Matthews each studied the manuscripts to verify the accuracy of the published editions. 7ĭuring the 1960s, RLDS scholar Richard P. Despite possessing a handwritten copy of some revision manuscripts, the Church under President Young’s direction, and for a century thereafter, did not publish an edition. The Reorganized Church (now Community of Christ) published Joseph’s revisions in 1867 under the title The Holy Scriptures, Translated and Corrected by the Spirit of Revelation, but the volume quickly became known as the “Inspired Version of the Bible.” 6 Brigham Young, then President of The Church of Jesus Christ of Latter-day Saints in Utah, expressed skepticism of the accuracy of the publication, having not had the chance to review the manuscript sources himself. 5Īfter Joseph Smith’s death, the Bible translation manuscripts remained with his wife Emma until she gave them to her son Joseph Smith III, who led the Reorganized Church of Jesus Christ of Latter Day Saints. 4 Several similar episodes occurred during the process of revising the Bible, prompting revelations regarding Matthew 13 1 Corinthians 7 and the Book of Revelation.
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Perhaps the most dramatic of these occurred when Joseph Smith and Sidney Rigdon wondered how to interpret John 5:29, a passage mentioning the resurrection of the dead, and were blessed with a revelatory vision of the degrees of glory in the afterlife ( D&C 76). Joseph Smith’s work on the Bible revision led to several revelations now contained in the Doctrine and Covenants. A revelation directed Joseph not to translate apocryphal writings. Joseph briefly considered translating the Apocrypha, a selection of books accepted as scripture by Catholic and Orthodox Christians but rejected by many Protestants. Once finished with the New Testament, Joseph picked up where he left off in Genesis and completed his work on the entire project by July 1833. Joseph proceeded from Genesis 1 through the Old Testament until a revelation in 1831 directed him to advance to the New Testament. He also made many smaller changes that improved grammar, clarified meaning, modernized language, corrected points of doctrine, or alleviated inconsistencies. Joseph heavily revised some passages, such as Matthew 24, adding phrases, rearranging verses, and making other significant changes. The best-known example of this type of revision is found today in the book of Moses in the Pearl of Great Price. 2 These passages sometimes dramatically expanded the biblical text. His early work on the translation resulted in long revealed passages that Joseph dictated to his scribes, much as he did when receiving the revelations in the Doctrine and Covenants. Joseph’s revisions fall into several categories. Later, Joseph marked his Bible showing where changes should be inserted, and the scribes wrote only the changed text. At first, the scribes rewrote the entire text including the changes. Rather, he used a copy of the King James Bible as the starting point for his translation, dictating inspired changes and additions to scribes.
While working on his revision of the Bible, Joseph Smith did not employ Hebrew and Greek sources, lexicons, or a knowledge of biblical languages to render a new English text. "Vasudevan s innovative concept of the imaginary public, developed across these essays through close analysis of Indian cinema s melodramatic practices and the socio-cultural conditions of their operation, recasts our understanding of the relation between text and context and offers a welcome new approach not only to the application of melodrama to Indian filmmaking but to theorization of cinema itself.Artist’s depiction of Joseph Smith and Sidney Rigdon working on the Bible translation. The author s deep familiarity with world cinema traditions shines forth and illuminates local questions and challenges prevailing theories." - M. "One of the pioneers of film studies in India, in this long-awaited book, locates Indian popular cinema in a world context and offers a thoroughly revised understanding of melodrama as a global aesthetic with a rich Indian history. He proceeds from a genuinely global perspective, while nonetheless persuasively making the case for regionally specific and local factors in the history of modern popular culture." - Thomas Elsaesser
The Melodramatic Public is not only the most comprehensive book to redirect our understanding of Indian popular cinema, carefully tracing its manifold roots and conducting a painstaking archaeology of the genre, but Vasudevan also redraws the map.
"Here, finally, is the definitive and authoritative study of melodrama we have been hoping for.
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