last textual sections of each novel point to discrepancies or indeed constitute disjunctures themselves. In order to fully appreciate the means and effects of the dissonance established by the final textual section of these novels, this paper first looks at postscripts and epilogues as unlikely places for disruption before considering how the final dissonance affects the sense of poetic justice previously reached. Finally, the paper examines how this last-minute reversal (or confirmation) of poetic justice is linked to the powerful figure of the storyteller.

The study of stylistics has grown wider in literatures and in linguistics. Stylistics provides linguistic features that support the interpretation of certain text so that the investigation becomes comprehensive. This research aims at finding stylistic features of the narrations of the prologue and epilogue of Mata Najwa talk show in an episode entitled Pejabat Pemburu Rente. Using ear-catching word arrangements, the prologue and epilogue successfully attract the audiences’ attention and, thus, the talk show becomes one of the most popular TV show in Indonesia. The stylistic features observed in this research are based on deviation and parallelism. This is a descriptive qualitative research. The data source is Mata Najwa show with the sub-title Pejabat Pemburu Rente, while the data are the prologue and the epilogue of the show. The analysis shows three features in the prologue as well as in the epilogue: figurative language, sound repetition and word repetition.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this brief epilogue, outgoing editor Luke Harding reflects on his time as editor and considers the future Language Testing. [ABSTRACT FROM AUTHOR]

Benjamin Britten defined himself as “a composer for an occasion” and some of his works are composed for commemorations and civic or religious ceremonies which conform to their own rituals. As an opera composer, a genre which stages rites and rituals and obeys to its own forms, Britten was very much aware of the necessity of ritual to which he wished to actively associate audience participation. The composer belonged to the Auden Generation and enjoyed a close relationship with the poet who believed in the concept of parable art. So it is no wonder that his Curlew River, his adaptation of the Noh play, Sumidagawa, should transfer the ritual of Japanese drama in a Fenland community of monks in pre-Conquest times and should be subtitled A parable for church performance. Partly based on the analysis of parable by his former associate, the poet Louis McNeice, this study will focus on Britten’s integration of the genre’s characteristics—its didactic intentions and references to prescriptive texts, the creation of a private world, the encounter with, and acceptance of the Other—to the rituals of operatic conventions and on the composer’s universalist message which barely hides Britten’s anxieties about the place of the artist and the alien in his time.

In this essay, I argue that Psalm 23 serves as a thematic rubric through which to understand how Prospero’s machinations affect the progress of the redemption of King Alonso throughout the play. At the same time, however, recognizing Prospero’s moral complexities and deficiencies, I also argue that Prospero’s mercy toward and reconciliation with Alonso ultimately demonstrates the sovereign influence of a Providence beyond Prospero’s control—a Providence that works through charity and grace beyond Prospero’s initial intentions. This higher providential power, therefore, ought rightly to be seen as the ultimate shepherd of the play—one who works to affect not only Alonso’s but also Prospero’s spiritual restoration.

D.M. Thomas’s rewriting of Jane Eyre in Charlotte (2000) takes the shape of a transformation of the ending which enables the second Mrs Rochester’s story to be continued in the West Indies, thus also acknowledging Jean Rhys’s Wide Sargasso Sea as another intertext. In order to challenge the narrative and ideological hierarchy of the source text by rewriting its ending, the pastiche defamiliarises it while some chapters set in 1999 move the limits of rewriting and take the reader into a narrative spiral.

This article explores the nature of Job's malady on various levels, using insights from disability studies as they have been applied to other parts of the Hebrew Bible, but rarely Job. What was the nature of Job's skin disease? Beyond that, how should we assess Job's mental torment accompanying his physical illness, as part of a broader intertextual resonance of lament as known from certain Psalms? It is argued that it is Job's feelings of social exclusion that are a major aspect of his malady, a factor well attested in disability studies but often left out of account in traditional biblical studies evaluations, which tend to focus on moral issues. The relevance of the moral judgment of the friends who regard Job's disease as a punishment for sin is assessed. A fresh interpretation is offered of the strange omission of Job's restoration from illness from the Epilogue. [ABSTRACT FROM AUTHOR]

Various objective reasons have led to the development of a vast and elaborate literature on the Epilogue in the Book of Qohelet. This study presents aSitz im Lebenbased approach to the Epilogue, which capitalizes on the known historical reality during the Hellenistic period in which Qohelet lived. It views the Epilogue as an expression of Qohelet’s deep apprehensions of the challenges that faced his people. From this perspective it is natural to consider Qohelet as being the author of the Epilogue. The Epilogue is not about what he says in the book but what he has to say to his people. As a wise man concerned with the welfare of his people he urges them: keep records, though it is wearisome; be aware that secrets would be leaked; fear God; and, obey His commandments. These are his essentials for survival. [ABSTRACT FROM PUBLISHER]

Experimental contributors to the field of superconducting materials share their informal views on the subject. [ABSTRACT FROM AUTHOR]