LEADER 03241nam 2200409 450 001 9910632877303321 005 20230517201457.0 035 $a(CKB)5860000000260286 035 $a(NjHacI)995860000000260286 035 $a(EXLCZ)995860000000260286 100 $a20230517d2022 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Bible in the bowls $ea catalogue of biblical quotations in published Jewish Babylonian Aramaic magic bowls /$fDaniel James Waller 210 1$aCambridge, UK :$cOpen Book Publishers,$d2022. 215 $a1 online resource (viii, 182 pages) 225 1 $aCambridge Semitic Languages and Cultures ;$vNumber 16 311 $a1-80064-764-6 320 $aIncludes bibliographical references and index. 327 $aIntro -- Contents -- Preface -- Introduction -- Catalogue of Biblical Quotations in Published Jewish Babylonian Aramaic Magic Bowls -- Table Showing the Distribution of Biblical Quotations in Published JBA Incantation Bowls -- Bibliography -- Ancient Sources -- Index. 330 $aThe Bible in the Bowls represents a complete catalogue of Hebrew Bible quotations found in the published corpus of Jewish Babylonian Aramaic magic bowls. As our only direct epigraphic witnesses to the Hebrew Bible from late antique Babylonia, the bowls are uniquely placed to contribute to research on the (oral) transmission of the biblical text in late antiquity; the pre-Masoretic Babylonian vocalisation tradition; the formation of the liturgy and the early development of the Jewish prayer book; the social locations of biblical knowledge in late antique Babylonia and socio-religious typologies of the bowls; and the dynamics of scriptural citation in ancient Jewish magic. In a number of cases, the bowls also contain the earliest attestations of biblical verses not found in the Dead Sea Scrolls. Pre-dating the next available evidence by four to five centuries, the bowls are a valuable resource for biblical text critics. By making these valuable witnesses to the Hebrew Bible easily available to scholars, The Bible in the Bowls is designed to facilitate further research by linguists, liturgists, biblical text critics, and students of Jewish magic. It collates and transcribes each biblical verse as it appears in the published bowls, furnishes details of the bowls' publication, and notes various features of interest. The catalogue is also accompanied by an accessible introduction that briefly introduces the incantation bowls, surveys their deployment of scripture in light of their magical goals, and discusses the orthography of the quotations and what this can tell us about the encounter with the biblical text in late antique Babylonia. 410 0$aCambridge Semitic languages and cultures ;$vno. 16. 606 $aIncantations, Aramaic 606 $aIncantation bowls 615 0$aIncantations, Aramaic. 615 0$aIncantation bowls. 676 $a492.2 700 $aWaller$b Daniel James$01357784 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910632877303321 996 $aThe Bible in the bowls$93364473 997 $aUNINA LEADER 02894nam 2200397z- 450 001 9910513702703321 005 20211216 035 $a(CKB)5590000000637190 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/74978 035 $a(oapen)doab74978 035 $a(EXLCZ)995590000000637190 100 $a20202112d2021 |y 0 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aWarez$eThe Infrastructure and Aesthetics of Piracy 210 $aBrooklyn, NY$cpunctum books$d2021 215 $a1 online resource (444 p.) 311 08$a1-68571-036-0 327 $tOriginal pirate material --$tSetting the scene --$tInfrastructures of the scene --$tOrganization --$tAesthetics --$tTakedowns --$gConclusions. 330 $aWhen most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media - music, videos, games, and software - before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers ("topsites") in the mid- to late-1990s. The "Scene," as it is known, is highly illegal in almost every aspect of its operations. The term "Warez" itself refers to pirated media, a derivative of "software." Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 517 $aWarez 606 $aCorporate crime$2bicssc 606 $aInternet: general works$2bicssc 606 $aMedia studies$2bicssc 610 $acomputing;hacking;history;internet security;piracy;software;warez 615 7$aCorporate crime 615 7$aInternet: general works 615 7$aMedia studies 700 $aEve$b Martin Paul$f1986-$0803034 906 $aBOOK 912 $a9910513702703321 996 $aWarez$93039539 997 $aUNINA