Anonymous (7)
Auteur de Exodus (Penguin Epics)
Pour les autres auteurs qui s'appellent Anonymous, voyez la page de désambigüisation.
47 oeuvres 235 utilisateurs 3 critiques
Œuvres de Anonymous
ANGLICAN MISSAL IN THE AMERICAN EDITION 9 exemplaires
A new hieroglyphical Bible,: With four hundred embellishments on wood (An American heritage attic reprint) (1970) 8 exemplaires
The Book of Enoch, Complete Edition: Including the Book of the Secrets of Enoch (2009) 6 exemplaires
Bible (Bibla Sacra) (Vulgate) 2 exemplaires
The Gospel According to John (Tibetan) 2 exemplaires
The Gospel According to Matthew (Hindi) 1 exemplaire
Greek-English New Testament 1 exemplaire
Oxford Reference Bible 1 exemplaire
The Holy Bible Old Testament 1 exemplaire
The Holy Bible and the Book of Common Prayer 1 exemplaire
The Holy Bible: New Testament, Psalms 1 exemplaire
The Bible Index Pocketbook 1 exemplaire
The Pentateuch and Haftotorahs 1 exemplaire
The Book of Esther (with English Translation) 1 exemplaire
Lord's Prayer: Catholic Edition 1 exemplaire
Bibeln 1 exemplaire
The Gospel According to Luke (Bengali) 1 exemplaire
The Books of the Bible 1 exemplaire
Holy Bible, Scholars' Edition, Illustrated 1 exemplaire
New Testament : To Commemorate the Coronation of Her Most Gracious Majesty Oueen Elizabeth the 2nd , 2nd. June 1953 1 exemplaire
O Novo Testamento De Nosso Senhor Jesus Christo: Traduzido Segundo O Original Grego (Portuguese Edition) (2010) 1 exemplaire
Nouum Testatmentum Latine 1 exemplaire
The Holy Scriptures: Hebrew and English 1 exemplaire
Apocrypha, Deuteronomical Books of the Bible (w/ Active Table of Contents and Chapter Navigation) (2009) 1 exemplaire
New Testament in Hwa Lisu 1 exemplaire
Biblia Hebraica: Liber Genesis 1 exemplaire
The Little Catholic Child's Prayer Book 1 exemplaire
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Word in Life Study Bible, The: Gospel of Matthew par 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.
Signalé
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.… (plus d'informations)
½Signalé
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.… (plus d'informations)
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.… (plus d'informations)
1
Signalé
Malarchy | Dec 28, 2010 | Vous aimerez peut-être aussi
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Aale Tynni Translator
Urgunge Onon Translator, Introduction
Valerie Krishna Author, Translator
M.B. Salu Translator
Vladimir Nabokov Translator
Gabriella Agrati Editor
Eiríkr Magnússon Translator
Malcolm C. Lyons Translator
Denton Fox Translator
Örnólfur Thorsson Translator
G.A. Hight Translator
Bernard Scudder Translator
M.C. van den Toorn Introduction
R. M. French Translator
Royall Tyler Translator
Helen Craig McCullough Translator
Bruce T. Tsuchida Translator
Hiroshi Kitagawa Translator
George Johnston Translator
Donald B. Sands Editor
G. Stellinga Editor
Robert Powell Translator
Hans Urs von Balthasar Afterword
Priscilla Tolkien Introduction
Simon Armitage Translator
Michael Smith Translator
Paul Edwards Translator
Jack Hirschman Introduction
Lars Ehlin Bearbetning
Josua MJÖLBERG Translator
Jostein Øvrelid Contributor
William Harvey Illustrator
Lyle Lovett Narrator
Frans Hals Cover artist
J. Smith-Cameron Narrator
Allison Chi Cover designer
Malcolm Lyons Translator
Chrissy Kurpeski Designer
Gabra Zackman Narrator
Martin S. Regal Translator
Mats Malm Translator
Vincent Hunink Translator
Aleid Boon-de Vries Contributor
J.A. Huisman Contributor
L Fabri Illustrator
H. van Assche Editor
Frits van Oostrom Editor
Esther Hagers Editor
Geert Claassens Editor
G.G. Kloeke Editor
Robert Roemans Editor
Edward Julius Detmold Illustrator
Georg Buhler Translator
Yachar Kemal Foreword
Brian K. Smith Translator
Geoffrey Lewis Translator
Rik Boeschoten Translator
Ahmet E. Uysal Translator
Warren S. Walker Translator
Marco Syrayama de Pinto Translator
Laura Hibbard Loomis Translator
Marjo Starink Cover designer
Faruk Sumer Translator
F. Max Muller Editor
Hugh White Translator
N. R. Ker Introduction
Simon Trussler Editor
A. Zetterstein Editor
Francis Aiden Gasquet Preface
A. C. Cawley Editor
Harald Raab Translator
Elspeth Kennedy Introduction
James Jennings Editor
Sebastian Evans Translator
Nigel Bryant Translator
Victòria Cirlot Editor
Irina Petrova Translator
N. K. Sandars Translator
Roman Jakobson Editor
Rob Roemans Editor
Otto Reinert Editor
J.R.R. Tolkien Editor
Armand Strubel Translator
Helmut Wiemken Translator
Bella Millett Translator
Robert Hasenfratz Editor
Vladimir Favorsky Illustrator
Esther Bates Editor
Rainer Maria Rilke Translator
E. J. Dobson Editor
Ernest Rhys Editor
Dmitry Likhachov Translator
Dom Gerard Sitwell Introduction
Renato Poggioli Translator
Corin Corley Translator
Eridano Bazzarelli Editor
Johannes van Vloten Editor
Martin White Editor
Thomas Kyd attributed author
L. Debaene Editor
D. G. Scragg Editor
M.A.P.C. Poelhekke Editor
F.M. Huebner Translator
Ronald Bayne Editor
Bill Griffiths Editor
Jeffrey Gantz Translator
Maria Letizia Magini Editor
M. L. Wine Editor
Walter W. Skeat Editor
L.J.J. Olivier Editor
John J. O'Meara Translator
Anne Birrell Translator
Charles Swan Translator
Darcy Kuntz Editor
Gryffon Turner Translator
Ariel Lamarque Translator
Manuel Komroff Editor
Japanese Classics Translation Committee Translator
Shigeyoshi Saitō Editor
Shinkichi Hashimoto Editor
Yoshio Yamada Editor
Obata Shigeyoshi Translator
Bergljót S. Kristjánsdóttir Introduction
Yūkichi Takeda Editor
Haxon Ishii Translator
Yoshinori Yoshizawa Editor
Friedrich K. Engler Preface, Translator
Ralph Hodgson Translator
Nobutsuna Sasaki Editor
Eugen Wolbe Editor
Hannie Pijnappels Cover designer, Designer
Paul Oppenheimer Translator
Richard W. Hooper Translator
Leonard C. Smithers Translator
Ian Hideo Levy Translator
Ola Wikander Translator
B.O. Murdoch Translator
Harold Wright Translator
Kenneth R. H. Mackenzie Translator
Charles W. Dunn Introduction
Friedrich Neumann Introduction
Alfred Crowquill Illustrator
Brian Stone Translator
Everett F. Bleiler Afterword
J.R. Ritman Foreword
Siyu. 880-01 Chen Illustrator
Anonymous Translator
Hans van Dijk Editor
G. Quispel Translator
Hilda Van Assche Composer
William M. Barton Editor
Kenneth Sisam Editor
Frederick Whitehead Editor
Ferdinand Holthausen Editor
Jon Stefansson Translator
Howard Goldblatt Translator
Herman Palsson Translator
Raymond Postgate Translator
Lucien Foulet Editor
Patrick Lateur Translator
Clement Salaman Translator
Kai Friis Møller Translator
A. J. Bliss Editor
William Baines Editor
Andrea Cucchiarelli Translator
Frederick S. Boas Editor
Nico van Suchtelen Translator
John Sephton Translator
Jane Lydbury Illustrator
Alice Kemp-Welch Translator
Pam G. Rueter Illustrator
Laurence Catlow Translator
J. W. Mackail Translator
Giovanna Angeli Editor
Gaston Raynaud Editor
M. Menkes Introduction
Edward Eyre Hunt Translator
René Gaspar Composer
F A Janssen Foreword
David Konstan Editor
G. A. A. Kortekaas Editor
Paula Brines Translator
Willem Wilmink Translator
James D. Jenkins Editor
Eric Sams Editor
Gareth L. Schmeling Editor
Mary Macleod Banks Editor
Terry Gunnell Translator
Duncan Black Macdonald Translator
Stephen Roy Miller Editor
A. A. Ramanathan Translator
Christine Barbier-Kontler Translator
Eleanore Boswell Murrie Editor
Edmund Brock Editor
Ria Jansen-Sieben Editor
W.P. Gerritsen Introduction
Thomas Nashe possible author
Alexander Riese Editor
Erik Prinsen Cover designer
Gladys Allen Contributor
George Clark Translator
Marguerite Clement Contributor
John Lyly attributed author
Rasmus Björn Anderson Editor
Kita Tschenkéli Translator
Brian F. Copenhaver Editor
James W. Buel Editor
Georges Bohas Translator
Monica Shannon Contributor
Elizabeth Cleveland Miller Contributor
John C. Coldewey Editor
Antoinette Hillman-Strauss Foreword
George Peele attributed author, Supposed Author.
Sidney Lee Editor
W.L. Idema Translator
Anthony Munday attributed author
W.Gs. Hellinga Editor
Johan Oosterman Editor
Nirmal Dass Translator
Mildred Criss Contributor
C. Hooykaas Translator
Lee Smalley Narrator
Peter Happe Editor
Joost van den Vondel Translator
Albert B. Friedman Editor
Patrick Hanan Translator
Isabella Abbiati Translator
Grazia Soldati Translator
Augusta Huiell Seaman Contributor
John Stephen Farmer Editor
Maartje Draak Foreword
Roger Dahood Editor
John Matthews Translator
Wynkyn de Worde Editor
Varla Ventura Editor
Betty J. Littleton Editor
Christopher Morley Contributor
Clifford Davidson Editor
Pieter Aertsen Cover artist
Sidney H Heath Illustrator
Geoffrey Chaucer Attribution
Chaucer Editor
Thomas Lodge Thomas Kyd attributed authors
Norbert Voorwinden Editor
Irene Spijker Editor
A. J. Arberry Translator
Virginia Frances Sterrett Illustrator
Dietmar Schmidt Übersetzer
Bill Peschel Editor
Pierre Grimal Translator
Griffin Higgs attributed author
E. A. J. Honigmann Editor
Angela Koonen Übersetzer
M. N. Matson Editor
Gustav Schleich Editor
Caroline Dale Snedeker Contributor
Manning de Villeneuve Lee Illustrator
Jeanette Warmuth Illustrator
Marianne Harbers Translator
Allan McIntyre Trounce Editor
Sonia Lustig Contributor
Chiaki Hanabusa Editor
Franciska Schwimmer Contributor
Jean Thiellay Translator
Jean-patrick Guillaume Translator
Rainer Schumacher Übersetzer
Philip Bliss Editor
Martin W. Walsh Introduction
D.R. Jonker Translator
Robert Fass Narrator
Norman T. Harrington Editor
Hermina Joldersma Editor
Diana Martinez Illustrator
Maria Enrica D'Agostini Editor
H.M.J. Maier Translator
Andy Selwood Illustrator
W.J.A. Jonckbloet Editor
Julius Koettgen Translator
Ruth C. Ellison Translator
Kenneth Muir Editor
Louis Peter Grijp Reconstruction melodies
Dirk Geirnaert Editor
Ronald Bullock Translator
Rachel Field Contributor
Gabriel Turville-Petre Editor
Christopher Tolkien Introduction
Jan de Gheet Cover artist
Staislas Julien Translator
Tiffany Stern Editor
C.R. Millard Illustrator
Madeline Snyder Contributor
Katharine Ellis Barrett Contributor
Jack Simmons Editor
Oliphant Smeaton Editor
Desmond Bland Editor
J.A. Leerink Translator
Derek Albert Pearsall Editor
R. Warwick Bond Editor
Thomas Bewick Illustrator
Maud Fuller Petersham Illustrator
Jarrod Taylor Cover designer
Simon Vance Narrator
Ludo Jongen Editor
Miska Petersham Illustrator
George Chapman attributed author
Elizabeth von Arnim Attributed to
Edith Bishop Sherman Contributor
John Dover Wilson Editor
Dieuwke E. van der Poel Editor
Grace Rhys Translator
Asta Ruth-Soffner Illustrator
John Wade Preface
Marion Florence Lansing Contributor
Henry Keepe Editor
Statistiques
- Œuvres
- 47
- Membres
- 235
- Popularité
- #96,241
- Évaluation
- 4.0
- Critiques
- 3
- ISBN
- 8,635
- Langues
- 54