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This is an open access title available under the terms of a CC BY-NC-ND 4.0 licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Latin is the language in which the New Testament was copied, read, and studied for over a millennium. The remains of the initial 'Old Latin' version preserve important testimony for early forms of text and the way in which the Bible was understood by the first translators. Successive revisions resulted in a standard version subsequently known as the Vulgate which, along with the creation of influential commentaries by scholars such as Jerome and Augustine, shaped theology and exegesis for many centuries. Latin gospel books and other New Testament manuscripts illustrate the continuous tradition of Christian book culture, from the late antique codices of Roman North Africa and Italy to the glorious creations of Northumbrian scriptoria, the pandects of the Carolingian era, eleventh-century Giant Bibles, and the Paris Bibles associated with the rise of the university. In The Latin New Testament, H. A. G. Houghton provides a comprehensive introduction to the history and development of the Latin New Testament. Drawing on major editions and recent advances in scholarship, he offers a new synthesis which brings together evidence from Christian authors and biblical manuscripts from earliest times to the late Middle Ages. All manuscripts identified as containing Old Latin evidence for the New Testament are described in a catalogue, along with those featured in the two principal modern editions of the Vulgate. A user's guide is provided for these editions and the other key scholarly tools for studying the Latin New Testament.
This is an open access title. It is available to read and download as a free PDF on the Oxford Academic platform. It is made available under a CC BY-NC-ND 4.0 International licence. Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. During and after the Second World War, modern dance and ballet thrived in New York City, a fertile cosmopolitan environment in which dance was celebrated as an emblem of American artistic and cultural dominance. In the ensuing Cold War years, American choreographers and companies were among those the U.S. government sent abroad to serve as ambassadors of American cultural values and to extend the nation's geo-political reach. Less-known is that international dance performance, or what was then-called "ethnic" or "ethnologic" dance, enjoyed strong support among audiences in the city and across the nation as well. Produced in non-traditional dance venues, such as the American Museum of Natural History, the Ethnologic Dance Center, and Carnegie Hall, these performances elevated dance as an intercultural bridge across human differences and dance artists as transcultural interlocutors. Dancing the World Smaller draws on extensive archival resources, as well as critical and historical studies of race and ethnicity in the U.S., to uncover a hidden history of globalism in American dance and to see artists such as La Meri, Ruth St. Denis, Asadata Dafora, Pearl Primus, José Limón, Ram Gopal, and Charles Weidman in new light. Debates about how to practice globalism in dance proxied larger cultural struggles over how to reconcile the nation's new role as a global superpower. In dance as in cultural politics, Americans labored over how to realize diversity while honoring difference and manage dueling impulses toward globalism, on the one hand, and isolationism, on the other.