The tears of the ‘daughters of Jerusalem’ in Luke 23.27–31 are often taken as a representation of pathos. However, women's public performance of lamentation serves several purposes in the biblical prophets and Greco-Roman historiography and rhetoric. Women are responsible for mourning rituals following a death to honour the deceased and their family. They express communal lament following defeat in war. Women use tears to protest political and legal situations, swaying public opinion and decisions. The rhetorical functions of women's mourning in antiquity offer valuable insight into the potential purposes of mourning in Luke 23.27–31. The women's initial display of tears honours Jesus. The disruption of the negative perception of Jesus at this point in the narrative suggests the women's tears may be political protest. The redirection of their tears to themselves and their children provides the audience with a model response to the destruction of Jerusalem. As in Jer 9.17–22, the mourning of Luke's ‘daughters of Jerusalem’ is prophetic.

2020 saw the celebration of significant anniversaries connected with several medieval English saints, led most notably by the triple anniversary of the birth (1120), death (1170) and translation (1220) of St Thomas Becket, archbishop of Canterbury (1162–70, canonised 1173). This offered scholars an occasion to review and revisit important aspects of the documentary sources and material culture relating to the saints’ cults in England and across Europe. The celebrations of St Thomas Becket also coincided with the 700th anniversary of the canonisation of St Thomas de Cantilupe, bishop of Hereford (1275–82, canonised 1320). Renewed scholarly interest in Cantilupe’s posthumous cult has particularly offered insights into daily life and devotion in late thirteenth- and early fourteenth-century England and Wales. Likewise, it has recently been demonstrated that, in the wake of the Cantilupe cult at Hereford Cathedral, a period of intense church building occurred throughout the diocese. This paper is the first to assemble and publish a comprehensive catalogue of all known lost and surviving iconographical images of Cantilupe from the Middle Ages. More significantly, keeping the 2020 celebrations of both the Becket and Cantilupe cults in mind, this paper is the first to bring attention to all the examples of medieval iconography that associate England’s two Thomases, demonstrating how Becket was utilised as a model of sanctity par excellence with Cantilupe presented as a ‘second Becket’.

This paper undertakes a close linguistic study of a unique translation of the gospels into Arabic as attested in three manuscript witnesses. The translation is unique insofar as it imitates the Quran, especially in lexicon and rhyme. Linguistically it mixes numerous features specific to the Quran with features from both the Classical Arabic (ClAr) tradition, including poetic archaisms not typical of standard ClAr, as well as from Christian Middle Arabic. I argue that the regnant framework for Middle Arabic – that it exists on a spectrum from dialects to standard Classical Arabic – is insufficient for understanding this text. Instead, we need to conceptualize the high register for at least some communities as encompassing distinctively Christian features, which originated as living features and had achieved prestige, along with ones from Classical Arabic and Quranic recitation traditions, and even Old Hijazi.

Late Quaternary fluvial channel deposits are notoriously difficult to date. In the midwestern United States, shells of aquatic mollusks can be found within many fluvial channel sediments and therefore can be radiocarbon (14C) dated to determine the age of the deposits. However, carbonate platform rocks are abundant in this region, potentially causing freshwater 14C reservoir effects (FRE) in mollusk shells. We 14C dated 11 aquatic gastropod and bivalve shell samples from specimens collected live from a stream in southwestern Ohio during three different years to assess the modern 14C reservoir effect. Modern samples yielded an average 14C FREmodern of 518 ± 65 14C yrs for 2020 (n=5), 640 ± 34 14C yrs for 2021 (n=2), and 707 ± 76 14C yrs for 2022 (n=4). We also 14C dated matched pairs of organic wood or charcoal and aquatic mollusk shells from late Pleistocene and Holocene deposits in the Four Mile Creek floodplain to determine the FREfossil. These samples, free of any potential influence from nuclear bomb testing, yielded an overall weighted mean FREfossil of 1029 ± 345 14C yrs. We then assess the advantages and limitations of both the FREmodern and FREfossil methods for determining freshwater reservoir effects. Finally, we apply the FREfossil correction to a series of shell ages from fluvial terrace deposits as a case study. The results indicate that although there is a 14C FRE in streams from the midwestern United States, aquatic shells can provide robust age control on fluvial channel deposits. More research is needed to understand the spatial and temporal variability of FREs, as well as any species effects, among various watersheds across the midwestern United States.

How are theatre practitioners (re)defining the realist project, a form of theatre intrinsic to the ideological domestication of capitalism? This paper takes up this question through an examination of Simon Stone's production of The Wild Duck ‘after Ibsen’, staged at Belvoir Theatre in Sydney in 2011, and the late Mark Fisher's (2009) theorization of a market-dominated present as capitalist realism. In doing so, it refers to three different cultural contexts by making parallels to the German theatre director Thomas Ostermeier's work and pointing to developments in Britain. It argues that performances dependent upon the subject's capacity to know and represent the world are predicated on a subjective response and therefore risk locating systemic issues in the closed fictional cosmos of situational dramatic art as part of its exploration of the paralysis intrinsic to the capitalist realist politics of (theatre) spectatorship.

This paper analyses the intricate and extraordinary style of the influential prose writer Han Yu (768–824). It uncovers his innovative use of grammar and rhetoric and explores how this works to emphasize his theme through an in-depth analysis of his “Miscellaneous Discourses” series. The series, named for what was a budding literary genre in Tang times, later became a popular anthology selection. It showcases the linguistic intricacy of Han's renowned “long sentences” and “reverse writing”, while also demonstrating the use of various rhetorical devices, all employed to create visual effects befitting the themes. The seamless match of style and theme strengthens the persuasive power of each essay and realizes the great potential of ancient-style prose. The findings speak broadly to linguistic and rhetorical development in ways that are relevant to literary studies in general.

Four of the witnesses selected for the Editio Critica Maior of Mark are witnesses to a unique combination of catena commentaries on the Gospels not found in any other manuscripts. An analysis of their text in the Gospel of Mark, using the tools of the Coherence-Based Genealogical Method, shows that they also feature an almost identical form of the biblical text that frequently diverges from both the Majority Text and all other Greek New Testament manuscripts. These four manuscripts, GA 238, GA 377, GA 807 and GA 1160, therefore, constitute a group within the textual tradition of the Gospels. This article provides the evidence that GA 377 is a direct copy of GA 807. No other instances of direct copying can be proven within the group, but their agreement raises the possibility that they are siblings. The format of the catenae may explain the high degree of homogeneity in this group of Gospels manuscripts.

Following a public outcry about Eric Aniva being hired to have sex with children, he was arrested, tried and convicted of attempting to engage in a harmful practice and also of engaging in a harmful practice, contrary to Malawi's Gender Equality Act. Aniva's trial attracted significant public attention and highlighted kulowa kufa, the cultural practice at the centre of his trial. This article revisits Aniva's trial. By focusing on the operation of the law in judicial processes as well as the dynamics of judicial decision-making, it demonstrates and concludes that Aniva's trial may have been compromised. Specifically, the article analyses the state's failure to identify and parade material witnesses notwithstanding the alleged multiplicity of Aniva's victims, the role of the media in the trial as well as the probable effects of the trial court's selective recourse to international human rights standards.