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The Greek New Testament According to the Majority Text

de Zane C. Hodges

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1724121,281 (3.85)No n'hi ha cap
English summary: The relationship of art to physical violence in European cultural history has always been intricate. Aestheticised violence in the fine arts, on the stage or in literature has often been discredited, but at the same time - not least because of the contiguity of violence and sexuality - it is received with pleasure. In a survey of literary examples from antiquity, the Renaissance and modernity, the author begins by elucidating the development in Europe of the troubled relationship between aesthetics and violence. This relationship is then examined from a psychoanaltical angle in two exemplary studies of music. The dual perspective continues with the analyses of contemporary cultural producers (a theatre director, a photographic artist and a film director) together with those of cultural scientists (from theatre studies, art history, and film and media studies). In this way, the actual process of aesthetisizing violence, on the one hand, and theoretical reflections on it, on the other, become clear.German description: Das Verhaltnis der Kunste zur physischen Gewalt ist in der europaischen Kulturgeschichte immer schon ein intrikates gewesen. Asthetisierte Gewalt in der Kunst, auf der Buhne oder in der Literatur wurde zwar oft diskreditiert, zugleich aber - auch wegen der Nahe von Gewalt und Sexualitat - mit Genuss rezipiert. An den Beispielen der Literatur der Antike, der Renaissance und der Moderne zeigt der Band die europaische Entwicklung des ambivalenten Verhaltnisses von Asthetik und Gewalt auf. Aus psychoanalytischer, kulturwissenschaftlicher und medienwissenschaftlicher Perspektive verdeutlichen die Beitrager sowohl konkrete Verfahren des Asthetisierens von Gewalt als auch ihre theoretische Reflexion. Erganzt durch Analysen aus dem Kulturbetrieb - u.a. von Daniel Rademacher, Wilfred H.G. Neuse und Thomas Sieben - bietet der Band so einen umfassenden Einblick in die Beziehung zwischen Kunst und Gewalt.… (més)
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The problem with good works of scholarship is that too often people mistake them for great works of scholarship.

Let's be clear: We don't have the original Greek manuscripts of the New Testament. All we have is copies of copies of copies. These copies do not agree. Therefore we have to compare them to try to determine the original reading of the New Testament. Thus far, there is no argument.

What's more, early manuscripts are few and late manuscripts are many, and the late manuscripts, on the whole, agree with each other more than they agree with the early manuscripts, or than the early manuscripts agree with each other.

That's about as far as the agreement gets. To absurdly oversimplify an immensely complex situation, the early manuscripts have one type of text, the late a different one. So which is better? The early text, or the more common text?

There is no automatically obvious answer to this, but on the whole, more conservative Christians tend to prefer the common ("Majority," "Byzantine") text, the more liberal the early text.

Because scholars are more likely to come from liberal denominations -- and, as a rule of thumb, the more liberal the denomination, the better the scholars -- most scholars have preferred the early text. So much so that they never paid much attention to the Majority Text. This even though the Majority Text has clearly been tugging on every manuscript since about the fifth century. As time passed, more and more readings in more and more manuscripts came to conform to this type of text.

But no one published an edition of that text. The leading scholars all looked at their favorite manuscripts, and at a few late manuscripts, and in effect said, "That's enough."

It was a genuine mistake that produced some disastrous results, because scholars did not know the majority reading.

As other reviewers have noted, the Hodges & Farstad edition is the first to really try to set out the Majority Text. This is a vital thing to do -- although it should be noted that this does not make the Majority Text the original text; the large majority of competent scholars, including even conservative evangelicals, still prefer the early text. The true purpose of a Majority Text edition is not to determine the original text; It is to locate that pole that is always pulling on the compass needle.

This book is progress toward that end, in a small way. Unfortunately, it doesn't really represent much new research. It was not compiled by comparing a large number of manuscripts -- which is the only way to truly know the majority reading. Instead, it was compiled by going over the earlier edition of Von Soden and extracting what appears to be the majority reading.

Unfortunately, Von Soden's edition was neither particularly readable nor particularly accurate. So this edition is not the final word. It is useful -- I do not deny that at all. There is information here that is not available in any other hand edition. But there is a need for so much more! One would wish that it would encourage the production of a real Majority Text edition, with a truer and fuller critical apparatus. But, so far, no luck. ( )
  waltzmn | Mar 11, 2012 |
NO OF PAGES: 810 SUB CAT I: Greek SUB CAT II: Reference SUB CAT III: DESCRIPTION: The only complete edition of the Greek New Testament that shows what the majority of Greek manuscripts in existence contain. All students of biblical Greek should use this edition to consider its thoughtful challenge to the eclectic text provided in all other Greek Testaments.NOTES: Loaned to the Beit Hallel library by David Shelvey. SUBTITLE: According to the Majority Text, Second Edition
  BeitHallel | Feb 18, 2011 |
The only complete edition of the Greek New Testament that shows what the majority of Greek manuscripts in existence contain. All students of biblical Greek should use this edition to consider its thoughtful challenge to the eclectic text provided in all other Greek Testaments.
  Avidhunter | Jan 13, 2011 |
This Critical edition of the Greek New Testament Text is a scholarly work. The Introduction argues for the superiority of the Majority Text. The Textual Aparatus presents an honest attestation to variants. The integrity of methodology brings forth a trustworthy text that can be used for further study by those who embrace the Majority, TR, and Byzatine text types. ( )
  cogman | Dec 9, 2006 |
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English summary: The relationship of art to physical violence in European cultural history has always been intricate. Aestheticised violence in the fine arts, on the stage or in literature has often been discredited, but at the same time - not least because of the contiguity of violence and sexuality - it is received with pleasure. In a survey of literary examples from antiquity, the Renaissance and modernity, the author begins by elucidating the development in Europe of the troubled relationship between aesthetics and violence. This relationship is then examined from a psychoanaltical angle in two exemplary studies of music. The dual perspective continues with the analyses of contemporary cultural producers (a theatre director, a photographic artist and a film director) together with those of cultural scientists (from theatre studies, art history, and film and media studies). In this way, the actual process of aesthetisizing violence, on the one hand, and theoretical reflections on it, on the other, become clear.German description: Das Verhaltnis der Kunste zur physischen Gewalt ist in der europaischen Kulturgeschichte immer schon ein intrikates gewesen. Asthetisierte Gewalt in der Kunst, auf der Buhne oder in der Literatur wurde zwar oft diskreditiert, zugleich aber - auch wegen der Nahe von Gewalt und Sexualitat - mit Genuss rezipiert. An den Beispielen der Literatur der Antike, der Renaissance und der Moderne zeigt der Band die europaische Entwicklung des ambivalenten Verhaltnisses von Asthetik und Gewalt auf. Aus psychoanalytischer, kulturwissenschaftlicher und medienwissenschaftlicher Perspektive verdeutlichen die Beitrager sowohl konkrete Verfahren des Asthetisierens von Gewalt als auch ihre theoretische Reflexion. Erganzt durch Analysen aus dem Kulturbetrieb - u.a. von Daniel Rademacher, Wilfred H.G. Neuse und Thomas Sieben - bietet der Band so einen umfassenden Einblick in die Beziehung zwischen Kunst und Gewalt.

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