Adam and Eve and the P T A

Additions or Omissions in the Books of Samuel. The Significant Pluses and Minuses in the Massoretic, LXX and Qumran Texts

“…27 Further on, in MT 2:11, he explains the mention of Elkanah's name as an "explicitum" in the text and, therefore, not original, since there is no corresponding name in LXx. 28 Klostermann suggested that the ow of 1 :28b is a remnant of ~Nlnw and, therefore, the subject of 1nnw,1, but, as Budde pointed out against this, throughout this section Samuel is only referred to as "the boy", and has no active role in the narrative. 29 26 A certain number of authors, and most modern translations, have preferred the MT for these verses, although occasionally with slight modifications.…”

“…The text of cod B seems clearly to make her the subject. The mss c x have increased her presence even more, as they read: v. 28 xaL npooexuvnoev au,w Avva; and 2:11 xaL xaTEALREV Avva EXEL ,ov EaµounA E~OOilLOV KupLOU XQL annA6Ev EL~ Apµa6aLµ EL~ TOV OLXOV au,n~-Thus, if we take, in the Gk manuscript tradition, cod B as our point of departure, the other mss seem to go in two directions. Ant tends to bring the text closer to MT and to harmonize with plural subjects; mss c x tend to push OG even further toward reading Hannah as subject.…”

“…26 Smith, having noted the same objection, proposed an original w,n ,n~, 27 as, in fact, appears at 4Q, but this was objected to by Budde on the grounds that such an expression would not appear in prose. 28 In favor of the MT reading Barthelemy notes, first of all, Keil's appeal to the syntactic symmetry noted above.…”

“…28 xayw XLXPW auLov LW KupLw Raoa~ La~ ~µgpa~ a~ ~~ auLo~, XP~OLV LW KupLw. 11 xaL XQL€ALR€V QULOV €X€L €VWRLOV KupLOU, XQL QR~A8€V €L~ Apµa8aLµ.…”

Henry Moore Foundation–BSR Fellowship in Sculpture: Shade Between Rings of Air: replication of architecture as sculpture: Carlo Scarpa/Gabriel Orozco, 1952/2003

“…16 In this elaborate landscape that comprises different planes of paved surfaces, planting beds and reflecting pools laid out on several horizontal levels, the sculptures are situated both on land and water. Sergio Los, an architect, scholar, and occasional collaborator of Scarpa, remarks that 'the presence of Japanese culture can be detected in the treatment of the garden-patio, in the materials, and in the use of water.'…”