AESTHETIC DOMINANTS AND THE STRATEGY OF LITERARY TRANSLATION

Рассматриваются доминанты стратегии перевода, позволяющие реализовать в переводах категорию ХУДОЖЕСТВЕННОЕ, системообразующую в когнитивном акте поэзиса. Это принципы художественной целостности, гармонии формы и содержания, иконичности и отграниченности художественной модели мира, структурные принципы отождествления, со- и противопоставления, а также механизмы детализации, глоссализации и (де)автоматизации восприятия в основе приёма остранения. The article outlines a set of aesthetic dominants constitutive of the cognitive act of poesis and thus fundamental to the translation strategy aimed at the category THE LITERARY. These are the principles of literary integrity, of form-content harmony, of the iconic and delimitated nature of the world model construed in the text and of structural equation, juxtaposition and opposition, as well as the cognitive mechanisms of specification, glossalization and perceptual (de)automaticity crucial to the estrangement technique.

Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics

An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre. The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.

The aesthetic integrity of the book of Job: Job’s literary integrity

At present, the book of Job appears less as a single book and more as an assemblage of disparate materials. In this article, I assess the hermeneutical values of modern scholarship that sustain such a judgment and propose an alternative means of envisioning the literary integrity of the Joban drama. Imagery is not merely an artistic vehicle for abstract meaning but a poetic and cognitive device that links together dissonant speeches and genres. I demonstrate the significance of a hermeneutics of poetry by examining Eliphaz’s first speech and Job’s response, as well as other structurally troubling places. Thus, reappraising the function of imagery demonstrates a graphic coherence and, therefore, a greater intelligibility to the book of Job.

Ammonius of Alexandria, Eusebius of Caesarea and the Origins of Gospels Scholarship

In the early third and fourth centuries respectively, Ammonius of Alexandria and Eusebius of Caesarea engaged in cutting-edge research on the relationships among the four canonical gospels. Indeed, these two figures stand at the head of the entire tradition of comparative literary analysis of the gospels. This article provides a more precise account of their contributions, as well as the relationship between the two figures. It argues that Ammonius, who was likely the teacher of Origen, composed the first gospel synopsis by placing similar passages in parallel columns. He gave this work the title Diatessaron-Gospel, referring thereby to the four columns in which his text was laid out. This pioneering piece of scholarship drew upon a long tradition of Alexandrian textual scholarship and likely served as the inspiration for Origen's more famous Hexapla. A little over a century later, Eusebius of Caesarea picked up where Ammonius left off and attempted to accomplish the same goal, albeit using a different and improved method. Using the textual parallels presented in the Diatessaron-Gospel as his ‘raw data’, Eusebius converted these textual units into numbers which he then collated in ten tables, or ‘canons’, standing at the beginning of a gospel book. The resulting cross-reference system, consisting of the Canon Tables as well as sectional enumeration throughout each gospel, allowed the user to find parallels between the gospels, but in such a way that the literary integrity of each of the four was preserved. Moreover, Eusebius also exploited the potential of his invention by including theologically suggestive cross-references, thereby subtly guiding the reader of the fourfold gospel to what might be called a canonical reading of the four.

The Epistle to the Hebrews in Modern Interpretation

This article focuses on the findings of modern scholars of the Epistle to the Hebrews on key historical-critical and thematic issues. We begin with an examination of the fundamental historical-critical questions of the authorship, date, audience, genre, and literary integrity of the Epistle to the Hebrews. Since these are notoriously thorny issues for the anonymous book of Hebrews, this survey asks the relevant questions, draws out the key insights and conclusions from top scholars, and emphasizes the points of scholarly consensus and disagreement. After probing the historical-critical questions, we then explore the scholarly debate over two of the main thematic issues of Hebrews: the overall aim of Hebrews and the striking and unique theme of priesthood so prominent in Hebrews. Again and again we encounter the overarching problem faced by most Hebrews scholars: there is just too little evidence—both internal and external—on which to base hypotheses about these foundational questions. While certain hypotheses can be securely dismissed-such as the early theory that Paul authored the book of Hebrews—for most questions the answers are not so clear-cut. The result is a plurality of proposals, most of which can be neither concretely verified nor resolutely dismissed from consideration.

Manuel I Komnenos and Michael Glycas: A Twelfth-Century Defence and Refutation of Astrology

Michael Glykas is generally known as a learned conservative theologian who wrote a refutation of Byzantine Emperor Manuel Komnenos' defence of astrology in the latter half of the twelfth century. However there exists substantial evidence that Michael Glykas had a dual identity as the shadowy Michael Sikidites who in his youth was known for his occult interests, suspected of political sedition against Manuel, and imprisoned and blinded as punishment for sorcery. With skill and critical astuteness, Glykas directs his refutation not so much against Manuel's philosophical arguments as against the claims of his evidence, and thus seeks to cast doubt upon the moral and literary integrity of his Emperor in an attempt to redeem his own reputation. Within half a century of the reintroduction of astrology to the West, Glykas was the first person in many centuries to stir up all the old Christian objections against the fatalism of the stars.

Philippians as a Macro-Chiasm and its Exegetical Significance

This article, a rejoinder to a recent article in this journal by A. B. Luter and M. Lee, responds to their presentation of a macro-chiastic analysis of Philippians by examining two issues. The first is the use of chiasm in recent New Testament study, where it is shown that there is a lack of methodological rigour in explication of the concept. The second scrutinizes analyses of Philippians using chiasm with regard to three areas: macro-chiasm as a method, the nature and quality of macro-chiastic claims regarding the structure of Philippians, and its possible use in determining the literary integrity of Philippians.