Search results for ""Author W.A. Simpson""

This study explores the so-called Apology of Aristides as it can be found within Barlaam and Ioasaph (B&I). Scholars have started from the hypothesis (when comparing the Greek B&I version to the Syriac version) that the redactor of B&I has removed details from within the Apology. Although this has a prima facie probability, no scholar has addressed whether this one hundred year old hypothesis holds any truth. In order to understand a text within a framing text, one needs to get a clear idea of the latter, especially its textual form and its core ideas. This allows an insight into the relationship between the two entities. I ask which elements of the Apology entered B&I and have been seen as fitting this framework, which of the linguistic entities and theological ideas are consistent with both the time and content of B&I, and how the Apology reads as part of the overall narrative of the B&I. I explore the role played by this 'added' text in B&I, and why the author or redactor may have chosen to use it. Furthermore, is this text the only fragment that was added to B&I? Once the 'text' of the Apology is understood in its frame, I argue, can we examine how that frame may have impacted on the interpretation of the Apology, and whether and to what extent it may have impacted on the text itself. This answer to the latter question may already have been suggested when looking at how the linguistic entities fit the B&I frame. Finally, I compare the Apology of the B&I with the older Greek papyri of the Apology. A study such as this has never been accomplished, and yet such a study proves essential in understanding the Greek version of the Apology, as it appears in B&I, and how this new information relates to the other versions of the Apology. What we discover is that the redactor has not changed much of the B&I version of the Apology contrary to what previous scholarship suggets.This study explores the so-called Apology of Aristides as it can be found within Barlaam and Ioasaph (B&I). Scholars have started from the hypothesis (when comparing the Greek B&I version to the Syriac version) that the redactor of B&I has removed details from within the Apology. Although this has a prima facie probability, no scholar has addressed whether this one hundred year old hypothesis holds any truth. In order to understand a text within a framing text, one needs to get a clear idea of the latter, especially its textual form and its core ideas. This allows an insight into the relationship between the two entities. I ask which elements of the Apology entered B&I and have been seen as fitting this framework, which of the linguistic entities and theological ideas are consistent with both the time and content of B&I, and how the Apology reads as part of the overall narrative of the B&I. I explore the role played by this 'added' text in B&I, and why the author or redactor may have chosen to use it. Furthermore, is this text the only fragment that was added to B&I? Once the 'text' of the Apology is understood in its frame, I argue, can we examine how that frame may have impacted on the interpretation of the Apology, and whether and to what extent it may have impacted on the text itself. This answer to the latter question may already have been suggested when looking at how the linguistic entities fit the B&I frame. Finally, I compare the Apology of the B&I with the older Greek papyri of the Apology. A study such as this has never been accomplished, and yet such a study proves essential in understanding the Greek version of the Apology, as it appears in B&I, and how this new information relates to the other versions of the Apology. What we discover is that the redactor has not changed much of the B&I version of the Apology contrary to what previous scholarship suggets. This study explores the so-called Apology of Aristides as it can be found within Barlaam and Ioasaph (B&I). Scholars have started from the hypothesis (when comparing the Greek B&I version to the Syriac version) that the redactor of B&I has removed details from within the Apology. Although this has a prima facie probability, no scholar has addressed whether this one hundred year old hypothesis holds any truth. In order to understand a text within a framing text, one needs to get a clear idea of the latter, especially its textual form and its core ideas. This allows an insight into the relationship between the two entities. I ask which elements of the Apology entered B&I and have been seen as fitting this framework, which of the linguistic entities and theological ideas are consistent with both the time and content of B&I, and how the Apology reads as part of the overall narrative of the B&I. I explore the role played by this 'added' text in B&I, and why the author or redactor may have chosen to use it. Furthermore, is this text the only fragment that was added to B&I? Once the 'text' of the Apology is understood in its frame, I argue, can we examine how that frame may have impacted on the interpretation of the Apology, and whether and to what extent it may have impacted on the text itself. This answer to the latter question may already have been suggested when looking at how the linguistic entities fit the B&I frame. Finally, I compare the Apology of the B&I with the older Greek papyri of the Apology. A study such as this has never been accomplished, and yet such a study proves essential in understanding the Greek version of the Apology, as it appears in B&I, and how this new information relates to the other versions of the Apology. What we discover is that the redactor has not changed much of the B&I version of the Apology contrary to what previous scholarship suggets.

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'A grisly murder, a missing box, a dangerous task, and a cranky magical talisman. Expect betrayals, intrigue, peril, and romance in this smartly moving fantasy.' — Jacey Bedford, author of the Psi-Tech and Rowankind series Isbet returns home to find the witch who raised her murdered and her prized possession, the Tinderbox stolen. She discovers a common man has used it to seize the throne. The same who conquered Prince Bram’s kingdom. Isbet’s goals are vengeance and reclaim the Box. For Bram, it is to free his homeland. When they are summoned to an underground kingdom, they must set aside their personal desires as they learn dark fey are bringing an ancient source of magic back to life. If they cannot halt the rise of the old magic, it will tear apart the Riven Isles. FLAME TREE PRESS is the imprint of long-standing independent Flame Tree Publishing, dedicated to full-length original fiction in the horror and suspense, science fiction & fantasy, and crime / mystery / thriller categories. The list brings together fantastic new authors and the more established; the award winners, and exciting, original voices. Learn more about Flame Tree Press at www.flametreepress.com and connect on social media @FlameTreePress

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Following Tinderbox, the acclaimed first title in the The Tales of the Riven Isles, the story of magic and revenge continues with Tarotmancer. Harper holds the Gift of Divination. Red is the infamous Reynard the Fox, fugitive shapeshifter. When his past finds him Red is taken to the Kingdom of Vale within Underneath so he can pay for his crimes and Harper is taken as hostage. With the Rot drawing on the hatred of the citizens, including Harper she realizes she must put her feelings aside and save Red from the punishment of the Cesspit. As the Rot continues to grow, all must take control of their emotions and join to protect Vale. FLAME TREE PRESS is the imprint of long-standing independent Flame Tree Publishing, dedicated to full-length original fiction in the horror and suspense, science fiction & fantasy, and crime / mystery / thriller categories. The list brings together fantastic new authors and the more established; the award winners, and exciting, original voices. Learn more about Flame Tree Press at www.flametreepress.com and connect on social media @FlameTreePress

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Following Tinderbox, the acclaimed first title in the The Tales of the Riven Isles, the story of magic and revenge continues with Tarotmancer. Harper holds the Gift of Divination. Red is the infamous Reynard the Fox, fugitive shapeshifter. When his past finds him Red is taken to the Kingdom of Vale within Underneath so he can pay for his crimes and Harper is taken as hostage. With the Rot drawing on the hatred of the citizens, including Harper she realizes she must put her feelings aside and save Red from the punishment of the Cesspit. As the Rot continues to grow, all must take control of their emotions and join to protect Vale. FLAME TREE PRESS is the imprint of long-standing independent Flame Tree Publishing, dedicated to full-length original fiction in the horror and suspense, science fiction & fantasy, and crime / mystery / thriller categories. The list brings together fantastic new authors and the more established; the award winners, and exciting, original voices. Learn more about Flame Tree Press at www.flametreepress.com and connect on social media @FlameTreePress

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'A grisly murder, a missing box, a dangerous task, and a cranky magical talisman. Expect betrayals, intrigue, peril, and romance in this smartly moving fantasy.' — Jacey Bedford, author of the Psi-Tech and Rowankind series Isbet returns home to find the witch who raised her murdered and her prized possession, the Tinderbox stolen. She discovers a common man has used it to seize the throne. The same who conquered Prince Bram’s kingdom. Isbet’s goals are vengeance and reclaim the Box. For Bram, it is to free his homeland. When they are summoned to an underground kingdom, they must set aside their personal desires as they learn dark fey are bringing an ancient source of magic back to life. If they cannot halt the rise of the old magic, it will tear apart the Riven Isles. FLAME TREE PRESS is the imprint of long-standing independent Flame Tree Publishing, dedicated to full-length original fiction in the horror and suspense, science fiction & fantasy, and crime / mystery / thriller categories. The list brings together fantastic new authors and the more established; the award winners, and exciting, original voices. Learn more about Flame Tree Press at www.flametreepress.com and connect on social media @FlameTreePress

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