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Artículos de revistas sobre el tema "Hymns (Jewish)"

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Publicado: 25 de julio de 2024

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1

Shiell, William. "Singing to “Lord Jesus Christ”: A Prose Hymn and Its Philippian Recipients." Religions 14, no. 10 (2023): 1228. http://dx.doi.org/10.3390/rel14101228.

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Religious audiences frequently hear prose hymns as a part of their ceremonies. The “Lord Jesus Christ” hymn in Philippians 2.6–11 is one such example. The Philippian hymn fits an audience’s performance expectations compared to other Greek and Jewish prose hymns and performances. A slave lector likely recited or sang the hymn when delivering the epistle and directly addressed at least four named recipients. This article examines the narrative links between the hymn and the address in 4:1–3. Utilizing performance-critical methods, we explore how this hymn likely functioned for the ancient audien
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2

Neis, Rachel. "Embracing Icons: The Face of Jacob on the Throne of God." IMAGES 1, no. 1 (2007): 36–54. http://dx.doi.org/10.1163/187180007782347548.

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AbstractRachel Neis' article treats Hekhalot Rabbati, a collection of early Jewish mystical traditions, and more specifically §§ 152–169, a series of Qedusha hymns. These hymns are liturgical performances, the highlight of which is God's passionate embrace of the Jacob icon on his throne as triggered by Israel's utterance of the Qedusha. §§ 152–169 also set forth an ocular choreography such that the gazes of Israel and God are exchanged during the recitation of the Qedusha. The article set these traditions within the history of similar Jewish traditions preserved in Rabbinic literature. It wil
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3

Ioniță, Alexandru. "Mapping the Jews in the Byzantine Hymnography: The Triodion." Religions 15, no. 2 (2024): 237. http://dx.doi.org/10.3390/rel15020237.

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The Byzantine hymnography was considered a “stumbling stone” of the Jewish–Orthodox Christian dialogue because of the harsh anti-Jewish elements kept in the modern liturgical texts without any revision. This article analyses the often-mentioned texts of the Triodion—the liturgical period before Pascha—using a quantitative approach. The starting point of this research states that we must keep in mind the broader view on the state of the hymnography without labelling the entire Byzantine hymnography as anti-Jewish by looking at some concrete stanzas from Holy Week services. The results demonstra
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4

Fomicheva, Sofia. "The Jewish literature of the second temple as a possible source of Ephrem the Syrian’s doctrine about the teacher as a scribe, inspired by God (in the 6th hymn "De Crucifixione")." St. Tikhons' University Review. Series III. Philology 73 (December 30, 2022): 103–18. http://dx.doi.org/10.15382/sturiii202273.103-118.

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In his 6th Hymn De crucifixione that is consecrated to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet-theologian Ephrem the Syrian (4th c.) functions as a teacher of astronomical and calendric lore. The article focuses on the probable sources of the construction of Ephrem’s authority as a teacher in this hymn. The author demonstrates that the astronomical discourse in the Syriac hymn is constructed with the specific structural devices, e.g., the first-person discourse, the term “calculation” and metaphorically expressed with the image of the scribe. These elem
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5

NAHON, PETER. "Two Judeo-Spanish ‘Marrano’ hymns in the liturgy of the Jews of Cochin." Journal of Jewish Studies 75, no. 1 (2024): 116–36. http://dx.doi.org/10.3828/jjs.2024.75.1.116.

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The liturgy of the Jews of Cochin, Kerala, is extant in several manuscripts, the oldest dating back to the end of the seventeenth century. Among the Hebrew pieces, we find two compositions in Old Spanish written in Hebrew characters, Alto dio de Abraham and Todos kiriados . Here we provide for the first time an edition of these texts (from MS. Roth 33 of the Brotherton Library, University of Leeds and MS. Or. 2242 of the Cambridge University Library). A philological analysis reveals that these two texts – a supplication paraphrasing Psalm 121 and a translation of a medieval Hebrew pizmon, Kol
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6

Ioniță, Alexandru. "Byzantine Liturgical Hymnography: a Stumbling Stone for the Jewish-Orthodox Christian Dialogue?" Review of Ecumenical Studies Sibiu 11, no. 2 (2019): 253–67. http://dx.doi.org/10.2478/ress-2019-0018.

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Abstract This article discusses the role of Byzantine liturgical hymnography within the Jewish-Orthodox Christian dialogue. It seems that problematic anti-Jewish hymns of the Orthodox liturgy were often put forward by the Jewish side, but Orthodox theologians couldn’t offer a satisfactory answer, so that the dialogue itself profoundly suffered. The author of this study argues that liturgical hymnography cannot be a stumbling stone for the dialogue. Bringing new witnesses from several Orthodox theologians, the author underlines the need for a change of perspective. Then, beyond the intrinsic pl
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7

Fomicheva, Sofia. "The astronomical and calendrical calculations in the 6th Hymn de Crucifixione by Ephrem the Syrian in the old Babylonian, Jewish and Christian context." St. Tikhons' University Review. Series III. Philology 77 (December 25, 2023): 107–24. http://dx.doi.org/10.15382/sturiii202377.107-124.

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The paper is focused on the astronomical and calendrical lore which the Syriac poet-theologian Ephrem the Syrian abundantly uses in his 6th hymn De crucifixione. In this hymn devoted to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet and theologian employs some astronomical data, i.e., the duration of solar and lunar years, the duration of the lunar months, the necessity of the intercalations in the calendars etc. The author analyses this lore in the context of the astronomical knowledge existing to Ephrem’s epoch. On the one hand, the article pays attention to
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8

Smith, J. A. "Concordances for Singing-Terms Common to the Septuagint and the Greek New Testament." Royal Musical Association Research Chronicle 28 (1995): 1–19. http://dx.doi.org/10.1080/14723808.1995.10540969.

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The Greek writings of early Christians and Hellenized Jews have three terms in common to refer to and designate song and singing: humnos, ōdē and psalmos and cognate forms of these. In the literature the terms and their cognates appear frequently, both in isolation and variously together. In the Septuagint (see below), for example, in 3 Maccabees, it is to be found that freed Jewish captives included ōdēn (6: 32), psalmois (6: 35) and humnois (7: 16b) in their celebratory singing. In the Greek New Testament, in Ephesians 5: 19 and Colossians 3: 16, the members of the Christian congregations to
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9

Charry, Ellen T. "Awakening to Judaism and Jews in Christian Preaching." International Journal of Homiletics 4, no. 1 (2020): 41–73. http://dx.doi.org/10.21827/ijh.2020.39505.

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Preaching is a daring undertaking. Whether through music, sermons, reading scripture, or personal conversation, speaking of God is an interpretive act. One never quite knows how what one plays, says, writes, or depicts is received. The distance between minds is vast. And given that every set of eyes may read the same words differently and each set of ears hear each interpretive utterance differently, hoping to communicate meaningfully with those watching and listening is nothing short of audacious. Among these challenges, one of the most delicate is preaching on Judaism and Jews. Yet Christian
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10

Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible." Journal of Theological Interpretation 4, no. 1 (2010): 33–52. http://dx.doi.org/10.2307/26421327.

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Abstract Building on the insights of Jon Levenson's work, Sinai and Zion: An Entry into the Jewish Bible, this article endeavors to show that a similar approach, which could be labeled "theophanic," has traditionally guided the Christian—perhaps especially the Eastern Orthodox—entry into the Bible. Relating the Sinai theophany and the transfiguration on Tabor was crucially important for early Christian theology. It underlay their appropriation of the Scriptures of Israel as "OT," it lent itself to polemical use against dualism and monarchianism, and it was eventually absorbed into Byzantine fe
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11

Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible." Journal of Theological Interpretation 4, no. 1 (2010): 33–52. http://dx.doi.org/10.2307/jtheointe.4.1.0033.

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Abstract Building on the insights of Jon Levenson's work, Sinai and Zion: An Entry into the Jewish Bible, this article endeavors to show that a similar approach, which could be labeled "theophanic," has traditionally guided the Christian—perhaps especially the Eastern Orthodox—entry into the Bible. Relating the Sinai theophany and the transfiguration on Tabor was crucially important for early Christian theology. It underlay their appropriation of the Scriptures of Israel as "OT," it lent itself to polemical use against dualism and monarchianism, and it was eventually absorbed into Byzantine fe
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12

Lieber, Laura. "Portraits of Righteousness: Noah in Early Christian and Jewish Hymnography." Zeitschrift für Religions- und Geistesgeschichte 61, no. 4 (2009): 332–55. http://dx.doi.org/10.1163/157007309789346461.

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AbstractThe transformation of Noah into a Christian ideal in the writings of Aphrahat and Ephrem (4th century), with the resulting denigration of Noah in much rabbinic exegesis, is well documented. The purpose of this essay is to examine the characterization of Noah in the liturgical (as opposed to the scholarly) setting. Four groups of works are examined: the Hebrew Avodah poems and the hymns of Ephrem the Syrian (4th century); and the kontakia of Romanos the Melodist and the liturgical poems of the Jewish poet Yannai (6th century). These sources reveal that the individual poets felt great fr
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13

Gordley, Matthew E. "Creating Meaning in the Present by Reviewing the Past: Communal Memory in the Psalms of Solomon." Journal of Ancient Judaism 5, no. 3 (2014): 368–92. http://dx.doi.org/10.30965/21967954-00503005.

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This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the
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14

Han, Jae Hee. "“Hail, Bema of Victory, Great Sign of Our City!”." Studies in Late Antiquity 7, no. 3 (2023): 407–44. http://dx.doi.org/10.1525/sla.2023.7.3.407.

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The goal of this article is to situate the Manichaean Bema Psalms from the Coptic Manichaean Psalmbook in the late antique Roman Empire, on the one hand, and to introduce it as a point of comparison for scholars interested in comparative liturgy, on the other. It argues that public expressions of adoration in the late antique Roman Empire, especially acclamations and panegyrics, functioned as the cultural scaffolding for the performance of the Bema Festival in the Roman Near East. To support this claim, it will first show how Bema Psalm 222 uses imperial acclamations and topoi drawn from paneg
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15

Palmer, Carmen. "Philo’s Hellenistic-Jewish Approach in On the Decalogue and On the Contemplative Life: Blending Wisdom of Solomon’s Critique against Idols with a Hellenistic Notion of Moderation." Journal of Ancient Judaism 13, no. 2 (2022): 186–201. http://dx.doi.org/10.30965/21967954-bja10021.

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Abstract Philo draws on the Wisdom of Solomon in his tripartite critique against idols found in On the Decalogue and On the Contemplative Life. As he fashions these critiques in the pursuit of upholding Mosaic law, Philo not only criticizes Greek and Egyptian forms of worship, he also integrates the notion of moderation evident in Hellenism and Hellenistic-Egyptian Isis worship. This essay demonstrates ways in which the pursuit of moderation and Isis as lawgiver are integrated into Philo’s concepts of Moses as lawgiver and pursuit of law in opposition to Roman forms of excess. The essay consid
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16

Seidel, Andrea Mantell. "Sacred Sound: Tuning the Cosmic Strings of the Subtle Dancing Body." Congress on Research in Dance Conference Proceedings 2012 (2012): 140–45. http://dx.doi.org/10.1017/cor.2012.18.

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A. K. Coomaraswamy writes in The Dance of Shiva that Nataraja, the Hindu dancing figure, is the “clearest image of the activity of God which any art or religion can boast of.” Nataraja's dance activates dormant vital energy (kundalini) and resonates with the primordial sacred seed sounds (bijas) of the cosmos. Sanskrit seed sounds such as Aum are described in the Katha Upanishads as “consciousness or God (Brahman) itself.” In his book, Healing Mantras, Ashley-Farrand writes that the practice of mantra brings about positive changes in matter and consciousness by the agency of a subtle vibration
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17

Høgenhaven, Jesper. "Grundtvig som fortolker af Det Gamle Testamente." Grundtvig-Studier 62, no. 1 (2011): 51–80. http://dx.doi.org/10.7146/grs.v62i1.16579.

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Grundtvig som fortolker af Det Gamle Testamente[Grundtvig 's reception of the Old Testament]By Jesper HøgenhavenThis article analyses aspects of Grundtvig’s reception of the Old Testament. In his historical works from 1812, 1814, and 1833, Grundtvig makes a number of important remarks on the role and significance of the Old Testament. His position has sometimes been characterised as “fundamentalist”, but as is shown in a discussion with recent contributions (Ole Vind, Kim Ame Pedersen), this is hardly a precise description. While Grundtvig repeatedly defends the Old Testament texts as historic
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18

Cover, Michael Benjamin. "The Death of Tragedy: The Form of God in Euripides'sBacchaeand Paul'sCarmen Christi." Harvard Theological Review 111, no. 1 (2018): 66–89. http://dx.doi.org/10.1017/s0017816017000396.

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AbstractScholarship on Phil 2:6–11 has long wrestled with the question of “interpretive staging.” While acknowledging that Jewish sapiential and apocalyptic literature as well as Roman apotheosis narratives provide important matrices for the hymn, the following study pinpoints a third backdrop against which Paul's dramatic christology would have been heard in Philippi: Euripidean tragedy. Echoes of Dionysus's opening monologue from Euripides'sBacchaein thecarmen Christisuggest that Roman hearers of Paul's letter likely understood Christ's kenoticmetamorphosisas a species of Dionysian revelatio
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19

Gorea, Maria. "From the Aramaic raḥmānāʾ to raḥmānān and al-raḥmān". Millennium 20, № 1 (2023): 91–106. http://dx.doi.org/10.1515/mill-2023-0006.

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Abstract The oldest record of the notion of “mercy”, raḥmān, in Aramaic is known from a bilingual text in which the word is the translation of the Akkadian rēmēnû. The latter is used in Mesopotamian onomastics, hymns and prayers, which delivered the oldest formulae of calls for the mercy of gods, especially in a recurrent expression: “the merciful god, that is good to pray,” translated verbatim in the Aramaic text of the statue of Tell Fekheryeh. Almost a thousand years later, the same wording has been inherited unchanged in Palmyrene Aramaic. Nevertheless, the Palmyrene interest on the divine
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20

Schedl, Claus. "Tryggve Kronholm, Motifs from Genesis 1–11 in the genuine Hymns of Ephrem the Syrian, with particular reference to the influence of Jewish exegetical tradition. CWK Gleerup Lund Sweden 1978, 251 Seiten." Archiv für katholisches Kirchenrecht 165, no. 1 (1996): 124–26. http://dx.doi.org/10.30965/2589045x-16501014.

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21

Fossum, Jarl. "Colossians 1. 15–18a. in the Light of Jewish Mysticism and Gnosticism." New Testament Studies 35, no. 2 (1989): 183–201. http://dx.doi.org/10.1017/s0028688500024607.

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Ernst Käsemann's theory that the Christ hymn in Col 1. 15–20.is an adapted pre-Christian hymn about the GnosticUrmensch-Erlöser, who had both a cosmological and a soteriological significance, has not fared well. Even with the deletion of the words δι⋯τοû αἴματος τοû σταυροû αύτοû in v. 20, the sentiment persists that the second part of the hymn – which is soteriological – cannot speak of anyone else than Christ. More importantly, evidence for the existence of a GnosticUrmensch-Erlöseris lacking until Mani's time. As a matter of fact, even pre-Manichean Gnosticism, in which we find both various
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22

Paulien, Jon. "Case Study: How the Apostle John Contextualized." Journal of Adventist Mission Studies 14, no. 2 (2018): 6–10. http://dx.doi.org/10.32597/jams/vol14/iss2/3/.

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"Three aspects of the Prologue and its background in the Gospel of John make it clear that in the Bible God meets people where they are. He inspires ordinary human beings to write in the language, culture, and concepts that would be familiar to their original readers. First, John made use, for example, of an early Christian hymn to express his exalted insights into the nature and character of Jesus Christ. Second, he also structured the Prologue in ways that would make logical sense to a Jewish reader. Third, he gave Jesus a title (the Word) that was far better known in the pagan Gentile world
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23

Medley, Mark S. "Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire." Review & Expositor 116, no. 4 (2019): 421–35. http://dx.doi.org/10.1177/0034637319878790.

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A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, a
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24

Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (1997): 133–74. http://dx.doi.org/10.2307/832064.

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Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of
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25

Gordley. "The Johannine Prologue and Jewish Didactic Hymn Traditions: A New Case for Reading the Prologue as a Hymn." Journal of Biblical Literature 128, no. 4 (2009): 781. http://dx.doi.org/10.2307/25610219.

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26

Wiryadinata, Halim. "An Understanding the Pauline Christology Significance of Firstborn (Protokos) In The Light of Paschal Theology: Critical Evaluation on Colossian 1: 15-20." Kurios 4, no. 1 (2018): 14. http://dx.doi.org/10.30995/kur.v4i1.33.

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Paul was claimed as the most controversial person in his theology. Many scholars said that he was influenced by Hellenistic Judaism in his theology; while others claimed it was affected by Jewish thinking. The concept of ‘protokoj’ (firstborn) was stated being influenced by Hellenistic Judaism and did not imply the rest of New Testament Theology. Some said that firstborn in Colossian 1: 15–20 was a hymn in praise of Christ, while others would say that firstborn in the Hymn Christology is congenial, but not identical with Paul’s theology. This research aimed to show the concept of firstborn as
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27

Gómez Aranda, Mariano. "Scientific Perspectives on Psalm 148 in Medieval Jewish Exegesis." Mediterranea. International Journal on the Transfer of Knowledge 7 (April 1, 2022): 39–70. http://dx.doi.org/10.21071/mijtk.v7i.13637.

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Psalm 148 is a hymn inviting all beings in the celestial world and the earthly world to praise God. Even though the Psalm seems simple and easy to understand, two questions have been raised in the history of the exegesis of this Psalm: why are these specific creatures and no others mentioned in the Psalm?, and why are they placed in this particular order? In Ancient Judaism no much attention was given to the explanation of this Psalm from a scientific perspective; however, in the thirteenth century, in the context of the reception of Aristotelianism in southern France, important exegetes such
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28

Breytenbach, A. P. B. "Moses versus die Messias: 'n Samaritaanse tradisie." Verbum et Ecclesia 19, no. 3 (1998): 534–43. http://dx.doi.org/10.4102/ve.v19i3.2498.

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Moses versus the Messiah: a Samaritan tradition: Eschatological expectations among Jewish and Samaritan groups offer a vast field of study. One of the intriguing aspects is the way in which the profile of messianic figures is influenced by the expectations of opposing groups. In orthodox Samaritan theology Moses, being revered as the sole medium of God's revelation, is put up against figures like Dositheus. Messianic claims of the Dositheans are countered by the laudation of Moses. The same trend isfollowed in the controversy against the Christian messiah: Epithets of a polemic nature in the h
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29

Artemi, Eirini. "The Psalms, the Hymns, and the Texts of the Old Testament and Their Use in Holy Monday and Tuesday." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 65, no. 2 (2020): 113–32. http://dx.doi.org/10.24193/subbto.2020.2.08.

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"Abstract The worship of the Orthodox Eastern Church involves a multitude of references hints and images of the Old Testament, in all the sequences (liturgies) and hymns. Particularly in the Holy and Great Week, the texts of the Old Testament are used with particular emphasis. On Holy Monday and on Holy Tuesday there is use of the texts of the Old Testament. Holy and Great Monday, Tuesday and Wednesday remind us of the eschatological meaning of Pascha. In this paper we are going to analyze the real and deep influence of the Old Testament to these days of Holy Monday and Tuesday and why the Ort
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30

Shepardson, Christine C. "“EXCHANGING REED FOR REED” MAPPING CONTEMPORARY HERETICS ONTO BIBLICAL JEWS IN EPHREM’S HYMNS ON FAITH." Hugoye: Journal of Syriac Studies 5, no. 1 (2010): 15–34. http://dx.doi.org/10.31826/hug-2010-050104.

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31

Collins, Adela Yarbro. "Psalms, Philippians 2:6-11, and the Origins of Christology." Biblical Interpretation 11, no. 3 (2003): 361–72. http://dx.doi.org/10.1163/156851503322566787.

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AbstractStudents of early Christianity recognized long ago that the canonical psalms of the Jewish Bible provided a framework of meaning in which the followers of Jesus could make sense of his crucifixion. This novel hermeneutic is evident in the allusions to the Psalms in the passion narrative of the Gospel according to Mark. It appears also in the Markan Jesus's explanation of the need for the Son of Man to suffer. Most students of the New Testament today understand Philippians 2:6-11 as a pre-Pauline hymn that was composed for early Christian worship. More recent studies suggest that it is
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32

Münz-Manor, Ophir, and Thomas Arentzen. "Soundscapes of Salvation." Studies in Late Antiquity 3, no. 1 (2019): 36–55. http://dx.doi.org/10.1525/sla.2019.3.1.36.

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We do not know how hymns in Late Antiquity sounded. We do know that refrains became an important aspect of hymnody in the period, not only among Christians in the capital accustomed to acclamations, but also among Hebrew-speaking Jews and Syriac-speaking Christians further east. This article investigates ways that the refrains contributed to shaping soundscapes or sonic space. The article constitutes a study of three of the era's most outstanding liturgical poets: Yose ben Yose and Yannai who wrote piyyutim in Hebrew and Romanos the Melodist who wrote kontakia in Greek. Refrains should ring lo
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33

Abedin, Zaynul. "Maurice Druon’s Tistou and His Green Thumbs: A Leap from Egophilia to Ecophilia." International Journal of Comparative Literature and Translation Studies 10, no. 2 (2022): 1–8. http://dx.doi.org/10.7575/aiac.ijclts.v.10n.2p.1.

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An illegitimate son of a Russian Jewish immigrant, born in Paris on April 23, 1918 and one of the France’s most prolific men of letters, Maurice Druon made a name for himself as a patriotic egophiliac. Through his critically acclaimed series of historical novels, Les Rois Maudits, and Les Grandes Familles, for example, he intended to revive the long-lost French medieval egotistic glory. With his wartime resistance hymn, “Chant des Partisans”, which he and his uncle, Joseph Kessel, adapted from the Russian-born troubadour Anna Marly’s lyric song, he infused a strong sense of ego in the French f
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34

Gray, Patrick. "THE COLOSSIAN HYMN IN CONTEXT: AN EXEGESIS IN LIGHT OF JEWISH AND GRECO-ROMAN HYMNIC AND EPISTOLARY CONVENTIONS – By Matthew E. Gordley." Religious Studies Review 34, no. 2 (2008): 104–5. http://dx.doi.org/10.1111/j.1748-0922.2008.00270_28.x.

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35

Пиковский, Ириней. "The Meaning of «Oil Flowing onto Aaron’s Beard» (Psalm 132/133) in Traditional Jewish and Christian Exegesis." Theological Herald, no. 4(39) (December 15, 2020): 21–34. http://dx.doi.org/10.31802/gb.2020.39.4.001.

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Псалом 132 по Синодальному тексту (133 - по нумерации масоретского текста), является одной из пятнадцати «песней восхождения», входящих в состав Псалтири (Пс. 119-133). Данный псалом интересен литургической привязкой к ритуалу Иерусалимского храма, с которым его связывает упоминание о елее, сходящем на бороду Аарона (Пс. 132, 2). Автор использует метафору елея для усиления оттенка радости собратьев по вере, собравшихся в храм для совместной молитвы (ст. 1). Целью настоящего исследования является обзор методов интерпретации образа елея, сходящего на бороду Аарона в ранней еврейской и греческой
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Пиковский, Ириней. "The Meaning of «Ointment upon the Head, that Ran Down upon the Beard, even Aaron’s Beard» (Psalms 132-133) in Traditional Jewish and Christian Exegesis. Part I." Theological Herald, no. 2(37) (June 15, 2020): 17–40. http://dx.doi.org/10.31802/2500-1450-2020-37-2-17-40.

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Псалом 132 по Синодальному тексту (133 - по нумерации масоретского текста), является одной из пятнадцати «песней восхождения», входящих в состав Псалтири (Пс. 119- 133). Данный псалом интересен литургической привязкой к ритуалу Иерусалимского храма, с которым его связывает упоминание о елее, сходящем на бороду Аарона (Пс. 132, 2). Автор использует метафору елея для усиления оттенка радости собратьев по вере, собравшихся в храм для совместной молитвы (ст. 1). Целью настоящего исследования является обзор методов интерпретации образа елея, сходящего на бороду Аарона в ранней еврейской и греческой
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37

Perdew VanSlyke, Stephanie. "A Hymn to be Sung by Christians, Jews, and Muslims: “Hope of Abraham and Sarah” by Ruth Duck." Liturgy 26, no. 3 (2011): 53–56. http://dx.doi.org/10.1080/0458063x.2011.562027.

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38

Abernethy, Andrew T. "‘Mountains Moved into the Sea’: The Western Reception of Psalm 46:1 and 3 [45:1 and 3 LXX] From the Septuagint to Luther." Journal of Theological Studies 70, no. 2 (2019): 523–45. http://dx.doi.org/10.1093/jts/flz083.

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Abstract When Martin Luther wrote his famous hymn Ein feste Burg ist unser Gott in the 1520s, it was uncommon to understand Ps. 46:1–3 [45:1–3 LXX] as a celebration of the peace available to those taking refuge in God amidst raging hostility—as the earth shook and mountains moved into the heart of the sea. Instead, for over a millennium, Augustine’s allegorical interpretation of verse 3 held sway. These verses contained ‘hidden’ truths made known when Christ came, so the shaking earth was the Jews, the mountains were Christ and his apostles, and the sea was the Gentiles in 46:3. According to A
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Iluk, Jan. "Jan Chryzostom objaśnia "Hymn o miłości" [1Kor 13] (In I Epistolam ad Corinthios hom. 33-34)." Vox Patrum 52, no. 1 (2008): 291–315. http://dx.doi.org/10.31743/vp.8057.

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In 1CorHom, edited in the autumn and winter of 392 and 393 AD, John Chrysostom found a natural opportunity to return to his numerous utterances on the role of love in the lives of people. Obviously, the opportunity was the 13“ chapter of this Letter - The Song of Love. Among his works, we will find a few more smali works which were created with the intention of outlining the Christian ideał of love. Many of the contemporary monographs which were devoted to the ancient understanding of Christian „love” have the phrase „Eros and Agape” in their titles. In contemporary languages, this arrangement
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Kļavinska, Antra. "LATGALIAN JOKES: EXPRESSIONS OF LINGUISTIC CONTACTS." Via Latgalica, no. 4 (December 31, 2012): 25. http://dx.doi.org/10.17770/latg2012.4.1687.

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<p>The research interest of the author of the article in the ethnosis living in Latgale, intercultural communication is related to the compilation of the entries for „Latgalian Linguo-Territorial Dictionary” with ESF project „Linguo-Cultural and Socio-Economic Aspects of Territorial Identity in the Development of the Region of Latgale” (Nr. 2009/0227/1DP/1.1.1.2.0/09/APIA/VIAA/071). The tasks of this research: 1) to prepare a review about the frequency of linguistic contacts and themes for conversations in jokes; 2) to determine the linguistic attitude of the addressee and the sender; 3)
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Haiuk, Iryna. "Some aspects of the general Christian and ethno-historical contexts of the formation of the cult of miraculous images." Scientific Yearbook "History of Religions in Ukraine", no. 33 (2023): 148–65. http://dx.doi.org/10.33294/2523-4234-2023-33-1-148-165.

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Some aspects of the formation of the cult of saints and miraculous, first of all, the icons of the Mother of God, which relate to the development of the main mythological series of the Christian ecumene and its individual ethno-national manifestations are analyzed. It is noted that the appearance of icon painting was one of the testimonies of Christianity’s departure from the ethno-national Jewish environment and the first step towards its transformation into a world religion. This step further removed Christianity from Judaism and at the same time, despite its usual representative form, from
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42

Botha, Philippus J. "Ephrem the Syrian’s hymn On the Crucifixion 4." HTS Teologiese Studies / Theological Studies 71, no. 3 (2015). http://dx.doi.org/10.4102/hts.v71i3.3012.

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This article offers a translation of the hymn De Crucifixione 4 by Ephrem, the Syrian theologian, which forms part of his cycle of hymns for the celebration of Easter. The symbolic interpretation of particularly the tearing of the temple veil in this hymn – together with the cosmic signs which occurred at the death of Jesus – is investigated. An attempt is made to correlate Ephrem’s fierce anti-Jewish polemics with the intentions of the authors of the Synoptic Gospels and with Ephrem’s circumstances at the probable time of composition of the hymn.
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43

Padley, Danielle. "From Ancient to Modern: Identifying Anglicanism in an Anglo-Jewish Hymnal." Music and Letters, July 2, 2022. http://dx.doi.org/10.1093/ml/gcac048.

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ABSTRACT In 1899, Francis L. Cohen and David M. Davis published Kol Rinnah U’Tefillah: The Voice of Prayer and Praise. This pioneering ‘Handbook of Synagogue Music for Congregational Singing’ standardized the body of liturgical music used in Anglo-Jewish worship to this day. Early references to the volume as a ‘hymnal’ highlight parallels with Anglican music publications of the period, notably Hymns, Ancient and Modern (1861), the unofficial hymnbook of the Church of England. Published over thirty years apart, there are nonetheless striking correlations between the purpose, reception, and cont
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44

Varghese, Shiji Mariam, and Avishek Parui. "“An umbrella made of precious gems”: An Examination of Memory and Diasporic Identities in Kerala Jewish Songs and Literature." Rupkatha Journal on Interdisciplinary Studies in Humanities 12, no. 5 (2020). http://dx.doi.org/10.21659/rupkatha.v12n5.rioc1s32n1.

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The Jews living in the state of Kerala enact their diasporic identities through a unique narrative network including songs, stories, and memoirs. Drawing on memory studies and affect theory, this article aims to examine selected Jewish folk songs as an example of entanglement of memory and culture, nostalgia and narrative. We study Oh, Lovely Parrot (2004), which is a compilation of 43 typical Kerala “parrot songs” – devotional hymns and songs for special occasions – translated from Malayalam into English by Scaria Zacharia and Barbara C. Johnson. Performances of these songs constitute cultura
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Steyn, Gert J. "Attempting a first translation of the Septuagint psalms into Afrikaans: problems and challenges." In die Skriflig/In Luce Verbi 41, no. 3 (2007). http://dx.doi.org/10.4102/ids.v41i3.315.

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A translation project was started during October 2004 with a small number of senior students in order to translate the Sep- tuagint (LXX) psalms into Afrikaans for the first time. The importance of the LXX for Christianity cannot be overestimated and this is an attempt to make people aware of this important first translation of the Jewish Scriptures on the African con- tinent, to give people access to it in a translation in their mother tongue, and to contribute to the importance of the psalms as a collection of hymns and prayers that is of value for the liturgy and the ministry of the church.
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46

Adelstein, Rachel. "(Shabbat) Angels in America: Israel Goldfarb, “Shalom Aleichem,” and the Search for Nusach America." Music & Minorities 2 (October 10, 2023). http://dx.doi.org/10.52413/mm.2023.16.

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Contemporary American synagogue congregations love to sing a flowing melody for the hymn “Shalom Aleichem” to welcome the Sabbath on Friday evenings. The song has entered the Jewish folk tradition, and speaks to singers of home and nostalgia. However, the song’s history and construction reveal both its genesis in an American Jewish community in the midst of a significant transformation of nation and practice and the crucial role that it played in bringing that community together and forming the basis of a truly American style of Jewish worship. I approach this song on two fronts. My primary ap
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47

Botha, P. J. "Polarity: The theology of anti-Judaism in Ephrem the Syrian’s hymns on Easter." HTS Teologiese Studies / Theological Studies 46, no. 1/2 (1990). http://dx.doi.org/10.4102/hts.v46i1/2.2294.

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In this paper, the polarity Jews :: Christians in the hymns on Easter of the fourth-century Syrian theologian Ephrem is investigated. This polarity is found to be polemical against the Jews. But since polarity is a constant feature in the work of Ephrem which serves to communicate his theological frame of mind, the question is asked whether anti-Judaism does not also serve to convey theological ideas. An attempt is made to demonstrate that anti-Judaism indeed had a theological function for Ephrem: Anti-Judaism seems to have been an aspect of Christian self-definition. It was also a way of expr
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48

Viljoen, F. P. "Song and music in the Pauline epistles: Paul’s utilisation of Jewish, Roman and Greek musical traditions to encourage the early Christian communities to praise God." In die Skriflig/In Luce Verbi 35, no. 3 (2001). http://dx.doi.org/10.4102/ids.v35i3.567.

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This article presents an exegetical investigation of several Pauline texts in which he encourages early Christian communities to praise God with song and music. Paul encourages the congregation in Rome to praise God in unity. The Colossians and Ephesians are exhorted to sing in order to instruct and to admonish one another to glorify God. Furthermore Paul remarks on hymn singing in the Corinthian congregation. In this article it is indicated that influences from Jewish, Roman and Greek cultures in these different communities are probable. Each of these three cultures had a long musical traditi
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Pohlmann, Martin H. "Embracing a vision of the New Jerusalem (Rv 21:1−22:5) to impact on life and society." In die Skriflig/In Luce Verbi 49, no. 2 (2015). http://dx.doi.org/10.4102/ids.v49i2.1854.

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Apocalyptic biblical literature has played a significant role in motivating and mobilising Christians. As part of this genre, the Apocalypse of John has played this mobilising role within the church throughout its history. Jerusalem is often incorporated into this genre to conjure up different emotions and images to impact many different people. For example, the Jew annually recites the words to fellow Jews at every Passover meal: ‘Next year in Jerusalem’. Most Christians know the hymn ‘The holy city’, originally penned by Frederic Weatherly in 1892. It lifts many a spirit as it conjures up th
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Brown, Malcolm David. "Doubt as Methodology and Object in the Phenomenology of Religion." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.334.

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Photograph by Gonzalo Echeverria (2010)“I must plunge again and again in the water of doubt” (Wittgenstein 1e). The Holy Grail in the phenomenology of religion (and, to a lesser extent, the sociology of religion) is a definition of religion that actually works, but, so far, this seems to have been elusive. Classical definitions of religion—substantive (e.g. Tylor) and functionalist (e.g. Durkheim)—fail, in part because they attempt to be in three places at once, as it were: they attempt to distinguish religion from non-religion; they attempt to capture what religions have in common; and they a
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