The New Oxford Annotated Bible

Arch of Titus Menorah

The New Oxford Annotated Bible

5thedition, Oxford University Press, fully revised and expanded, NRSV with Apocrypha. Pp. xxiii, 2416, ISBN: 978-0190276096. $95.00., reviewed by Darrell Sutton

When Early Modern English was becoming the vernacular speech, Edward VI (1537-1553) removed restrictions on the printing of the Bible. Mary Tudor (1516-1568) later reversed these changes. Once again, the Crown looked favorably on Catholicism. So Reformers went into exile, during which time a Church of England was formed in Geneva. There, the “Marian Exiles” agreed to undertake a new rendition of the scriptures. The Geneva Bible of 1560 was the fruit of their extensive labors. It was unique, seeing that it contained not only a new translation, but also over 300,000 annotations to the text. The exiles’ popular interpretations of the English text and alternate renderings of Hebrew and Greek terms opened the minds of citizens whose thoughts had been inured to established beliefs. Since that time, new interpretative ideas and arguments have been received; closed-mindedness has gone out of fashion.

From its inception in 1962, The Oxford Annotated Bible provided students of scripture with non-traditional insights into the contours of the development of the canon. The transformation of the New Oxford Annotated Bible (NOAB) is now complete. Originally edited by Herbert May and Bruce Metzger, cutting edge scholarship on the text and context of scripture was popularized. May was a distinguished Old Testament specialist; Metzger was a recognized doyen of New Testament textual criticism. May and Metzger found various facets of select biblical books dubious and legendary. They were broad-minded; but they still maintained sympathies toward the salvific work of Christ outlined in the New Testament. Scholarship advanced in profound ways through their researches. But in light of some of the notes now accepted in the Bible under review, both May and Metzger could be considered somewhat conformist. Continue reading

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Die Meistersinger von Nürnberg, 2018

Wahnfried, credit Wikipedia

Die Meistersinger von Nürnberg, 2018

Richard Wagner’s Die Meistersinger von Nürnberg, Bayreuth Festival Germany, Saturday 11th August 2018, directed by Barrie Kosky, conducted by Philippe Jordan,reviewed by TONY COOPER

An innovative, flamboyant and quirky director, Barrie Kosky (artistic director of Komische Oper Berlin) delivered a brilliant and entertaining production of Die Meistersinger von Nürnberg, first seen at last year’s Bayreuth Festival.

Born in Melbourne in the late 1960s, the grandson of Jewish emigrants from Europe, his name in now indelibly linked to Bayreuth’s glorious history as he is the first Jewish director in its illustrious 142-year-old history. He is also the first person outside of the Wagner family to direct Meistersinger at Bayreuth’s Festspielhaus, built to stage Wagner’s mighty canon of Teutonic works, especially Der Ring des Nibelungen.

That constitutes a significant step by Katharina Wagner – artistic director of the Bayreuth Festival and daughter of Wolfgang Wagner and the great-grand daughter of Richard Wagner – in acknowledging Wagner’s anti-Semitic stance and his family’s later association with Adolf Hitler and the Third Reich. Ditto, the revamped exhibition focusing on the Bayreuth Festival housed in the newly-restored Villa Wahnfried, complete with a new extension, where Wagner lived with his wife Cosima and their children from 1874 to 1882. A museum since 1976 (it reopened to the public just over three years ago) this is the first time that the era of the Third Reich has found a place in the exhibition. Continue reading

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How the Left Stole Liberalism and Betrayed the West

Ludwig von Moses

How the Left Stole Liberalism and Betrayed the West

by Ilana Mercer

Liberals have taken to promoting socialism, which is the state-sanctioned appropriation of private property. Or, communism. In communism’s parlance, this theft of a man’s life, labor and land is referred to as state-ownership of the means of production.

Liberals are less known for misappropriating intellectual concepts. But they do that, too. Take the term “liberal.” It once belonged to the good guys. But socialists, communists and Fabians stole it from us.

Having originally denoted the classical liberalism of the 18thand early 19th century, “liberal” used to be a beautiful word. However, to be a liberal now is to be a social democrat, a leftist, a BLM, antifa and MeToo movementarian; it’s to be Chris and Andrew Cuomo.

A French classical liberal, Benjamin Constant (1767-1830), explained what liberalism stood for:

Individuals must enjoy a boundless freedom in the use of their property and the exercise of their labor, as long as in disposing of their property or exercising their labor they do not harm others who have the same rights.

This is the opposite of communism aka socialism. Continue reading

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Parsifal, Munich Opera Festival

Parsifal, by Rogelio de Egusquiza

Parsifal, Munich Opera Festival

Richard Wagner’s Parsifal, Bayerischen Staatsoper, München, Germany, directed by Pierre Audi, sets by Georg Baselitz; Bayerischen Staatsorchester conducted by Kirill Petrenko, Tuesday, 31 July, 2018; reviewed by TONY COOPER

In Pierre Audi’s strange but compelling production of Parsifal, the Great Hall of Montsalvat Castle – the home of the Knights of the Holy Grail – has drifted away from its original setting. It is now a strongly-built, wooden-constructed building located in the Holy Forest of the Knights of the Grail, with members of the Brotherhood attired in dark monastic robes as opposed to the tough leather or chain-mail shirt and embroidered tunic favoured by medieval knights. Parsifal closed the Munich Opera Festival on a high note and was conducted by Kirill Petrenko, artistic director of Bayerischen Staatsoper and the new chief conductor of the Berlin Phiharmoniker.

At the opera’s première at Bayreuth in 1882, the set was conservative, based on a traditional German wooden-beamed roof supported by four heavy-duty stone columns. But with Audi, the incoming general director of the Aix-en-Provence Festival, you can expect to be challenged – and he duly obliged. Continue reading

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Talking Pictures

Rebecca (1939 poster)

Talking Pictures

by Bill Hartley

Anyone in search of tedious game shows, threadbare repeats and sales of junk jewellery is well catered for on British television. The sheer number of channels is bewildering and difficult to navigate. More means worse but persistence can pay off and for those willing to work their way through the wilderness of multiple channels there is one gem to be found.

‘The past is another country they do things differently there’: the quotation might well have been written for the Talking Pictures channel (Freeview 81), which has been in operation for three years. Welcome to a world close in time yet which shows how enormously life in this country (and indeed in the United States) has changed. Everyday life, manners, opinions and prejudices are perfectly preserved on film. In an era of on demand television and encouragement to binge on box sets, this channel takes us back to an era when cinema dominated and television was the new upstart. Continue reading

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ENDNOTES, August 2018

Sir Granville Bantock

ENDNOTES, August 2018

In this edition: a flourish, from Sir Granville Bantock on the Somm label; piano sonatas by Beethoven, and Elgar’s Second Symphony, from Chandos Records, reviewed by STUART MILLSON

Sir Granville Bantock (1868-1946) was a noted composer, conductor and teacher in his day. He established an orchestra at the once-fashionable resort of New Brighton on the North-West coast of England, and presided over a new musical curriculum at the Midland Institute and at Birmingham University. He made many atmospheric arrangements of Tudor and old English tunes; wrote a Tchaikovsky-like Russian suite, alive with colour and local flavour; and penned Pagan and Hebridean symphonies. New from Somm Records comes a CD devoted to Bantock’s equally vivid piano music: Saul, Twelve Pieces– and best of all (and in the outdoor spirit of the Hebridean Symphony), Two Scottish Pieces. Played by the ever-sensitive and rare-repertoire enthusiast, Maria Marchant, the north-of-the-border scenes are delightful pieces of tone-painting, yet infused and animated by an authentic sense of Caledonian traditional music: TheHills of Glenorchy– a quickstep, that nevertheless conveys a sense of longing; and The Brobers of Brechin– a reel (possibly dedicated to whisky and good cheer), with a magnificent, mountain-torrent of an ending, resoundingly performed by Marchant. With a fine portrait of Bantock on the CD cover and a graceful, detailed recording quality, this is one edition which enthusiasts of rare British music will take to their hearts. Continue reading

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Fair is Foul and Foul is Fair

 

Fair is Foul and Foul is Fair

by Ilana Mercer

Once upon a time there were two politicians. One had the power to give media and political elites goosebumps. Still does. The other causes the same dogs to raise their hackles. The first is Barack Hussein Obama; the second Vladimir Putin.

The same gilded elites who choose our villains and victims for us have decided that the Russian is the worst person in the world. BHO, the media consider one of the greatest men in the world.

Obama leveled Libya and lynched its leader. Our overlords were unconcerned. They knew with certainty that Obama was destroying lives irreparably out of the goodness of his heart. Continue reading

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Practising Grant’s Philosophy

George Parkin Grant

Practising Grant’s Philosophy

by Mark Wegierski

2018 marks the centenary of the birth of George Parkin Grant. Thirty years since his passing, he remains Canada’s most prominent traditionalist philosopher. But is there still a place for Grantian-type traditionalism in current-day Canada? First of all, it should be remembered that Grant’s conception of conservatism is very remote from what is its more common definition today, as a predominantly tax- and budget-cutting ideology [Editorial note, see ‘In Memoriam, George Parkin Grant, 1918-1988’, QR, July 9, 2018]. Despite his impassioned writing, Grant did not offer much hope for someone wishing to be active in the social, political, and cultural arena. Perhaps a quietistic self-cultivation is the only path available for a traditionalist today. However, this is surely problematic for a philosophy that emphasizes public engagement and civic-mindedness. Continue reading

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White Men, Republicans and Other Scum

Ilana Mercer

White Men, Republicans and Other Scum

by Ilana Mercer

According to psychologists and psephologists, women are “abandoning the Republican Party” and voting for progressive policies because “they care about reproductive rights.”

Get it?  Women “care.” What do they care about? “Rights.”

The implication, at least, is that “the gender gap in American politics” is related to something women possess in greater abundance than men: virtue.

Put bluntly, women believe they have a right to have their uteruses suctioned at society’s expense. For this, they are portrayed favorably by those citing these proclivities.

Whereas women are depicted as voting from a place of virtue, men are described by the same cognoscenti as “sticking with the Republicans” for reasons less righteous. Continue reading

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Poetry and Politics in ‘Catherland’

Willa Cather, 1912

Poetry and Politics in ‘Catherland’

by Darrell Sutton

Although the middle States of America are not a hidden province, they are less familiar to people whose travels to the USA are restricted, more often than not, to sightseer visits to coastal cities. What follows offers a peephole into a rural world, districts in the vicinity of Red Cloud, in which the celebrated writer Willa Cather (1873-1947) spent some time during her youth.

Miss Cather is well known for her writings about frontier life. The 1913 novel O Pioneers is hailed a classic. Her story was made into a movie of the same name in 1992, starring Jessica Lange. It was only the first of her trilogy of books on the Great Plains. The Song of the Lark (1915) and My Ántonia (1918) soon followed. Her poems receive less attention today than they should because fewer literary critics in the academy understand the rural sites of which she wrote.

Of other genres of writing, like poetry, Cather engaged in it only sporadically. She did not need to compose verse: she had secured her fame on other literary grounds. But her poem Prairie Spring is deserving of notice. Not many poems capture in non-rhythmic verse the crop growing atmosphere of rural American in general, or South-central Nebraska and North-Central Kansas in particular. It educes, as few other poems can, responses that crave a rustic milieu for their expression. Here is a sampling: Continue reading

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