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Word in Life Study Bible, The: Gospel of Matthew af Thomas Nelson
This guide is designed to bring Scripture closer to your own life than ever before. No other Bible does so much to translate not only the words, but the context and culture, in contemporary terms.
Markeret
phoovermt | Mar 23, 2023 | 5 stars for the Holy Bible. 4 stars for the Kindle edition. WEB (World English Version) is a public domain version based on the American Standard Version. I'd prefer the New American Standard but the publisher was limited to public domain works and this is adequate for my portable version needs. Many (most?) of the Kindle Bibles are very difficult to navigate since you typically jump around, from verse to verse, rather than read from front to back. The OSNOVA Direct Verse Jump function makes navigating fairly easy. Kindle has it's own limitations: heavy note taking is cumbersome and no color coding is possible. Nothing compares to a print version for marking and margin notes but this publisher takes it as far as a Kindle version can go.… (mere)
½Markeret
devone | Jun 23, 2012 | Exodus is the boldest inclusion within the Penguin Epics collection. It is a prose version of the story from the Book of Exodus and tells the story of Moses leading the Israelites from Egypt. What makes it bold within the collection is that the inclusion places it as one of a series of ancient narratives and in this context it reads very differently to the context it is normally set in. As a religious script, Exodus has literal meaning to those who believe. As a narrative tale within a set of ancient stories, it seems to have a much more fascinating interpretation as part of the Jewish national epic and there is so much more alive between the lines.
The story of Exodus is so well known apparently that the publishers chose not to provide any descriptive context to explain unlike with other books in the series. The basic story is that the Jews have been kept as slaves by the Egyptians but break free thanks to God bringing plagues to Egypt and they are led to a new land by Moses and his brother Aaron.
Even that basic description brings up a fascinating set of interpretations when read narratively. Judaism is an ancient belief system but one that had no real following outside of its core adherents in a world where polytheism was dominant despite the occasional Egyptian dalliance in monotheism. The polytheists in other ancient tales clearly see their gods as being powerful but limited by one another and able to shape rather than always determine outcomes. The God of Exodus is different. This God is the all-powerful creator and by definition this God takes responsibility for outcomes not just direction.
Where this religious interpretation becomes stark is that the God of the Jews is exceptionally vengeful. The Egyptians pay a dear price for their long enslavement of the Jews by way of the Plagues of Egypt. The early Plagues are annoyances like frogs or infrastructure damaging like locusts. They get much worse though with the final Plague - the one that kills the firstborn sons except those (the Jews) who are passed over. Now, this could quite easily be read as being rightful vengeance against a sinful people but the tale makes explicit point time and again that the God of the Jews is all-powerful and it is this God that is determining the actions of the Egyptian Pharoah. The text explicitly says that the Lord is the one who has hardened Pharoah's heart to not let the Jewish people go. After each Plague, Pharoah pleads with Moses for salvation and is given redemption but it is God who changes Pharoah's mind each time to stop the Jews being set free. This is a cruel God but an all-powerful one must be responsible for everything so the internal logic is fine even if to a non-believer the Egyptians seem to deserve a significant amount of sympathy to be punished so harshly for the decisions of their ruler who himself was not acting of his own free will.
The Plagues of Egypt seem to be a realistic set of disasters that would accompany environmental and subsequent societal collapse. It would make sense for an oppressed group to have found this to be their opportunity to strike when their oppressor was weak. Reading this between the lines because that is how the rise and fall of civilisations throughout the ages has often occurred, the character of Moses is far more intriguing than the mythical voice of the Commandments.
Moses escapes Egyptian control very early on (presumably in a Moses Basket) but he is still in the area to be called on when the time is right. In this role, Moses is the totemic leader but what is surprising is that it is his "brother" Aaron who seems to be the one in control. Aaron is the voice and he seems to be the real leader where Moses is the figurehead. Perhaps Moses is just too old - it isn't clear. Moses has a moment of internal weakness which is resolved when he remembers that Aaron is a great public speaker. Another interpretation would be that Aaron has found the figurehead Moses and the two of them agree that Moses is the inspiration but that Aaron is the director.
This interpretation is strengthened by the roles that the two take on late in Exodus. It is Moses who goes up Mount Sinai and who receives the Commandments from God but part of the instruction is that Aaron and Aaron's sons are the Priests. This conveys two implicit meanings - firstly that there is a clearly demarcated inheritence of birthright to the Priest role - secondly that Aaron and Aaron's sons are the ones meant to lead the Israelites. In a new and explicitly theocratic society where there is no King it is inevitably the Priest who takes on the mantle of leader which means that God's will is that Aaron is in charge of the Jews.
There is a very shocking moment when Aaron and Moses assert their authority. It is so shocking that outside of the religious context it can only be read in one way - there was a massacre of dissidents. The Jews have been led into the Sinai as that is the quickest way out of Egypt but it is a desert. There are a few mentions of some members of the party questioning the decision to leave Egypt and head into such a desolate and death-inducing place. There is a section that seems to be missing something because it doesn't quite make sense and what follows is the shocking moment. The section that seems to be missing is between Aaron explaining to Moses why some people are partying in a clearly inappropriate manner to them becoming naked and shamed for their actions. The narrative puts this partying and shame down to those people considering themselves to be gods and therefore being blasphemous towards the God of the Jews. It doesn't really make any sense. They are then killed. Moses says that God has told him that the righteous must "slay every man his brother, and every man his companion, and every man his neighbour."
Reading this as a national epic rather than religious scripture, there is a very clear interpretation that Moses and Aaron have put down a rebellion. Levi and his sons are the force that actually do it but after a long trek and with hope diminishing, a rebellion would be natural as Moses appears to be the sole conduit of God's will. If a massacre did take place it is shocking - but fascinating.
Assuming that this is what the text means, earlier elements also make similar sense. For some reason God caused the Egyptians to be very generous to the Jews when they were leaving Israel as they chose to give the Jews lots of gold and jewellery. A more likely explanation seems to be that a large gathering of people including some with arms had to feed themselves somehow and it would also be a near unprecedented movement of people had they chosen not to take some loot with them as they passed through inhabited areas.
The narrative also has a hard to explain obsession with unleavened bread. The term crops up time and again and is presumably supposed to signify the humility of those who will eat bread that has not been softened and flavoured. This makes sense. So to would an interpretation that the leavening agents might have been part of the problem that Egypt faced. In a time of plagues and where scientific explanations from elsewhere about possible causes of those plagues seem to make sense, perhaps the meaning is not just about humility but about the survival of these people by not eating a product that had some infection or disease as has cropped up occasionally in more recent history. As part of a national epic rather than a religious text this would make sense.
What makes a little less sense is the incredible level of micromanagement God gets into very late in the text. The rituals, clothing, and building that God requires are set fo an incredible level of specificity. It is actually quite boring to read the long list of preparations that are needed. This is something of a shame because some of these preparations lead to the description of the Ark of the Covenenant.
The Ark of course contains the tablets that result from the conversation between God and Moses at Mount Sinai. The traditional list of Ten Commandments does no justice at all to the description as found in this narrative. The description is so much more detailed and describes a basic system of justice. The death penalty is very widely applied for all manner of misdemeanours but as a rudimentary system of justice that describes the interaction between people (including slaves) and their chattel including livestock, it is essentially a description of the rules under which the society will be governed. That slavery is perfectly natural is itself a fascinating part of God's plan but the commandments as traditionall retold in the form of a general moral code are much less interesting than the laws of Jewish society that God through Moses and Aaron lays down - it even describes rules for crop rotation.
Exodus is fascinating. In the religious context, it has a specific set of meanings that would make perfect sense to adherents. In the context provided here, it is an eye-opening insight into a people who threw off the shackles of oppression, survived an extended period of suffering in the Sinai Desert and then went on to drive out weaker tribes and forge a new homeland of their own. This is truly an epic. Fascinating.… (mere)
The story of Exodus is so well known apparently that the publishers chose not to provide any descriptive context to explain unlike with other books in the series. The basic story is that the Jews have been kept as slaves by the Egyptians but break free thanks to God bringing plagues to Egypt and they are led to a new land by Moses and his brother Aaron.
Even that basic description brings up a fascinating set of interpretations when read narratively. Judaism is an ancient belief system but one that had no real following outside of its core adherents in a world where polytheism was dominant despite the occasional Egyptian dalliance in monotheism. The polytheists in other ancient tales clearly see their gods as being powerful but limited by one another and able to shape rather than always determine outcomes. The God of Exodus is different. This God is the all-powerful creator and by definition this God takes responsibility for outcomes not just direction.
Where this religious interpretation becomes stark is that the God of the Jews is exceptionally vengeful. The Egyptians pay a dear price for their long enslavement of the Jews by way of the Plagues of Egypt. The early Plagues are annoyances like frogs or infrastructure damaging like locusts. They get much worse though with the final Plague - the one that kills the firstborn sons except those (the Jews) who are passed over. Now, this could quite easily be read as being rightful vengeance against a sinful people but the tale makes explicit point time and again that the God of the Jews is all-powerful and it is this God that is determining the actions of the Egyptian Pharoah. The text explicitly says that the Lord is the one who has hardened Pharoah's heart to not let the Jewish people go. After each Plague, Pharoah pleads with Moses for salvation and is given redemption but it is God who changes Pharoah's mind each time to stop the Jews being set free. This is a cruel God but an all-powerful one must be responsible for everything so the internal logic is fine even if to a non-believer the Egyptians seem to deserve a significant amount of sympathy to be punished so harshly for the decisions of their ruler who himself was not acting of his own free will.
The Plagues of Egypt seem to be a realistic set of disasters that would accompany environmental and subsequent societal collapse. It would make sense for an oppressed group to have found this to be their opportunity to strike when their oppressor was weak. Reading this between the lines because that is how the rise and fall of civilisations throughout the ages has often occurred, the character of Moses is far more intriguing than the mythical voice of the Commandments.
Moses escapes Egyptian control very early on (presumably in a Moses Basket) but he is still in the area to be called on when the time is right. In this role, Moses is the totemic leader but what is surprising is that it is his "brother" Aaron who seems to be the one in control. Aaron is the voice and he seems to be the real leader where Moses is the figurehead. Perhaps Moses is just too old - it isn't clear. Moses has a moment of internal weakness which is resolved when he remembers that Aaron is a great public speaker. Another interpretation would be that Aaron has found the figurehead Moses and the two of them agree that Moses is the inspiration but that Aaron is the director.
This interpretation is strengthened by the roles that the two take on late in Exodus. It is Moses who goes up Mount Sinai and who receives the Commandments from God but part of the instruction is that Aaron and Aaron's sons are the Priests. This conveys two implicit meanings - firstly that there is a clearly demarcated inheritence of birthright to the Priest role - secondly that Aaron and Aaron's sons are the ones meant to lead the Israelites. In a new and explicitly theocratic society where there is no King it is inevitably the Priest who takes on the mantle of leader which means that God's will is that Aaron is in charge of the Jews.
There is a very shocking moment when Aaron and Moses assert their authority. It is so shocking that outside of the religious context it can only be read in one way - there was a massacre of dissidents. The Jews have been led into the Sinai as that is the quickest way out of Egypt but it is a desert. There are a few mentions of some members of the party questioning the decision to leave Egypt and head into such a desolate and death-inducing place. There is a section that seems to be missing something because it doesn't quite make sense and what follows is the shocking moment. The section that seems to be missing is between Aaron explaining to Moses why some people are partying in a clearly inappropriate manner to them becoming naked and shamed for their actions. The narrative puts this partying and shame down to those people considering themselves to be gods and therefore being blasphemous towards the God of the Jews. It doesn't really make any sense. They are then killed. Moses says that God has told him that the righteous must "slay every man his brother, and every man his companion, and every man his neighbour."
Reading this as a national epic rather than religious scripture, there is a very clear interpretation that Moses and Aaron have put down a rebellion. Levi and his sons are the force that actually do it but after a long trek and with hope diminishing, a rebellion would be natural as Moses appears to be the sole conduit of God's will. If a massacre did take place it is shocking - but fascinating.
Assuming that this is what the text means, earlier elements also make similar sense. For some reason God caused the Egyptians to be very generous to the Jews when they were leaving Israel as they chose to give the Jews lots of gold and jewellery. A more likely explanation seems to be that a large gathering of people including some with arms had to feed themselves somehow and it would also be a near unprecedented movement of people had they chosen not to take some loot with them as they passed through inhabited areas.
The narrative also has a hard to explain obsession with unleavened bread. The term crops up time and again and is presumably supposed to signify the humility of those who will eat bread that has not been softened and flavoured. This makes sense. So to would an interpretation that the leavening agents might have been part of the problem that Egypt faced. In a time of plagues and where scientific explanations from elsewhere about possible causes of those plagues seem to make sense, perhaps the meaning is not just about humility but about the survival of these people by not eating a product that had some infection or disease as has cropped up occasionally in more recent history. As part of a national epic rather than a religious text this would make sense.
What makes a little less sense is the incredible level of micromanagement God gets into very late in the text. The rituals, clothing, and building that God requires are set fo an incredible level of specificity. It is actually quite boring to read the long list of preparations that are needed. This is something of a shame because some of these preparations lead to the description of the Ark of the Covenenant.
The Ark of course contains the tablets that result from the conversation between God and Moses at Mount Sinai. The traditional list of Ten Commandments does no justice at all to the description as found in this narrative. The description is so much more detailed and describes a basic system of justice. The death penalty is very widely applied for all manner of misdemeanours but as a rudimentary system of justice that describes the interaction between people (including slaves) and their chattel including livestock, it is essentially a description of the rules under which the society will be governed. That slavery is perfectly natural is itself a fascinating part of God's plan but the commandments as traditionall retold in the form of a general moral code are much less interesting than the laws of Jewish society that God through Moses and Aaron lays down - it even describes rules for crop rotation.
Exodus is fascinating. In the religious context, it has a specific set of meanings that would make perfect sense to adherents. In the context provided here, it is an eye-opening insight into a people who threw off the shackles of oppression, survived an extended period of suffering in the Sinai Desert and then went on to drive out weaker tribes and forge a new homeland of their own. This is truly an epic. Fascinating.… (mere)
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Markeret
Malarchy | Dec 28, 2010 | Måske også interessante?
Associated Authors
Beatrice Sparks Editor
Saemund Sigfusson Alleged author
Easwaran Eknath Translator
N. J. Dawood Translator, Narrator
Cid Poet Author
William Lazenby Editor
Richard van Leeuwen Translator
William Shakespeare part author, supposed author, attributed author
Miles Taylor Author
Valentin Tomberg Supposed author
Gunnlaugr Ormstunga Contributor
A. K. Ramanujan Translator
Wynnard Hooper Editor, Revised by
Dorothy Black Author
Nippon Gakujutsu Shinkokai Translator
Sir Richard Burton Translator
E. Tyrrell Editor
Nicholas Harris Nicolas Editor
Garcí Rodríguez de Montalvo Author
Bill Tidy Illustrator
Lady Anne Blunt Translator
John Patience Illustrator
John William Polidori Contributor
Fitz James O'Brien Contributor
Carter Scott Contributor
Auguste Villiers de L'Isle-Adam Contributor
Luigi Capauna Contributor
Guy de Maupassant Contributor
Manuel Yáñez Solana Contributor
Marquise Mannoury d'Ectot Author
The Dalesman Collected by
Arthur Conan Doyle Attributed to
Hargrave Jennings Reputed author
Sarah Brownson Author
Jorgen (Preface) Rothenborg Preface
Franz Waxman Composer
Bernard Herrmann Composer
Giovan Francesco Valier attributed author
Ernest Bloch Composer
Sergei Prokofiev Composer
James Kincaid Editor
Chava Alberstein Composer
Miklós Rózsa Composer
Alizarin Lake Author
Isaiah Jackson Conductor
Josef Schneider Editor
John Chappell Author
George Cruikshank Illustrator
Robert Parker compiler
John Hassall Illustrator
Erich Wolfgang Korngold Composer
Aquila Cruso Author
Leonard Welsted Author
van den Eeckhout Introduction
H. E. Manning Translator
Olaf Savyer Editor
Université de Liège, Author
Clare Briggs Illustrator
Marcel Otten Translator
Hermann Palsson Translator, Editor and Translator
Ursula Dronke Editor and Translator
Lee M. Hollander Translator
P. Lal Translator
Finnur Jonsson Editor
Carolyne Larrington Translator
Paul Geoffrey Edwards Translator
Pauline M. Matarasso Translator
Magnus Magnusson Editor and Translator
John S. Farmer Editor
Stella M. Mills Translator
Paul Schach Translator
Hallvard Magerøy Translator
A. N. D. Haksar Translator
A.N.D. Haskar Translator
Francisco López Estrada Editor
Ida L. Gordon Editor
W. W. Greg Editor
Jiankun Sun Author
Carolyn Balducci Translator
Morten Møller Author
Lars Sommer Author
Ruth Morse Editor
J. P. Spencer Editor
J.W. Gerhard Translator
Margherita Lecco Editor
Franz Kuhn Translator
Clifford Peterson Editor
F. P. Wilson Editor
Ali Beth Translator
Betty Radice Editor
Sangharakshita Translator
Antti Tuuri Translator
William Morris Translator, Contributor
Robert Baldick Editor
Clifton Wolters Translator
Jean-Paul Franssens Illustrator
Patricia Terry Translator
Robert Southey Translator
Michael J. Alexander Translator
C.J.E. van Hulthem Contributor
J. R. R. Tolkien Translator, Preface
Nick Cave Introduction
Cyril Scott Introduction
James Morton Contributor, Translator
Nathaniel Hawthorne Contributor
M. R. James Contributor
Washington Irving Contributor
W. W. Jacobs Contributor
Johann Valentin Andreae Contributor
Edith Wharton Contributor
J. Sheridan LeFanu Contributor
Frederick Marryat Contributor
Edith Nesbit Contributor
Bram Stoker Contributor
José M. Huertas Ventosa Editor
Jared Lee Illustrator
Robert of Thornton Editor
Frans Roggen Contributor
Margery Allingham Contributor
Gerard Fairlie Contributor
Edgar Wallace Contributor
J. J. Connington Contributor
F. Britten Austin Contributor
Austin Freeman Contributor
H. C. Bailey Contributor
G.K. Chesterton Contributor
Milward Kennedy Contributor
O. Henry Contributor
Ralph Straus Contributor
Lord Dunsany Contributor
Anthony Berkeley Contributor
Baroness Emmuska Orczy Contributor
Seamark Contributor
A. E. W. Mason Contributor
Bertram Atkey Contributor
Stacy Aumonier Contributor
Freeman Wills Crofts Contributor
Augustus Muir Contributor
Field Marshal Montgomery Foreword
Jennie Hall Contributor
T. S. Eliot Preface
Avowing of King Arthur (Liverpool Ireland MS) Uniform Title
George Webbe Dasent Translator
Thomas Vaughan Translator
Samuel Laing Translator
Elizabeth Williams Editor
Marian Delyth Cover designer
David Jessel Contributor
D. Bryan James Ymgynghorwr iaith
Dr Susan Blake Contributor
Terry Jones Narrator
Mahlon Blaine Illustrator
Brynley F. Roberts Introduction
William Kiesel Editor
Lesley Johnson Editor
Bill Waddell Contributor
Bernadette Watts Illustrator
Albert Helman Translator
Peter Cheyney Author
Frances Lockridge Author
Louis de Bourbon Translator
J. C. Mardrus Translator
Dashiell Hammett Author
Adam de Moleyns Attributed author
S.H. Holbrook Author
Antoon Coolen Translator
Lawrence Treat Author
Richard Lockridge Author
Ray Bradbury Author
John Dickson Carr Author
Edmund Pearson Author
Agatha Christie Author
Josine Reuling Translator
W. de Geus Translator
James A. Michener Foreword
Leslie Charteris Author
Hans Henning von Voigt Illustrator
Viscount Hampden Foreword
Philip Massinger source play
Francis Bacon Contributor
Judith St. John Afterword
Lynton Lamb Illustrator
Thomas Nabbes source play
William Canning Contributor
Francis Davison Contributor
Robert Davenport source play
A J Sutcliffe Contributor
Inca Garcilaso De La Vega Contributor
José María Arguedas Contributor
H. L Douch Contributor
William Borlase Contributor
J. T. Treffry Contributor
Canon J.H. Adams Contributor
Michael Patrick Hearn Preface
Arturo Jiménez Borja Contributor
Dr. C. Barham Contributor
Edward Hearle Rodd Contributor
Bennett A. Brockman Preface
Captain Harry Carter Contributor
F. A. Turk Contributor
Richard Thomas Contributor
C. A. Ralegh Radford Contributor
Charles Thomas Contributor
Ventura García Calderón Contributor
Keith Slocombe Foreword
Enrique López Albújar Contributor
Charles Lemon Contributor
Moyles Contributor
Damian Fanshawe Cover designer
Denis Diderot Author
H. Frijlink Translator
L.F. Grant Illustrator
Christine Hawkridge Contributor
Clorinda Matto de Turner Contributor
Mr. Spry Contributor
Margaret Maloney Preface
J.M. Kent Contributor
John Chynoweth Contributor
F.E. ZEUNER Contributor
The Rev. Canon Rogers Contributor
John H. Trounson Contributor
J. Oliver Contributor
N. J. G. Pounds Contributor
Karl Simrock Translator
Hermann Palsson Translator
Juan Mascaró Translator
Franz Schoenberner Introduction
Emilio Lorenzo Criado Editor, Translator
Felix Genzmer Translator
Keneva Kunz Translator
Henry Adams Bellows Translator
Jan de Vries Translator
Bernhard Sowinski Editor, Translator, Afterword
Max Beluffi Afterword
Remco Campert Translator
C. Corsi Translator
Jesse L. Byock Translator
Patrick Olivelle Translator
Ludovica Koch Editor, Introduction
Margaret Armour Translator
Eduard Sievers Editor
Olga Savin Translator
Helen Bacovcin Translator
Walter J. Ciszek Foreword
P. G. Foote Editor
Frederick Manchester Translator
F. Max Müller Translator
Alistair Shearer Translator
Richard Lannoy Photographer
Peter Russell Translator
Valerie J. Roebuck Translator
Swami Prabhavananda Translator
Eknath Easwaran Translator
H. Halliday Sparling Editor, Introduction
Edward R Haymes Introduction
Osmo Pekonen Translator
Toivo Lyy Translator
Alice Horton Translator
José Miguel Mínguez Translator
Jaap van Vredendaal Translator
Jan van Krimpen Book Designer.
Michael Dirda Foreword
John Evert Härd Translator
A. T. Hatto Translator
D. G. Mowatt Translator
Edy Legrand Illustrator
Burton Raffel Translator
Uwe Johnson Translator
Laura Mancinelli Editor
Irving Babbit Translator
F. Max Muller Translator
Juan Mascaró Translator
Thomas Cleary Translator
Hugo Valvanne Translator
Manfred Stange Herausgeber
Kurt Schier Introduction
Jenny Nyström Illustrator
Anders Zorn Illustrator
Carl Larsson Illustrator
Olof Sörling Illustrator
Erik Brate Translator
Piergiuseppe Scardigli Editor
Eberhart May Cover designer
Thomas Jarzina Cover designer
Björn Collinder Translator
Jeramy Dodds Translator
Gisli Sigurdsson Editor
Andy Orchard Editor
Georg von Rosen Illustrator
Alberto Montaner Ed. lit.
Ben Sussan René Illustrator
Alfonso Reyes Editor
Ramón Menéndez Pidal Editor
Colin Smith Editor
Enrique Carrión Ordóñez Introduction
Francisco Rico Introduction
Stanley Appelbaum Editor
Ian Michael Editor
Örnólfur Thorsson Editor
Magnus Magnusson Translator
James Drummond Cover artist
E. V. Lucas Prefatory Note
Professor E. Turville-Petre Introduction
Robert Cook Translator
Lars Lönnroth Translator
George Webbe Dasent Translator
Peter Foote Translator, Introduction
E. V. Gordon Introduction, Editor, Translator
Rita Caprini Editor, Translator
Reginald M. French Translator
Huston Smith Introduction
Thomas Hopko Foreword
Wendy Doniger Translator
Théo de Borba Moosburger Translator
Mart Kuldkepp Translator
Annalisa Febbraro Translator
Jessie L. Byock Introduction
Henry Halliday Sparling Introduction
Eiríkur Magnússon Translator
Peter Faulkner Editor
Robert W. Gutman Introduction
Kaaren Grimstad Editor
William Harris Translator
M.C. Van den Toorn Introduction
Philip Webb Cover designer
Jane Ennis Introduction
Jakob Fjalestad Translator
Felix Niedner Translator
Katrina C. Attwood Translator
Fulvio Ferrari Editor, editor / translator
P. M. Matarasso Translator
E. V. Rieu Editor
Vera Henriksen Translator, Introduction
J. van Ham Translator
Thorstein Veblen Introduction
Willem Frederik Dupont Illustrator
Njörður P. Njarðvík Editor
Bjarne Fidjestøl Translator
Magnús Magnússon Translator
Peter Pendrey Illustrator
C.M. Fox Translator
Alberto Diniz Translator
Gioia Angiolillo Zannino Translator
Armando Dominicis Translator
Henry Torrens Notes
Arthur Szyk Illustrator
Edward Lane Notes
John Payne Notes
Aale Tynni Translator
Urgunge Onon Translator, Introduction
M.B. Salu Translator
Vladimir Nabokov Translator
Valerie Krishna Author, Translator
Eiríkr Magnússon Translator
Malcolm C. Lyons Translator
Bernard Scudder Translator
G.A. Hight Translator
M.C. van den Toorn Introduction
R. M. French Translator
Örnólfur Thorsson Translator
Denton Fox Translator
Royall Tyler Translator
Hiroshi Kitagawa Translator
Helen Craig McCullough Translator
Bruce T. Tsuchida Translator
Donald B. Sands Editor
George Johnston Translator
G. Stellinga Editor
Hans Urs von Balthasar Afterword
Robert Powell Translator
Priscilla Tolkien Introduction
Michael Smith Translator
Simon Armitage Translator
Jack Hirschman Introduction
Paul Edwards Translator
Jostein Øvrelid Contributor
Lars Ehlin Bearbetning
Josua MJÖLBERG Translator
William Harvey Illustrator
Gabra Zackman Narrator
J. Smith-Cameron Narrator
Chrissy Kurpeski Designer
Lyle Lovett Narrator
Allison Chi Cover designer
Frans Hals Cover artist
Malcolm Lyons Translator
Aleid Boon-de Vries Contributor
J.A. Huisman Contributor
Martin S. Regal Translator
Mats Malm Translator
Vincent Hunink Translator
H. van Assche Editor
Frits van Oostrom Editor
Warren S. Walker Translator
F. Max Muller Editor
Robert Roemans Editor
G.G. Kloeke Editor
Faruk Sumer Translator
Geert Claassens Editor
Marjo Starink Cover designer
Georg Buhler Translator
Rik Boeschoten Translator
Yachar Kemal Foreword
Edward Julius Detmold Illustrator
Brian K. Smith Translator
Marco Syrayama de Pinto Translator
Laura Hibbard Loomis Translator
Ahmet E. Uysal Translator
Geoffrey Lewis Translator
Esther Hagers Editor
L Fabri Illustrator
Robert Hasenfratz Editor
E. J. Dobson Editor
Hugh White Translator
J.R.R. Tolkien Editor
Francis Aiden Gasquet Preface
Nigel Bryant Translator
Victòria Cirlot Editor
Harald Raab Translator
Rob Roemans Editor
Otto Reinert Editor
Sebastian Evans Translator
Simon Trussler Editor
Bella Millett Translator
Rainer Maria Rilke Translator
Elspeth Kennedy Introduction
James Jennings Editor
N. K. Sandars Translator
Dom Gerard Sitwell Introduction
A. C. Cawley Editor
Dmitry Likhachov Translator
Roman Jakobson Editor
A. Zetterstein Editor
Irina Petrova Translator
Esther Bates Editor
Ernest Rhys Editor
Corin Corley Translator
N. R. Ker Introduction
Eridano Bazzarelli Editor
Helmut Wiemken Translator
Vladimir Favorsky Illustrator
Armand Strubel Translator
Renato Poggioli Translator
Bill Griffiths Editor
D. G. Scragg Editor
Johannes van Vloten Editor
Jeffrey Gantz Translator
F.M. Huebner Translator
L. Debaene Editor
E. Talbot Donaldson Editor
M.A.P.C. Poelhekke Editor
L.J.J. Olivier Editor
Martin White Editor
Anne Birrell Translator
Thomas Kyd attributed author
Walter W. Skeat Editor
Ronald Bayne Editor
M. L. Wine Editor
Manuel Komroff Editor
Darcy Kuntz Editor
John J. O'Meara Translator
Gryffon Turner Translator
Charles Swan Translator
Ariel Lamarque Translator
Nobutsuna Sasaki Editor
Friedrich K. Engler Preface, Translator
Yoshinori Yoshizawa Editor
Yoshio Yamada Editor
Shinkichi Hashimoto Editor
Shigeyoshi Saitō Editor
Yūkichi Takeda Editor
Haxon Ishii Translator
Obata Shigeyoshi Translator
Bergljót S. Kristjánsdóttir Introduction
Ralph Hodgson Translator
Japanese Classics Translation Committee Translator
Ola Wikander Translator
Kenneth R. H. Mackenzie Translator
Alfred Crowquill Illustrator
Ian Hideo Levy Translator
Harold Wright Translator
Charles W. Dunn Introduction
Paul Oppenheimer Translator
B.O. Murdoch Translator
Eugen Wolbe Editor
Richard W. Hooper Translator
Hannie Pijnappels Cover designer, Designer
Leonard C. Smithers Translator
Friedrich Neumann Introduction
Everett F. Bleiler Afterword
A. J. Bliss Editor
Jane Lydbury Illustrator
Alice Kemp-Welch Translator
Laurence Catlow Translator
Hilda Van Assche Composer
F A Janssen Foreword
Clement Salaman Translator
Herman Palsson Translator
Edward Eyre Hunt Translator
Frederick S. Boas Editor
Brian Stone Translator
Anonymous Translator
Siyu. 880-01 Chen Illustrator
W. G. Collingwood Translator
Frederick Whitehead Editor
William M. Barton Editor
Hans van Dijk Editor
Nico van Suchtelen Translator
Giovanna Angeli Editor
Raymond Postgate Translator
Jon Stefansson Translator
J. W. Mackail Translator
Ferdinand Holthausen Editor
M. Menkes Introduction
Kenneth Sisam Editor
René Gaspar Composer
Howard Goldblatt Translator
Lucien Foulet Editor
John Sephton Translator
Patrick Lateur Translator
William Baines Editor
Andrea Cucchiarelli Translator
Gaston Raynaud Editor
J.R. Ritman Foreword
G. Quispel Translator
Pam G. Rueter Illustrator
Kai Friis Møller Translator
Ria Jansen-Sieben Editor
Erik Prinsen Cover designer
Christine Barbier-Kontler Translator
Paula Brines Translator
A. A. Ramanathan Translator
Duncan Black Macdonald Translator
Thomas Nashe possible author
Stephen Roy Miller Editor
G. A. A. Kortekaas Editor
Edmund Brock Editor
Terry Gunnell Translator
W.P. Gerritsen Introduction
Alexander Riese Editor
Eleanore Boswell Murrie Editor
Gareth L. Schmeling Editor
Willem Wilmink Translator
James D. Jenkins Editor
David Konstan Editor
Eric Sams Editor
Mary Macleod Banks Editor
Thomas Lodge Thomas Kyd attributed authors
Anthony Munday attributed author
George Chapman attributed author
Rachel Field Contributor
Sidney Lee Editor
Christopher Tolkien Introduction
John Dover Wilson Editor
Caroline Dale Snedeker Contributor
John Wade Preface
George Peele attributed author, Supposed Author.
John Matthews Translator
Christopher Morley Contributor
W.Gs. Hellinga Editor
Grace Rhys Translator
Franciska Schwimmer Contributor
Jack Simmons Editor
Geoffrey Chaucer Attribution
W.L. Idema Translator
Dieuwke E. van der Poel Editor
Monica Shannon Contributor
Katharine Ellis Barrett Contributor
Elizabeth von Arnim Attributed to
Louis Peter Grijp Reconstruction melodies
E. A. J. Honigmann Editor
A. J. Arberry Translator
Lee Smalley Narrator
Kenneth Muir Editor
Thomas Bewick Illustrator
Irene Spijker Editor
Brian F. Copenhaver Editor
Maud Fuller Petersham Illustrator
Oliphant Smeaton Editor
Derek Albert Pearsall Editor
Isabella Abbiati Translator
R. Warwick Bond Editor
Grazia Soldati Translator
Gabriel Turville-Petre Editor
Simon Vance Narrator
Chaucer Editor
Ludo Jongen Editor
Miska Petersham Illustrator
Betty J. Littleton Editor
Pierre Grimal Translator
Tiffany Stern Editor
Marion Florence Lansing Contributor
Madeline Snyder Contributor
Diana Martinez Illustrator
C.R. Millard Illustrator
Roger Dahood Editor
Norman T. Harrington Editor
Wynkyn de Worde Editor
W.J.A. Jonckbloet Editor
Clifford Davidson Editor
Nirmal Dass Translator
H.M.J. Maier Translator
C. Hooykaas Translator
Hermina Joldersma Editor
Mildred Criss Contributor
Julius Koettgen Translator
John C. Coldewey Editor
Marguerite Clement Contributor
Sonia Lustig Contributor
Maartje Draak Foreword
Edith Bishop Sherman Contributor
Bill Peschel Editor
Robert Fass Narrator
Joost van den Vondel Translator
Jean Thiellay Translator
Maria Enrica D'Agostini Editor
Sidney H Heath Illustrator
Peter Happe Editor
Patrick Hanan Translator
D.R. Jonker Translator
Andy Selwood Illustrator
Martin W. Walsh Introduction
John Stephen Farmer Editor
Philip Bliss Editor
Rainer Schumacher Übersetzer
Norbert Voorwinden Editor
Jean-patrick Guillaume Translator
George Clark Translator
James W. Buel Editor
John Lyly attributed author
Henry Keepe Editor
Elizabeth Cleveland Miller Contributor
Johan Oosterman Editor
J.A. Leerink Translator
Staislas Julien Translator
Albert B. Friedman Editor
Desmond Bland Editor
Ronald Bullock Translator
Varla Ventura Editor
Gustav Schleich Editor
Augusta Huiell Seaman Contributor
Manning de Villeneuve Lee Illustrator
Dirk Geirnaert Editor
Jan de Gheet Cover artist
Asta Ruth-Soffner Illustrator
Jarrod Taylor Cover designer
Chiaki Hanabusa Editor
Jeanette Warmuth Illustrator
M. N. Matson Editor
Georges Bohas Translator
Angela Koonen Übersetzer
Kita Tschenkéli Translator
Virginia Frances Sterrett Illustrator
Dietmar Schmidt Übersetzer
Marianne Harbers Translator
Pieter Aertsen Cover artist
Allan McIntyre Trounce Editor
Ruth C. Ellison Translator
Griffin Higgs attributed author
Rasmus Björn Anderson Editor
Gladys Allen Contributor
Antoinette Hillman-Strauss Foreword
Statistikker
- Værker
- 47
- Medlemmer
- 234
- Popularitet
- #96,591
- Vurdering
- 4.0
- Anmeldelser
- 3
- ISBN
- 8,576
- Sprog
- 54