Titles of Enoch-Metatron in 2 Enoch1
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Mistranslations of the Prophets' Names in the Holy Quran: a Critical Evaluation of Two Translations
Journal of Education and Practice www.iiste.org ISSN 2222-1735 (Paper) ISSN 2222-288X (Online) Vol.8, No.2, 2017 Mistranslations of the Prophets' Names in the Holy Quran: A Critical Evaluation of Two Translations Izzeddin M. I. Issa Dept. of English & Translation, Jadara University, PO box 733, Irbid, Jordan Abstract This study is devoted to discuss the renditions of the prophets' names in the Holy Quran due to the authority of the religious text where they reappear, the significance of the figures who carry them, the fact that they exist in many languages, and the fact that the Holy Quran addresses all mankind. The data are drawn from two translations of the Holy Quran by Ali (1964), and Al-Hilali and Khan (1993). It examines the renditions of the twenty five prophets' names with reference to translation strategies in this respect, showing that Ali confused the conveyance of six names whereas Al-Hilali and Khan confused the conveyance of four names. Discussion has been raised thereupon to present the correct rendition according to English dictionaries and encyclopedias in addition to versions of the Bible which add a historical perspective to the study. Keywords: Mistranslation, Prophets, Religious, Al-Hilali, Khan. 1. Introduction In Prophets’ names comprise a significant part of people's names which in turn constitutes a main subdivision of proper nouns which include in addition to people's names the names of countries, places, months, days, holidays etc. In terms of translation, many translators opt for transliterating proper names thinking that transliteration is a straightforward process depending on an idea deeply rooted in many people's minds that proper nouns are never translated or that the translation of proper names is as Vermes (2003:17) states "a simple automatic process of transference from one language to another." However, in the real world the issue is different viz. -
The Ideology of the Long Take in the Cinema of Alfonso Cuarón by BRUCE ISAACS
4.3 Reality Effects: The Ideology of the Long Take in the Cinema of Alfonso Cuarón BY BRUCE ISAACS Between 2001 and 2013, Alfonso Cuarón, working in concert with long-time collaborator, cinematographer Emmanuel Lubezki, produced several works that effectively modeled a signature disposition toward film style. After a period of measured success in Hollywood (A Little Princess [1995], Great Expectations [1998]), Cuarón and Lubezki returned to Mexico to produce Y Tu Mamá También (2001), a film designed as a low- budget, independent vehicle (Riley). In 2006, Cuarón directed Children of Men, a high budget studio production, and in March 2014, he won the Academy Award for Best Director for Gravity (2013), a film that garnered the praise of the American and European critical establishment while returning in excess of half a billion dollars worldwide at the box office (Gravity, Box Office Mojo). Lubezki acted as cinematographer on each of the three films.[1] In this chapter, I attempt to trace the evolution of a cinematographic style founded upon the “long take,” the sequence shot of excessive duration. Reality Effects Each of Cuarón’s three films under examination demonstrates a fixation on the capacity of the image to display greater and more complex indices of time and space, holding shots across what would be deemed uncomfortable durations in a more conventional mode of cinema. As Udden argues, Cuarón’s films are increasingly defined by this mark of the long take, “shots with durations well beyond the industry standard” (26-27). Such shots are “attention-grabbing spectacles,” displaying the virtuosity of the filmmaker over and above the requirement of narrative unfolding. -
On Anamorphic Adaptations and the Children of Men
ISSN 1751-8229 Volume Eleven, Number Two On Anamorphic Adaptations and the Children of Men Gregory Wolmart, Drexel University, United States Abstract In this article, I expand upon Slavoj Zižek’s “anamorphic” reading of Alfonso Cuarón’s Children of Men (2006). In this reading, Zižek distinguishes between the film’s ostensible narrative structure, the “foreground,” as he calls it, and the “background,” wherein the social and spiritual dissolution endemic to Cuaron’s dystopian England draws the viewer into a recognition of the dire conditions plaguing the post-9/11, post-Iraq invasion, neoliberal world. The foreground plots the conventional trajectory of the main character Theo from ordinary, disaffected man to self-sacrificing hero, one whose martyrdom might pave the way for a new era of regeneration. According to Zižek, in this context the foreground merely entertains, while propagating some well-worn clichés about heroic individualism as demonstrated through Hollywood’s generic conventions of an action- adventure/political thriller/science-fiction film. Zižek contends that these conventions are essential to the revelation of the film’s progressive politics, as “the fate of the individual hero is the prism through which … [one] see[s] the background even more sharply.” Zižek’s framing of Theo merely as a “prism” limits our understanding of the film by not taking into account its status as an adaptation of P.D. James’ The Children of Men (1992). This article offers such an account by interpreting the differences between the film and its literary source as one informed by the transition from Cold War to post-9/11 neoliberal conceptions of identity and politics. -
Andrei A. Orlov the Face As the Heavenly
Andrei A. Orlov Marquette University, Milwaukee, WI USA The Face as the Heavenly Counterpart of the Visionary in the Slavonic Ladder of Jacob [published in: Of Scribes and Sages (ed. C. Evans; London: T&T Clark/Continuum, 2004) 59-76] Introduction The book of Genesis portrays Jacob as someone who not only saw God but also wrestled with Him. Jacob’s visionary experiences begin in Gen. 28 where he sees in a dream the ladder on which the angels of God are ascending and descending. Above the ladder Jacob beholds the Lord. The distinct feature of the Bethel account is the paucity of theophanic imagery. Despite the fact that the vision is linked with the celestial realm (“ladder’s top reaching to heaven”), which is labeled in the story as “the awesome place”, “the house of God”, and “the gate of heaven”, the narrative does not offer any descriptions of God’s celestial court or His appearance. Instead we have the audible revelation of God, His lengthy address to Jacob with promises and blessings. God appears again to Jacob in Gen. 32. While the narrative stresses the importance of the vision of God (the account claims that Jacob “saw God face to face” and even called the place of wrestling Peniel/Penuel - “The Face of God”), it focuses its description on Jacob’s wrestling with God rather than his seeing of God. The reference to the motif of God’s Face (which plays an important role in a number of Biblical theophanic accounts)1 and to Jacob’s seeing of God “face to face” could however indicate that the authors or editors of Jacob’s account might be cognizant of the broader anthropomorphic theophanic debates in which the motif of God’s Face2 1 See for example Exod. -
Download File
THE BOOK OF JUBILEES AMONG THE APOCALYPSES VOLUME II A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Todd Russell Hanneken James C. VanderKam, Director Graduate Program in Theology Notre Dame, Indiana June 2008 CONTENTS Volume II Chapter 5: The Spatial Axis.............................................................................................261 5.1. Angels and demons............................................................................................264 5.1.1. Before the flood: the origin of evil..........................................................265 5.1.1.1. The Enochic apocalypses ..............................................................265 5.1.1.2. The Danielic apocalypses..............................................................268 5.1.1.3. Jubilees..........................................................................................269 5.1.2. After the flood: the persistence of demons..............................................272 5.1.2.1. The early apocalypses ...................................................................273 5.1.2.2. Jubilees..........................................................................................274 5.1.3. Angelic mediation ...................................................................................277 5.1.3.1. Evidence outside the apocalypses .................................................277 5.1.3.2. The early apocalypses ...................................................................281 -
Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK. -
Stories of the Prophets
Stories of the Prophets Written by Al-Imam ibn Kathir Translated by Muhammad Mustapha Geme’ah, Al-Azhar Stories of the Prophets Al-Imam ibn Kathir Contents 1. Prophet Adam 2. Prophet Idris (Enoch) 3. Prophet Nuh (Noah) 4. Prophet Hud 5. Prophet Salih 6. Prophet Ibrahim (Abraham) 7. Prophet Isma'il (Ishmael) 8. Prophet Ishaq (Isaac) 9. Prophet Yaqub (Jacob) 10. Prophet Lot (Lot) 11. Prophet Shuaib 12. Prophet Yusuf (Joseph) 13. Prophet Ayoub (Job) 14 . Prophet Dhul-Kifl 15. Prophet Yunus (Jonah) 16. Prophet Musa (Moses) & Harun (Aaron) 17. Prophet Hizqeel (Ezekiel) 18. Prophet Elyas (Elisha) 19. Prophet Shammil (Samuel) 20. Prophet Dawud (David) 21. Prophet Sulaiman (Soloman) 22. Prophet Shia (Isaiah) 23. Prophet Aramaya (Jeremiah) 24. Prophet Daniel 25. Prophet Uzair (Ezra) 26. Prophet Zakariyah (Zechariah) 27. Prophet Yahya (John) 28. Prophet Isa (Jesus) 29. Prophet Muhammad Prophet Adam Informing the Angels About Adam Allah the Almighty revealed: "Remember when your Lord said to the angels: 'Verily, I am going to place mankind generations after generations on earth.' They said: 'Will You place therein those who will make mischief therein and shed blood, while we glorify You with praises and thanks (exalted be You above all that they associate with You as partners) and sanctify You.' Allah said: 'I know that which you do not know.' Allah taught Adam all the names of everything, then He showed them to the angels and said: "Tell Me the names of these if you are truthful." They (angels) said: "Glory be to You, we have no knowledge except what You have taught us. -
Isaac and Ishmael, 1985
This was the first High Holy Day sermon I delivered as the new young rabbi at UCSB Hillel in 1985. It was in many ways a classic “rabbinic school sermon,” full of textual analysis…and way too long. It was also a bold attempt to address the sensitive subject of the Arab-Israeli conflict; I remember seeing one of the prominent Jewish professors get up and walk out in the middle! (He has since become a dearly beloved friend). Issac and Ishmael 1985 Rosh HaShanah, UCSB Hillel This morning we read of the exile of Hagar and Ishmael, what the rabbis later called the most painful moment of Abraham’s life. The portion speaks to us directly in a way that it did not for hundreds of years, because the conflict between the children of Isaac, the Jews, and the children of Ishmael, the Arabs, has become the central fact of Jewish life in the second half of this century. The emotional strain of this conflict is par- ticularly terrible because, just as in the biblical story of Hagar and Ishmael, it is exceed- ingly difficult to sort out the rights and wrongs. In fact, it is difficult to escape the conclu- sion that--on certain levels--we, like Sarah, have morally compromised ourselves in this family conflict. The question which this text throws back at us year after year--and with particular vehemence in our generation--is: Can there be peace between Isaac and Ish- mael? Or was it necessary, is it necessary, for Abraham’s house to be broken apart? To most difficult questions, the textual tradition does not offer solution. -
Children of Men
Children of Men Synopsis In 2027, as humankind faces the likelihood of its own extinction, a disillusioned government agent agrees to help transport and protect a miraculously pregnant woman to a sanctuary at sea where her child's birth may help scientists to save the future of mankind. Introduction This resource is aimed at students of Film and Media Studies and may be also of interest to English students in the consideration of genre. www.filmeducation.org 1 ©Film Education 2007. Film Education is not responsible for the content of external sites. Studying Science Fiction Science fiction has, as one of its central conventional elements, the ‘What if…?’ question. For example, ‘What if aliens took over the world?’ This question is then played out during the narrative. Look at the list of sci-fi titles in the table below and think about the ‘What if…?’ questions that they deal with. Science fiction film ‘What if…?’ question Alien Bladerunner Transformers The Matrix War of the Worlds Brazil www.filmeducation.org 2 ©Film Education 2007. Film Education is not responsible for the content of external sites. Fact and Fiction Science fiction as a genre has its origins in Mary Shelly’s Frankenstein (written in 1831). The social context in which she wrote the novel are very significant as society was changing rapidly and science was making possible things that belonged in the realms of imagination. The relationship between scientific possibility and fiction formed the basis of a new kind of genre, which made the exploration of these potentially scary ‘What If…?’ questions possible. -
25 Prophets of Islam
Like 5.2k Search Qul . Home Prayer Times Ask Qul TV The Holy Qur'an Library Video Library Audio Library Islamic Occasions About Pearl of Wisdom Library » Our Messengers » 25 Prophets of Islam with regards to Allah's verse in the 25 Prophets of Islam Qur'an: "Indeed Allah desires to repel all impurity from you... 25 Prophets of Islam said,?'Impunity IS doubt, and by Allah, we never doubt in our Lord. How many prophets did God send to mankind? This is a debated issue, but what we know is what God has told us in the Quran. God says he sent a prophet to every nation. He says: Imam Ja'far ibn Muhammad al-Sadiq “For We assuredly sent amongst every People a Messenger, (with the command): ‘Serve God, and eschew Evil;’ of the people were [as] some whom God guided, and some on whom Error became inevitably (established). So travel through the earth, and see what was the Ibid. p. 200, no. 4 end of those who denied (the Truth)” (Quran 16:36) This is because one of the principles by which God operates is that He will never take a people to task unless He has made clear to them what His expectations are. Article Source The Quran mentions the names of 25 prophets and indicates there were others. It says: “Of some messengers We have already told you the story; of others We have not; - and to Moses God spoke direct.” (Quran 4:164) We acknowledge that 'Our Messengers Way' by 'Harun Yahya' for providing the The Names of the 25 Prophets Mentioned are as follows: original file containing the 'Our Adam Messengers'. -
What Sarah Saw: Envisioning Genesis 21:9-10
WHAT SARAH SAW: ENVISIONING GENESIS 21:9-10 DAVID J. ZUCKER Sarah saw . [Ishmael] metzahek . She said to Abraham, 'Get rid of that slave-woman and her child' (Gen. 21:9-10). Sarah sees her husband's son Ishmael "laughing" or "playing." (The Hebrew word metzahek , has multiple meanings.) Sarah goes to Abraham and demands that he 'get rid of that slave-woman and her child .' This is a major turning point in Sarah's life. She is about to create havoc in Abraham's household. Taking the text at face value, just what did Sarah see? What provokes this reaction on her part? The Masoretic text simply says that Ishmael is laugh- ing/playing; the Septuagint, and some Christian translations add the words "with her son Isaac." Sarah seems to assume that Ishmael is interacting with (or, perhaps, reacting to) her own son Isaac. Yet, in this context it is not at all clear that Isaac is present, or that the laughter/playing actually is directed at – or about – him. This brief episode has much greater meaning to her than just a chance en- counter. Apparently, she sees something threatening – to her? to Isaac? to her connections with Isaac? to the whole wider family relationship? – and consequently she is willing to risk a serious confrontation with her husband Abraham to assuage her concerns. Sarah is so infuriated that she cannot even bring herself to mention the names of Hagar and Ishmael. Instead, she labels them as objects: that slave-woman and her child . The reason she gives for her demand centers on the question of inheritance. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243