As I see it, all questions regarding the factual accuracy of Biblical statements-notably such ‘miraculous' events as Virgin Birth, Resurrection, etc.-are wholly irrelevant to the true issues. Indeed, I should go so far as to say myself that the whole value of the Gospel story to mankind-and it is very great-lies not in its historical but in its legendary, mythical, or ‘typical' character. It is not, I think, the Sermon on the Mount-or at least not this alone-that constitutes the peculiar contribution of Christianity to human thought, for very similar maxims are to be found elsewhere, and in any event could be deduced from first principles. It is to be found, rather, in the affirmation that all that is best and highest in man, as typified in the person of Jesus, is bound to arouse opposition, is often persecuted and apparently destroyed-yet is in fact indestructible and does perennially ‘rise again', triumphant over seeming disaster.
 
    
        Leslie Weatherhead 
     
    
     
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        This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude. 
         
 
    Camille Pissarro 
 
                 
            
        
     
    
    
                                        
                    
    
        At the point at which the concept of différance, and the chain attached to it, intervenes, all the conceptual oppositions of metaphysics (signifier/signified; sensible/intelligible; writing/speech; passivity/activity; etc.)- to the extent that they ultimately refer to the presence of something present (for example, in the form of the identity of the subject who is present for all his operations, present beneath every accident or event, self-present in its "living speech," in its enunciations, in the present objects and acts of its language, etc.)- become non pertinent. They all amount, at one moment or another, to a subordination of the movement of différance in favor of the presence of a value or a meaning supposedly antecedent to différance, more original than it, exceeding and governing it in the last analysis. This is still the presence of what we called above the "transcendental signified. 
         
 
    Jacques Derrida 
 
                 
            
        
     
    
    
                                        
                    
    
        [T]he evidence from anthropology concurs with history in refuting the popular belief in a Jewish race descended from the biblical tribe. From the anthropologist's point of view, two groups of facts militate against this belief: the wide diversity of Jews with regard to physical characteristics, and their similarity to the Gentile population amidst whom they live. Both are reflected in the statistics about bodily height, cranial index, blood-groups, hair and eye colour, etc. Whichever of these anthropological criteria is taken as an indicator, it shows a greater similarity between Jews and their Gentile host-nation than between Jews living in different countries. ...The obvious biological explanation for both phenomena is miscegenation, which took different forms in different historical situations: intermarriage, large-scale proselytizing, rape as a constant (legalized or tolerated) accompaniment of war and pogrom. 
         
 
    Arthur Koestler