For over 2500 years many of the most learned scholars of the Greek language have concerned themselves with the topic of etymology. The most productive source of difficult, even inexplicable, words was Homer s 28,000 verses of epic poetry. Steve Reece proposes an approach to elucidating the meanings of some of these difficult words that finds its inspiration primarily in Milman Parry s oral-formulaic theory. He proposes that during the long period of oral transmission acoustic uncertainties, especially regarding word boundaries, were continually occurring: a bard uttered one collocation of words, but his audience thought it heard another. The consequent resegmentation of words and phrases is the probable cause of some of the etymologically inexplicable words in our Homeric texts.
At the end of several of his letters the apostle Paul claims to be penning a summary and farewell greeting in his own hand: 1 Corinthians, Galatians, Philemon, cf. Colossians, 2 Thessalonians. Paul's claims raise some interesting questions about his letter-writing practices. Did he write any complete letters himself, or did he always dictate to a scribe? How much did his scribes contribute to the composition of his letters? Did Paul make the effort to proofread and correct what he had dictated? What was the purpose of Paul's autographic subscriptions? What was Paul's purpose in calling attention to their autographic nature? Why did Paul write in large letters in the subscription of his letter to the Galatians? Why did he call attention to this peculiarity of his handwriting? A good source of answers to these questions can be found among the primary documents that have survived from around the time of Paul, a large number of which have been discovered over the past two centuries and in fact continue to be discovered to this day. From around the time of Paul there are extant several dozen letters from the caves and refuges in the desert of eastern Judaea (in Hebrew, Aramaic, Nabataean, Greek, and Latin), several hundred from the remains of a Roman military camp in Vindolanda in northern England (in Latin), and several thousand from the sands of Middle and Upper Egypt (in Greek, Latin, and Egyptian Demotic). Reece has examined almost all these documents, many of them unpublished and rarely read, with special attention to their handwriting styles, in order to shed some light on these technical aspects of Paul's letter-writing conventions.
Steve Reece proposes that the author of Luke-Acts was trained as a youth in the primary and secondary Greek educational curriculum typical of the Eastern Mediterranean during the Roman Imperial period, where he gained familiarity with the Classical and Hellenistic authors whose works were the focus of study. He makes a case for Luke's knowledge of these authors internally by spotlighting the density of allusions to them in the narrative of Luke-Acts, and externally by illustrating from contemporary literary, papyrological, and artistic evidence that the works of these authors were indeed widely known in the Eastern Mediterranean at the time of the composition of Luke-Acts, not only in the schools but also among the general public. Reece begins with a thorough examination of the Greek educational system during the Hellenistic and Roman Imperial periods, emphasizing that the educational curriculum was very homogeneous, at least at the primary and secondary levels, and that children growing up anywhere in the Eastern Mediterranean could expect to receive quite similar educations. His close examination of the Greek text of Luke-Acts has turned up echoes, allusions, and quotations of several of the very authors that were most prominently featured in the school curriculum: Homer, Aesop, Euripides, Plato, and Aratus. This reinforces the view that Luke, along with other writers of the New Testament, lived in a cultural milieu that was influenced by Classical and Hellenistic Greek literature and that he was not averse to invoking that literature when it served his theological and literary purposes.
For more than two millennia, Homer's poetry has stirred the imagination of its readers. Originally recited by traveling bards, these poems are exceptionally rich in conventional elements that helped the poets remember works thousands of lines long. As dynamic ingredients of oral poetry, these elements have accrued deep meaning, and for a well-informed audience they call significant associations to mind. In The Stranger's Welcome, Steve Reece treats eighteen "hospitality" scenes in the Iliad, the Odyssey, and the Homeric Hymns and reveals key aspects and standard elements of such scenes. Further, he demonstrates how Homeric listeners might comprehend the new and innovative by relying on their knowledge of the conventional and familiar. This tension between conventional and innovative, between the traditional background and the individual performance, distinguishes the aesthetics of Homeric poetry. Of interest to students and scholars of oral poetry, folklore, Homeric literature, and Greek literature in general, The Stranger's Welcome offers a practical approach whereby a reading audience may understand a hearing one.
The joy of these scripts is in being able to appreciate the craft and ambition involved in the sharpness of the dialogue, the cunning of the plotting, and the desire never to repeat themselves, as Pemberton and Shearsmith build each episode into a miniaturist treasure. A must for anyone who wants to write for television, or who just wants to see how the magic is done.' - NEIL GAIMAN Take a further peek behind the door marked 'number 9' as the scripts from series 1-3 are collected here for the first time. An anthology of darkly comic twisted tales by Steve Pemberton and Reece Shearsmith, read how each 30-minute self-contained story with new characters and new settings, sprang to life from the page. Each series is prefaced by a foreword from the show creators, giving readers and fans behind-the-scenes insight to this creative phenomenon. It is a beautifully written series, some stories comic, some tragic, all highly original and inventive. As well as Steve and Reece, it has featured guest appearances from a plethora well-known actors including Jack Whitehall, Peter Kay, Sheridan Smith, Gemma Arterton, Keeley Hawes, Alison Steadman, Conleth Hill, and David Morrissey. Relive the show's every enjoyable moment down to the stage directions with Inside No. 9: The Scripts: Series 1-3.
Glaucoma is a group of disorders characterised by an abnormally high intraocular pressure (IOP), which can damage the optic nerve and lead to blindness. Glaucoma occurs in several forms: chronic open-angle (primary), acute angle-closure, congenital (inherited as an autosomal recessive trait), and secondary to other causes. Chronic open-ended glaucoma constitutes about 90% of the instances of glaucoma and is frequently familial in nature. Congenital glaucoma can be triggered by varicella, mumps, parvovirus, HIV and herpes among others. Secondary glaucoma can result from trauma and drugs such as steroids. This new book includes within its scope the prevention, pathogenesis, etiology, diagnosis and treatment of glaucoma. International research efforts are reported.
The finest writing in the land. Limitless, joyous and terrifying' - RUSSELL T. DAVIES Steve Pemberton and Reece Shearsmith's darkly comedic creations are an endlessly dazzling masterclass in storytelling. Inside No. 9: The Scripts features every episode from Series 4-6 of the award-winning BBC2 anthology, including the live Halloween special and an original foreword for each series from the show's creators. 'One of the best pieces of British television in years' - INDEPENDENT
At the end of several of his letters the apostle Paul claims to be penning a summary and farewell greeting in his own hand: 1 Corinthians, Galatians, Philemon, cf. Colossians, 2 Thessalonians. Paul's claims raise some interesting questions about his letter-writing practices. Did he write any complete letters himself, or did he always dictate to a scribe? How much did his scribes contribute to the composition of his letters? Did Paul make the effort to proofread and correct what he had dictated? What was the purpose of Paul's autographic subscriptions? What was Paul's purpose in calling attention to their autographic nature? Why did Paul write in large letters in the subscription of his letter to the Galatians? Why did he call attention to this peculiarity of his handwriting? A good source of answers to these questions can be found among the primary documents that have survived from around the time of Paul, a large number of which have been discovered over the past two centuries and in fact continue to be discovered to this day. From around the time of Paul there are extant several dozen letters from the caves and refuges in the desert of eastern Judaea (in Hebrew, Aramaic, Nabataean, Greek, and Latin), several hundred from the remains of a Roman military camp in Vindolanda in northern England (in Latin), and several thousand from the sands of Middle and Upper Egypt (in Greek, Latin, and Egyptian Demotic). Reece has examined almost all these documents, many of them unpublished and rarely read, with special attention to their handwriting styles, in order to shed some light on these technical aspects of Paul's letter-writing conventions."--
Clives Staples Lewis (1898-1963) called his theological writings as that "of a layman and an amateur" who merely attempted to restate "ancient and orthodox doctrines." However, S. Steve Park argues that Lewis's theological reflections are well-informed, thoughtful and weighty. For instance, Lewis's notion of "mere Christianity" consistently shows his commitment to "supernaturalism" (vs. naturalism) and "eucatastrophic salvationism" (vs. ethical developmentalism) in sharp contrast to many prevailing theologians of his time. In this book, the author expounded Lewis's theological writings rather comprehensively and organized the results according to Lewis's signature literary motif of the journey towards home, in four stages: "Away from Home," "Homeward Turning," "Home Away from Home," and "The Final Home." Under these headings, Lewis's major theological and literary themes find illuminating treatments with rich contents and penetrating analyses. In so doing, the author presents to the readers, probably for the first time, a systematic theology of C. S. Lewis. It turns out that Lewis, more than just a storyteller, was a significant participant in the world of theological reflections, demonstrating himself to be a rather formidable theological mind to be reckoned with.
From 2004 to 2016, Anna Meares was one of Australia's greatest and most popular Olympians, a winner of two gold medals and medals at four Olympics. She overcame a broken neck to win silver at the 2008 Beijing Games. She is an inspiration not just because of her sporting achievements, but for way she answered the potentially debilitating question faced by all retiring athletes: What happens now? Anna confronted personal crises, including the death of her coach from motor neurone disease and a marriage breakup, and learned plenty as she first stumbled but now strides down a bright path. She has a new career, is happy in her personal life and is the mother of a baby daughter. Her sporting life is only part of this story. Her recent wins have added a new dimension to what has been a remarkable life.
In Crying for a Vision, British-born poet, musician and performance artist Steve Scott offers a challenge to artists and a manifesto for the arts. This new edition includes an introduction and study guide, four newly-collected essays and an interview with the author. Steve Scott is the author of Like a House on Fire: Renewal of the Arts in a Post-modern Culture and The Boundaries. "Steve Scott is a rare individual who combines a deep love and understanding of Scripture with a passion for the arts." -Steve Turner, author of Jack Kerouac: Angelheaded Hipster. "Steve Scott links a number of fields of inquiry that are usually perceived as unrelated. In doing so he hopes to open wider possibilities for Christians in the arts, who may perhaps be relieved to find that, in many ways, they were right all along." -Rupert Loydell, author of The Museum of Light. Cover art by Michael Redmond
Why does it seem like the world is falling apart?Everywhere we look today, the world is changing, and not for the better. For many of us, such political and cultural changes have been so dramatic that we no longer recognize our societies anymore. So what's going on?This book has the answer!In this masterful work, 'The Abolition of Man,' C.S. Lewis observes how the modern world is in fact changing our conception of what it means to be human by sequestering humanity from the objective values that made us most human. Focusing on modern educational reforms, Lewis noted that instead of virtue formation, modern educational practices perpetuate a mechanistic vision of the world comprised of scientifically inspired control over nature and, as a necessary consequence, humans. HERE'S A PREVIEW OF WHAT YOU'LL LEARN .......... How modernist assumptions about the world differ drastically from classical and Christian ones How modernism is radically reshaping a fundamentally different conception of humanity What role education plays in perpetuating modernist norms about the world How the role of virtue and wisdom formation can become a powerful antidote to these secularizing tendencies And much, much more ....along with a whole BONUS SECTION of study questions and answers to group discussion!! In this insightful and thought provoking book, you will discover C.S. Lewis' invitation to challenge the modernist assumptions of our age by rediscovering the doctrine of objective values and, in so doing, you will rediscover a hope for truly human flourishing for generations to come.Get your copy today!
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