The Book of Ben Sira in Hebrew: A Text Edition of All Extant by Pancratius Cornelis Beentjes
By Pancratius Cornelis Beentjes
This quantity bargains with the Hebrew texts of all 9 manuscripts chanced on among 1896 and 1982 of the e-book of Ben Sira that's reckoned one of the deuterocanonical biblical knowledge literature and was once written in Jerusalem approximately a hundred and eighty BCE. within the first a part of this quantity the Hebrew manuscripts are provided in facsimile, i.e. offering the actual textual country of the recovered texts. The moment a part of this quantity deals in a less difficult and sensible means than in former textual content variants a synopsis of all Hebrew Ben Sira texts that are on hand in additional than one manuscript.
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Extra info for The Book of Ben Sira in Hebrew: A Text Edition of All Extant Hebrew Manuscripts and a Synopsis of All Parallel Hebrew Ben Sira Texts (Vetus Testamentum , Suppl. 68)
The collection was Sartre’s ﬁrst major published work after Nausea. A comparison of the inserts drawn up by Sartre at the time of publication elucidates the thematic proximity of both works while serving as a useful introduction to the texts. 13 Sartre explains that Nausea is the diary of Antoine Roquentin, an intellectual who has settled in Bouville (Mudtown), the quintessential French provincial bourgeois locale, to write the history of an eighteenth-century adventurer, the marquis de Rollebon.
7 I want to reevaluate this intellectual history by placing Sartre’s work in the moment of the crisis in which it was produced, highlighting how his reﬂections on the rising tide of antisemitism reveal his political commitments. The analysis of how he represents the ﬁgure of “the Jew” in two of his early works of ﬁction—La nausée (Nausea) and “L’enfance d’un chef” (“The Childhood of a Leader”)—demonstrates that Sartre’s writing in the 1930s already sketched the outlines of his theory of engagement that he developed during and after the war.
They were one thrust of an avant-garde of thinkers, painters, and musicians residing in Paris who ampliﬁed the ﬁn-de-siècle modernist cultural revolution through their celebration of ﬂuidity, uncertainty, and the breakdown of form, turning the world of their fathers’ values upside down and making Paris the capital of the modernist aesthetic, evidenced in a torrent of interwar cultural movements: fauvism, cubism, futurism, expressionism, constructivism. Lucien’s existential crisis begins, in fact, while taking the preparatory course for the École centrale, when he meets Berliac, who “scandalizes the whole class” with his avant-garde appearance and his poems, which he creates with the new surrealist technique of “automatic writing” and by imitating the style The Mirror Image and the Politics of Writing 33 of Lautréamont and Rimbaud.