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1
Rainbow, Jesse. "The Song of Songs and the Testament of Solomon: Solomon's Love Poetry and Christian Magic". Harvard Theological Review 100, n. 3 (luglio 2007): 249–74. http://dx.doi.org/10.1017/s0017816007001587.
Testo completoAbstract (sommario):
A widespread early Christian tradition regarded Solomon as the great exorcist and magician of antiquity, the forerunner of the exorcistic activity of Jesus, and the genius of later Christian magic and divination. In time, this tradition (henceforth the “Solomon magus” tradition) would become increasingly syncretistic and would yield the numerous grimoires and claviculae of the Middle Ages, but in the early centuries of Christianity, the tradition produced texts which were more or less haggadic, that is, engaged in the exegesis of canonical materials and rooted in earlier Jewish interpretive traditions. Modern students of the documents of this tradition have long perceived its debt to the Old Testament, particularly to the portrait of Solomon in 1 Kgs 5:9–14 (4:29–34), a text which both traditional Christian and modern critical interpreters have subsequently explained in nonmagical terms. While Solomon's magical identity is widely recognized to be inspired by the biblical description of his greatness, little is known about how readers in the Solomon magus tradition interpreted the canonical books of traditional Solomonic authorship—the Song of Songs, Proverbs, Ecclesiastes and the Wisdom of Solomon.
2
Smith, John Arthur. "Musical aspects of Old Testament canticles in their biblical setting". Early Music History 17 (ottobre 1998): 221–64. http://dx.doi.org/10.1017/s0261127900001650.
Testo completoAbstract (sommario):
The Hebrew Old Testament contains, besides prose narratives and laws, a considerable amount of poetry. The books of Lamentations, Proverbs and Psalms and the Song of Solomon, together with the prophetic oracles that make up the books of Amos, Habakkuk, Joel, Micah, Nahum, Obadiah and Zephaniah, consist entirely, or almost entirely, of poetry. In several other books, especially Job and the books of the prophets Haggai, Isaiah and Jeremiah, poetry predominates, while in the books of history and law, although prose predominates, poetry is never entirely absent, brief though its manifestations sometimes are. The vast majority of the poetry is sacred, as would be expected from texts that occur within religious writings. The relatively small amount of profane poetry consists of a handful of short examples and the Song of Solomon.
3
Cate, Robert L. "Book Review: nalytical Key to the Old Testament; Volume 3, Ezra-Song of Solomon". Review & Expositor 89, n. 3 (agosto 1992): 411–12. http://dx.doi.org/10.1177/003463739208900310.
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4
Кашкин, А. "Journal for the Study of the Old Testament. Bibliographical Review Part 4: 1980". Библия и христианская древность, n. 3(15) (15 febbraio 2022): 175–206. http://dx.doi.org/10.31802/bca.2022.15.3.008.
Testo completoAbstract (sommario):
«Журнал для исследования Ветхого Завета» («Journal for the Study of the Old Testament») — один из ведущих научных журналов по библеистике. В этом библиографическом обзоре рассматриваются все публикации журнала, содержащиеся в выпусках с 15-го по 18-й; все четыре выпуска вышли в 1980 году. Особенно следует отметить интересные статьи, посвящённые следующим темам: книга Еноха, особенности библейских этимологий, историчность повествований об Иосифе и Моисее (№ 15), Бревард Чайлдс, канонический подход (№ 16), функции псалмов, эсхатология Книги Даниила, анализ избранных эпизодов Песни Песней, красота и бесплодие в библейских типовых сценах (№ 17), точки согласия в современных исследованиях по богословию Ветхого Завета, значение библейских исследований, арамейский язык в Библии, политика безопасности царя Соломона, древнейший рассказ о царе Сауле в 1 Цар. (№ 18). «The Journal for the Study of the Old Testament» is one of the leading scientific journals in biblical studies. In this bibliographic review we will consider all the publications of the journal, contained in issues from № 15 to 18; all these 4 issues came out in 1980. Especially the interesting articles should be marked on the following topics: book of Enoch, features of biblical etymologies, historical nature of the Joseph and Moses narratives (№ 15), Brevard Childs, canonical approach (№ 16), function of Psalms, eschatology in the Book of Daniel: analysis of some episodes of the Song of Songs, the beautiful and the barren in biblical type-scenes (№ 17), a convergence in recent Old Testament theologies, role of biblical research, Aramaic in the Bible, politics of security of the king Solomon, ancient narrative stratum about the king Saul in 1 Samuel (№ 18).
5
Shepherd-Barr, Kirsten. "‘Mise en Scent’: The Théâtre d'Art's Cantique des cantiques and the Use of Smell as a Theatrical Device". Theatre Research International 24, n. 2 (1999): 152–59. http://dx.doi.org/10.1017/s0307883300020770.
Testo completoAbstract (sommario):
In December 1891, an adaptation by Paul-Napoléon Roinard of the Old Testament text of the Cantique des cantiques (Song of Songs) of Solomon was performed at the recently created Théâtre d'Art, expressly to present a new idea of theatre as total art by engaging the visual, aural, and olfactory senses of the audience. One of the few theatre historians who has mentioned this remarkable endeavour notes that in it,‘music, words, colour, even perfume, were to be harmonized; all the senses were to be involved, simultaneously, in the one overwhelming experience’. Roinard's synaesthetic experiment drew on a range of sources including Baudelaire, Wagner and Rimbaud, and, most strikingly, featured scents pumped into the auditorium on cue by young symbolist poets stationed in the far edges of the proscenium and in the balcony and using hand-held vaporizers. According to the outline Roinard provided in the programme, nine scents were used: frankincense, white violets, hyacinth, lilies, acacia, lily of the valley, syringa, orange blossom, and jasmine. Each of these odours had corresponding orchestrations of speech (specific vowel sounds), tones (original music composed by Mme Flamen de Labrély), and colours.
6
Muhammad Hafeez e Dr Saeed Ahmad. "A BIRD’S EYE VIEW OF SOLOMONIC PROVERBS". Tasdiqتصدیق۔ 4, n. 01 (30 giugno 2022): 76–82. http://dx.doi.org/10.56276/tasdiq.v4i01.88.
Testo completoAbstract (sommario):
The book of proverbs lies in the Old Testament. Beautiful and wisely sayings of prophet Solomon Sang of the Songs and Proverbs are considered the masterpieces that reflect the highest rank of poetry and the most influenced sayings. The book of Proverbs consists of seven (7) sections and thirty-one (31) chapters.The first section (chapter 1-9) consists of sayings of Solomon in which the father or teacher advise his son or students. The second section consists of two parts, the first part (10-14) contrasting the righteous and the wicked, and the second (15-22:16) addressing wise and foolish speech. Verse 22:17 opens ‘the words of the wise’, until verse 24:22, with short moral discourses on various subjects. Verses 24:23-34 ‘also belong to wise’ chapters 25-29 are proverbs of Solomon composed by “the men of “Hezekiah”, contrast the just and the wicked proverbs 30 are ‘The words of Agur’ the last chapter 31 consists of the words of king Lemuel and the proverbs of the ideal wise woman. This article describes the composition of proverbs and throws light on the importance of these golden sayings.
7
Baldwin, Joyce. "The Song of Solomon by G. Lloyd Carr (Tyndale Old Testament Commentaries, Leicester and Downers Grove, IVP, 1984. 175 pp. pb. £3.95)". Evangelical Quarterly: An International Review of Bible and Theology 58, n. 2 (29 agosto 1986): 158–59. http://dx.doi.org/10.1163/27725472-05802008.
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8
Lattke, Michael. "Dating theOdes of Solomon". Antichthon 27 (novembre 1993): 45–59. http://dx.doi.org/10.1017/s0066477400000782.
Testo completoAbstract (sommario):
41 verse texts are extant of the original 42 poems (also described as hymns, psalms or songs) which comprise the so-calledOdes of Solomon—a corpus not to be confused with the 18 so-calledPsalms of Solomon.As can be seen from the Appendix, the history of the discovery and publication of these poems began with C.G. Woide at the end of the eighteenth century.1 Up to that time the only evidence for theOdes of Solomonwas twofold. On the one hand, there was an enigmatic Latin quotation of three lines (i.e. 19:6-7a) in theDivinae Institutionesof Lactantius (c.240-c.320). On the other hand, the mere titlewas listed together with the better knownin the so-calledof Ps.-Athanasios and theascribed to Nikephoros Patriarch of Konstantinopolis (c.750-828). In these two canon-listsPsalmsandOdesappear in this order among the Old Testament's ‘antilegomena’ which is a category between ‘canonical’ and ‘apocryphal’.
9
Carr, D. M. "Song of Songs: A Commentary.(Old Testament Library)". Journal of Jewish Studies 57, n. 2 (1 ottobre 2006): 343–45. http://dx.doi.org/10.18647/2681/jjs-2006.
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10
Adam, Domin, e Horea Lazăr. "Angel’s song in The Old and New Testament". Altarul Reîntregirii, n. 3 (2018): 65–88. http://dx.doi.org/10.29302/ar.2018.3.3.
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11
Stokl, T. J. "Magic and Divination in the Old Testament. By SOLOMON NIGOSIAN." Journal of Theological Studies 61, n. 1 (4 marzo 2010): 264–65. http://dx.doi.org/10.1093/jts/flq006.
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Boustan, Raʿanan, e Michael Beshay. "Sealing the Demons, Once and For All: The Ring of Solomon, the Cross of Christ, and the Power of Biblical Kingship". Archiv für Religionsgeschichte 16, n. 1 (13 novembre 2015): 99–130. http://dx.doi.org/10.1515/arege-2014-0008.
Testo completoAbstract (sommario):
Abstract This paper traces the historical development of the tradition that King Solomon made use of a signet-ring to marshal the demons as a labor-force for the construction of the Jerusalem Temple and analyzes the shifting ritual uses to which this tradition was put.We argue that this tradition, which is most fully articulated in the Testament of Solomon, is a Christian innovation of the third and fourth centuries rather than a venerable Jewish tradition with roots in the Second Temple period. This branch of the Solomon tradition first emerged within the context of internal Christian debates of the third century concerning proper baptismal practice, where the power of baptism to provide protection from the demons was linked to debates concerning the efficacy of Solomon’s act of sealing the demons in the temple. In the post-Constantinian period, the ring of Solomon was venerated by pilgrims to Jerusalem as a “relic” of Israelite kingship alongside the True Cross. Like certain strands of the Testament of Solomon literature, the pilgrimage practices performed at this potent site figure Christ’s victory on the cross as the fulfillment-once and for all-of Solomon’s only provisional mastery over the demons. In this context, Solomon’s ring gave concrete expression to Christian claims on the Old Testament past, while also mediating between imperial and ecclesiastical power.
13
Leach, Edmund. "The Legitimacy of Solomon. Some structural aspects of Old Testament history". European Journal of Sociology 42, n. 1 (maggio 2001): 131–74. http://dx.doi.org/10.1017/s0003975600008201.
Testo completoAbstract (sommario):
I must start with a personal disavowal. This essay employs an explicitly Lévi-Straussian procedure but it is not intended as a guide to wider aspects of Lévi-Strauss thought. Although I feel reasonably safe with Lévi-Strauss's concept of structure, I am quite out of my depth when it comes to the related but subtler notion of esprit. Lévi-Strauss's esprit appears in sundry guises. In 1952, originally in English, he/it was a personalized “human mind”, an uninvited guest who took his place around the conference table among a group of American linguists and anthropologists (I); in the earlier chapters of La pensée sauvage he is perhaps the bricoleur—handiman—who is busy contriving culture from the junk of history and anything else that comes to hand (2); at the conclusion of Le cru et le cuit (3), in more abstract and more serious vein, esprit seems to be a kind of limiting characteristic of the human brain mechanism and appears as part of an extremely involved interchange relationship in which it (esprit) is the causal force producing myths of which its own structure is a precipitate. Elsewhere again (4) esprit seems to correspond to that very mysterious something which is a mediator between “praxis et pratiques” and which is described as « le schème conceptuel par l'opération duquel une matière et une forme, dépourvues l'une et l'autre d'existence indépendante, s'accomplissent comme structures, c'est-à-dire comme êtres à la fois empiriques et intelligibles ».
14
López Ramírez, Manuela. "Icarus and Daedalus in Toni Morrison's "Song of Solomon"". Journal of English Studies 10 (29 maggio 2012): 105. http://dx.doi.org/10.18172/jes.183.
Testo completoAbstract (sommario):
In Song of Solomon Toni Morrison rewrites the legend of the Flying Africans and the Myth of Icarus to create her own Myth. Her depiction of the black hero’s search for identity has strong mythical overtones. Morrison rescues those elements of mythology black culture which are still relevant to blacks and fuses them with evident allusions to Greek mythology. She reinterprets old images and myths of flight, the main mythical motif in the story. Her Icarus engages on an archetypical journey to the South, to his family past, led by his Daedalic guide, on which he finally recovers his ancestral ability to fly. His flight signals a spiritual epiphany in the hero’s quest for self-definition in the black community.
15
Posta, Anna. "Latin paraphrases of Old Testament books in verse in 16th century Hungary". Hungarian Studies 37, S (20 novembre 2023): 15–31. http://dx.doi.org/10.1556/044.2023.00245.
Testo completoAbstract (sommario):
AbstractA popular trend in 16th-century Hungarian Neo-Latin poetry was the transposition of biblical, especially Old Testament books and texts. Georg Purkircher (Georgius Purkircher) paraphrased the Book of Wisdom, Péter Laskai Csókás (Petrus C. Lascovius) the Song of Songs, János Bocatius (Johannes Bocatius) the Book of Sirach/Ecclesiasticus, and Leonhardus Mokoschinus (Leonhardus Mokoschinus) a part of the Old Testament books (from Genesis to II Kings) in Latin. Internationally, only Mokoschinus' paraphrase of the Old Testament is known to any extent. In the present paper I will attempt to outline the main similarities and differences between the paraphrases of the Old Testament in Germany and in Hungary by means of a detailed philological analysis of the domestic corpus of texts and by highlighting some related parallels in Germany.
16
Firth, David G. "They Sang and They Celebrated: The Women’s Celebration in 1 Samuel 18:7". Bulletin for Biblical Research 33, n. 4 (dicembre 2023): 476–88. http://dx.doi.org/10.5325/bullbiblrese.33.4.0476.
Testo completoAbstract (sommario):
Abstract Following David’s defeat of Goliath, he is met by the local women who sang and danced as they celebrated the victory. This song shows important links to earlier women’s songs in the Old Testament, indicating an important tradition of teaching through song that was passed down. First Samuel then shows evidence of this pattern as the song is subsequently recited by men who have learned it from the women.
17
Ellis, James W. "Hannah’s Song: A Foreshadowing of the Magnificat". European Journal of Theology and Philosophy 1, n. 3 (16 giugno 2021): 15–24. http://dx.doi.org/10.24018/theology.2021.1.3.14.
Testo completoAbstract (sommario):
Although women’s words account for a small portion of biblical scripture, the Bible records two related prayerful songs that were sung by female prophets: the song of Hannah, in the Old Testament, and the Magnificat of Mary, in the New Testament. This essay uses typological methodology to explore the songs’ connections, including their shared literary precedents and nearly identical theological themes. Their fundamental similarities suggest Hannah’s song served as a harbinger of the Magnificat. Hannah and Mary’s shared blessing, divinely ordained motherhood, and their shared inspiration, the Holy Spirit, explain the parallels of their prayerful verses and prophetic utterances, which were of great relevance for both covenants of the Judeo-Christian faith.
18
Assefa, Daniel, Steve Delamarter, Garry Jost, Ralph Lee e Curt Niccum. "The Textual History of the Ethiopic Old Testament Project (THEOT): Goals and Initial Findings". Textus 29, n. 1 (27 febbraio 2020): 80–110. http://dx.doi.org/10.1163/2589255x-02901002.
Testo completoAbstract (sommario):
Abstract This article offers an introduction to the Textual History of the Ethiopic Old Testament (THEOT) project. This includes a description of the background to THEOT and its primary purpose of mapping the history of the transmission of the Ethiopic Old Testament. The bulk of the article summarizes the project’s preliminary findings, generally, and, in particular, about Ethiopic Psalms, Song of Songs, Deuteronomy, Ruth, Amos, Obadiah, Jonah, and Haggai. Some attention is also given to evidences of contact with the Hebrew text tradition, although the Ethiopic is clearly a daughter version of the LXX.
19
Dewantara, Agustinus Wisnu. "MEMPROMOSIKAN AMSAL DALAM KATEKESE KELUARGA". JPAK: Jurnal Pendidikan Agama Katolik 6, n. 3 (30 novembre 2018): 101–11. http://dx.doi.org/10.34150/jpak.v6i3.153.
Testo completoAbstract (sommario):
The Book of Proverbs is a book in both the Tanakh (Judaism), and the Old Testament (Christianity). The book contains some of the most important teaching and instructions in each of their respective Religions. Most scholars believe that Solomon was the writer of at least part of the book Other authors are mentioned as well, but these references are missing in the Greek Septuagint. The Septuagint sees King Solomon as the author of the whole Book of Proverbs This paper will punctuate the option for Christian family to apply Proverbs in family catechesis. Christian family must be helped in according to preach the value of faith. Teaching with Proverbs that influenced by any parents may be the effective evangelization.
20
Hilber, John W. "Song of Songs. Baker Commentary on the Old Testament Wisdom and Psalms". Bulletin for Biblical Research 18, n. 2 (1 gennaio 2008): 326–28. http://dx.doi.org/10.2307/26423855.
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21
Hilber, John W. "Song of Songs. Baker Commentary on the Old Testament Wisdom and Psalms". Bulletin for Biblical Research 18, n. 2 (1 gennaio 2008): 326–28. http://dx.doi.org/10.2307/bullbiblrese.18.2.0326.
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Clea Moreno-Szypowska, Jadwiga. "Żydowska metoda hermeneutyczna na podstawie egzegezy Pieśni nad Pieśniami Abrahama Ibn Ezra i brata Luisa de León". Filozofia Chrześcijańska 17 (30 luglio 2021): 115–33. http://dx.doi.org/10.14746/fc.2020.17.6.
Testo completoAbstract (sommario):
The aim of these article is to present the more important rules of Jewish exegesis developed mainly by Hillel on the example of a commentary on the Song of the Songsof Abraham Ibn Ezra and Luis de León. The text tries to show how traditional Jewishhermeneutics is used in the innovative commentaries of a scholar from Tudela from the XIth century and a theologian from Belmonte from the XVIth century and how the first infl uenced the second. Interpretative methods developed in the most important centers of Judaic thought of the beginning of our era have been used for centuries to explain biblical texts, especially such as Song of Songs, which is recognized by both Old Testament and New Testament commentators as one of the most diffi cult and most mystical Scriptures.
23
Hack, Márta. "„A derék asszony dicsérete"". DÍKÉ 6, n. 1 (28 dicembre 2022): 28–49. http://dx.doi.org/10.15170/dike.2022.06.01.03.
Testo completoAbstract (sommario):
As part of the Old Testament and ancient Hebrew wisdom literature, the Proverbs of Solomon describes an ideal for women. In the Old Testament, the image of women is not pejorative, even though from the Fall of mankind, a woman is under the authority of a man. The status of girls and married women in a patriarchal family had somewhat changed for the better under the Law of Moses; although divorce and polygamy were legal, monogamous marriage received indirect protection. The Law also protected women and widows in cases of defamation and, in matters of inheritance as well. This study closes with the analysis of the poetic work of Proverbs 31:10-31, describing an outstanding woman, who is a faithful wife, wise teacher of her children, diligent housekeeper and a talented businesswoman. Her noble character serves as an example and shapes the ideals of women through the ages.
24
Gallagher, Edmon L. "Why did Jerome Translate Tobit and Judith?" Harvard Theological Review 108, n. 3 (luglio 2015): 356–75. http://dx.doi.org/10.1017/s0017816015000231.
Testo completoAbstract (sommario):
Jerome translated the Hebrew Bible into Latin over a decade and a half beginning in about 390c.e.With each translation he included a preface dedicating (in most cases) the translation to a friend or patron and defending his reliance on what he called thehebraica veritas (Hebrew truth)against his many detractors. This last feature of the prefaces proved necessary because by choosing the Hebrew text of the Old Testament as his base text, Jerome directly challenged the traditional position of the Septuagint within the church. The unpopularity of this move in some circles compelled Jerome repeatedly to justify his adherence to the Hebrew text. Similarly, in hisPreface to Samuel and Kings(the “Helmeted Preface” orPrologus galeatus) he famously advocated the Hebrew canon as the Christian Old Testament and relegated all other books to the apocrypha. As part of this latter category, Jerome named six books outside the Jewish canon that were finding acceptance as fully canonical in some quarters and would much later receive the label “deuterocanonical,” these books being Tobit, Judith, Wisdom of Solomon, Sirach, and 1 and 2 Maccabees. In multiple ways Jerome sought to restore the Christian Old Testament to what he considered the original Hebrew text and canon.
25
Moughtin, Sharon. "Book Review: Song of Songs: A Commentary; Song of Songs: The New International Commentary on the Old Testament". Expository Times 116, n. 2 (novembre 2004): 68. http://dx.doi.org/10.1177/001452460411600218.
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Siahaan, Harls Evan Rianto. "Hikmat Sebagai Implikasi Pendidikan Kristiani: Refleksi 1 Raja-raja 3:1-15". DUNAMIS: Jurnal Penelitian Teologi dan Pendidikan Kristiani 1, n. 1 (1 ottobre 2016): 15. http://dx.doi.org/10.30648/dun.v1i1.99.
Testo completoAbstract (sommario):
Di dalam sutdi Perjanjian Lama, hikmat menjadi bagian yang terpenting dalam aktualisasi hidup tokoh yang berhasil. Di antara tokoh tersebut adalah Salomo yang disebut sebagai orang yang paling berhikmat, sehingga pada zamannya ia tidak tertandingi dalam banyak hal mencakup seluruh aspek kehidupan mausia saat itu. Intinya, Perjanjian Lama menunjukkan nilai lebih yang diberikan oleh hikmat yang tidak dapat dilakukan oleh orang pada umumnya. Kajian ini merupakan penelitian teks 1 Raja-Raja 3:1-15 tentang hikmat yang diperoleh Salomo. Hikmat yang diberikan oleh Allah pada waktu itu pada hakikatnya adalah sebuah jawaban atas permintaan Salomo tentang hati yang mendengar atau dengar-dengaran. Di sisi lain, Pendidikan Kristen hadir untuk mendidik peserta didik memiliki sikap hati yang tunduk, mendengar kepada firman Tuhan. Studi ini bertujuan untuk menunjukkan pencapaian hidup yang berkualitas oleh hikmat melalui Pendidikan Kristiani. In the Old Testament study, wisdom becomes a most important theme of succeesful men’s actualizing live. It is Solomon as a wisest man of his time, so none could stand against, in many things involving whole life’s aspect. The point is, Old Testament shows superior value given by wisdom which people couldn’t do in general. This study is a textual research on 1 Kings 3:1-15 which about Solomon’s acquiring wisdom. God’s giving wisdom basically is a response on what Solomon asked before, that is about a hearing heart. On the other side, Christianity Education is existing to educate people for having a heart of obey, to hear God’s Word. This study is aiming to show achieving life’s quality by wisdom through Christianity Education.
27
Ruset-Oancă, Monica. "Re-writing Old Testament legends in La Queste del Saint Graal". University of Bucharest Review. Literary and Cultural Studies Series 10, n. 2 (ottobre 2021): 102–13. http://dx.doi.org/10.31178/ubr.10.2.8.
Testo completoAbstract (sommario):
In this paper, I intend to present the way in which the Biblical stories and medieval legends are re-written in the episode of the Miraculous Ship in La Queste del Saint Graal, and to identify several characteristics of this vessel, considered ideal for the questers’ preparation for the ecstatic life in the presence of the Grail. The multi-layered symbolism of this miraculous self-moving ship is constantly enriched with new connotations, and from being a sacred place that offers the successful knights the opportunity to meditate on their spiritual life before reaching Sarras and the Holy Grail, it may also be regarded as a connector between the Old-Testament legends, Christian traditions and Arthurian lore. In addition, the focus of the story shifts from Arthurian adventures to the creation of a story of origin and Galahad is presented not only as the quintessential Arthurian knight, but also the rightful heir of mythical ancestors. More importantly, analysing the way in which some medieval texts are recycled in this fragment, the reader is astonished to find a very progressive re-writing of the well-known literary tradition, as it reveals a very appreciative portrayal of women’s agency and a tolerant attitude towards Jews (represented by Solomon). Both these aspects differ not only from the biblical perspective or dogmatic theories, but also from other 13th-century legends. Moreover, this inclusive approach to non-Christians is unique in the economy of La Queste.
28
Lotter, GA, e Rian S. Steyn. "Hooglied: Hedendaagse paradigma vir romantiese verhoudings". Verbum et Ecclesia 27, n. 1 (17 novembre 2006): 70–89. http://dx.doi.org/10.4102/ve.v27i1.143.
Testo completoAbstract (sommario):
In this article it is argued that the Old Testament book Song of Songs can serve as a present-day paradigm for romantic relationships. Song of Songs is being viewed as a collection of love poems and songs where the romantic relationship between a man and a woman is in the focus. The authors discuss the so called “love triangle” which is to be found in Song of Songs. The challenge for correcting relationships with regards to reciprocity and equility in this relationship is also researched followed by the important (albeit absent in the text itself) acknowledgement of people’s own limitation and dependence on God. This article therefore deals with the roles of men and women in connection with love, the complexities of love and suggests nine consequences of Song of Songs for romantic relationships. The article ends with a short discussion on the adventure of love.
29
Stevens, John. "Samson dux fortissime: an international Latin song". Plainsong and Medieval Music 1, n. 1 (aprile 1992): 1–40. http://dx.doi.org/10.1017/s0961137100000231.
Testo completoAbstract (sommario):
This Old Testament ‘annunciation’ prophesies the birth of Samson, one of the popular heroes of medieval story and art. There is a plenitude of evidence on this point, but his popularity could be deduced quite simply from the song which is the subject of this article. Samson dux fortissime is well known; it is often referred to, and it has been recorded at least twice in recent years. However, there is no adequate published edition of it, no comparative study of its sources and notations, and no analysis of the way in which the imposing rhetoric of its poetry is combined with an intricately patterned melody.1 This complex monophonic song offers a chance to examine melody and rhythm, rhetoric and rhyme, working together on a large scale in a harmonious and impressive whole.2
30
Kogan, Leonid. "Soqotrano-Biblica". Vetus Testamentum 70, n. 2 (15 aprile 2020): 245–69. http://dx.doi.org/10.1163/15685330-12341392.
Testo completoAbstract (sommario):
Abstract The article investigates the thematic and stylistic parallelism between Old Testament books (primarily, but not exclusively, Proverbs, Ecclesiastes, and the Song of Songs) and the oral poetry in the Modern South Arabian language Soqotri. Striking similarities between the two corpora, noted already by the father of Soqotri studies in the West, David Heinrich Müller, are investigated in depth on the basis of the author’s fieldwork experience on the island.
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Yoo, Jeongmo. "Allegory or Literal Historical Interpretation?: Andrew Fuller’s Critique of Robert Robinson’s View of the Canonicity of the Song of Songs". Evangelical Quarterly 90, n. 3 (26 aprile 2019): 264–88. http://dx.doi.org/10.1163/27725472-09003005.
Testo completoAbstract (sommario):
This study deals with Andrew Fuller’s (1754–1815) critique of Robert Robinson of Cambridge (1735–1790) with a particular focus on Fuller’s critique of Robinson’s view of the canonicity of the Song of Songs. Fuller’s defence of the canonicity of the Song of Songs and his interpretation of it evidently follows the mainstream Protestant view of the Reformation and the Post-Reformation eras in continuity with the patristic and medieval exegetical tradition. In particular, standing firm with the predominant exegetical tradition of previous centuries, Fuller takes allegory as the main exegetical method to interpret the Song of Songs. Even though Fuller emphatically rejects the use of vain allegory as a human invention, his interpretation of the Song of Songs indicates that if allegory may be able to connect appropriate features in an Old Testament passage with a greater truth revealed in Christ, he allows for the use of allegory to expose the meaning of the text.
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Kuznetsova, Vera S. "Folklore Version of the “Biblical” Story about Solomon in Hell and Her Russian Siberian Texts". Studies in Theory of Literary Plot and Narratology, n. 1 (2024): 46–57. http://dx.doi.org/10.25205/2713-3133-2024-1-46-57.
Testo completoAbstract (sommario):
The main theme of folk stories about the biblical King Solomon is his wisdom, which allows him to solve difficult problems and find a way out of difficult situations. Such stories include stories about Solomon in hell: left in hell during the descent of Christ into hell, for the liberation of the souls of the Old Testament righteous languishing there, Solomon, thanks to his wisdom, finds a way to get out of there – he threatens the devils to build a church, for which he is expelled from hell and so freed; they are the subject of consideration in the article. Neither the Holy Scriptures nor the apocryphal narratives known in ancient Russian literature about the descent of Christ into hell contain an episode about Solomon being left in hell, therefore they could not be the only source of folk legends. But similar stories are noted in the indexes of plots of folklore prose: AaТh 804В The Church in Hill; SUS 804В=AA 804* Solomon (soldier, blacksmith) in hell. For analysis, along with records of the European territory of historical Russia, Russian Siberian texts containing the indicated plot were involved in the work. The identified Siberian variants of the stories about Solomon in Hell expand our knowledge about the plot “repertoire” of Russian folklore prose in Siberia, and against the background of the fact that the Siberian fixations of this plot are not taken into account in the SUS, they clarify ideas about the geography of the existence of plot type 804B. Along with this, they replenish the general East Slavic fund of records of narrative folklore with new materials, which expands the source base for research. The results of the examination of folklore narratives about Solomon in hell, including their Siberian records, allow us to assert that not only the wisdom of King Solomon, but also the book motif of the biblical Solomon the temple builder, which was considered not represented in oral legend, was reflected in folk narratives based on folklore plot fund.
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Lorek, Piotr. "Jezus jako ΥΙΟΣ w Corpus Paulinum. Ujęcie typologiczne". Ruch Biblijny i Liturgiczny 60, n. 3 (30 settembre 2007): 209. http://dx.doi.org/10.21906/rbl.372.
Testo completoAbstract (sommario):
The New Testament letters attributed to Paul depict Jesus Christ as the Son (υἱός) seventeen times. Using the phenomenon of intertextuality and typology, the present article aims to identify the Old Testament’s inspiration for Pauline use of the title “Son” for Jesus. It appears that some main archetypes of Jesus’ sonship can be recognized (Adam, Isaac, the paschal lamb replacing the firstborn son, Israel corporately as son, David, Solomon, Daniel’s Son of Man, and indirectly Isaiah’s Servant of the Lord). These pictures of sonship are intertwined by Paul and used for all main stages of Jesus’ life and activity (birth, death, resurrection, ascension and ruling, sending the Spirit and the second coming).
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Veselov, Fedor Nikitovich. "Alexander the Great and Solomon the Wise: Who was Ivan the Terrible quoting?" Studia Slavica et Balcanica Petropolitana, n. 2(34) (2023): 3–13. http://dx.doi.org/10.21638/spbu19.2023.201.
Testo completoAbstract (sommario):
Numerous legends and apocrypha, circulating in the non-literary scene of Slavia Orthodoxa, in which both Alexander the Great and Solomon the Wise were gradually endowed with parallel features, should have become the basis for the functional similarity of these images in Slavic literature. An important role in the literature of the southern and eastern Slavs in this process was played by the Serbian recension of the Alexander Romance, the second Slavonic translation of the pseudo-Callisthenes work. In the Romance Alexander the Great not only inherits the relics of King Solomon, but the Old Testament king becomes a favorite source for the author’s quotations; Alexander himself acquires a «all-wise heart», and perishes from the «women malice», like Solomon, who «heirs hell because of woman». The wisdom of Alexander in the South Slavic Romance allows one to explain one of Ivan the Terrible’s confusing apothegms in the First Epistle to Andrei Kurbsky: referring to an unnamed prophet, the tsar compares «the madness of women» with «the power of many». It seems that both parts of the apothegm are based on Serbian Alexander Romance, while the one that is dedicated to «women malice» is taken from the «proverbs of Alexander», which in their structure copy the apocryphal Judgments of Solomon. Apparently, thanks to Serbian Alexandria, the images of the kings of antiquity merged even in the mind of the Russian sovereign, who impressed his contemporaries with his education. It is possible that one of the consequences of this was the inclusion of Ivan the Terrible in the alternation of already three figures of legendary rulers who had similar functions in the later folklore narrations.
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Mustolehudin, Mustolehudin. "Moral Value in Lyrics of Dangdut Compesed by Rhoma Irama". Analisa 19, n. 2 (7 dicembre 2012): 213. http://dx.doi.org/10.18784/analisa.v19i2.167.
Testo completoAbstract (sommario):
<p><em>Mora</em><em>l values undoubtedly play a significant role in human life. These values are not only in religious texts (such as Qur’an, Hadits, Old Testament, Bible, Book of Psalms) but also in literatures. One of the examples is lyrics of Rhoma Irama’s song from 1970s to 1980s. This is a library research using a content analysis approach. Meanwhile, this research utilizes semiotic and hermeneutic methods. The findings show that the lyrics of Rhoma Irama’s song during 1970-1980 contained some moral values which could be implemented in personal life, family, society and religious life. The important values contained in such songs are amanah (trustful), as-siddiq (truth, honesty), al-‘adl (justice), al-rahmah (love), al-ukhuwah (brotherhood) and tasamuh (tolerance). The aforementioned values refer to two Islamic primary sources that are relevant to all times, in the past, present and future.</em></p>
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Joachimsen, Kristin. "Steck's Five Stories of the Servant in Isaiah lii 13-liii 12, and Beyond". Vetus Testamentum 57, n. 2 (2007): 208–28. http://dx.doi.org/10.1163/156853307x183712.
Testo completoAbstract (sommario):
AbstractBernhard Duhm's Servant Song thesis from 1892 has had a paradigmatic status for more than a century. Gottesknecht has become a technical term, Ebed-Jahwe-Lied a genre, Stellvertretung an established theological concept, and "Servant Song Research" a particular discipline within Old Testament scholarship. is article investigates of Odil Hannes Steck's reading. Steck outlines an intra-Isaianic reception of the songs on five levels dating from 539 to 270 BCE. In the original version, the servant of Isa. liii is identified individually as the prophet. On the remaining four redactional levels, the servant is identified collectively as Zion, as those who have returned from exile, as those who remained at home in Judah, and as the true Israel (which includes other peoples). After a presentation of Steck's reading, features of reading related to historicising, theologising, and textualising are discussed. Finally, a narrative reading of Isa. liii is offered, with a focus on the literary trope of personification.
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Reichlin, Susanne. "Stimmenarrangement". Poetica 52, n. 3-4 (23 dicembre 2021): 266–91. http://dx.doi.org/10.30965/25890530-05201011.
Testo completoAbstract (sommario):
Abstract Frauenlob’s Marienleich has been studied primarily from the perspective of its elaborate metaphors and allegories. Scholars have identified the source of these metaphors in the exegesis of the Song of Songs as well as other Old Testament books and described the overlapping of diverse metaphorical traditions in the text. This paper argues that not only the metaphors, but also the voices of the Marienleich are artfully arranged. The essay shows how switching of the voice, echo effects, and multiplication of the voice create a polyphony that reflects the intertextual underpinning of Marian praise as well as Mary’s mediatory position between God and the faithful who praise her.
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Wilson, Catherine. "REVIEW: Ophir: Bougainville's epic struggle for freedom". Pacific Journalism Review : Te Koakoa 27, n. 1and2 (30 settembre 2021): 304–6. http://dx.doi.org/10.24135/pjr.v27i1and2.1212.
Testo completoAbstract (sommario):
Ophir: Decolonize. Revolutionize, directed by Alexandre Berman and Olivier Pollet. Arsam International/Fourth World Films/Ulster University. 2020. 97 minutes. https://www.ophir-film.com/
IN OPHIR (2020), a feature length documentary film about the Bougainville civil war (1989-1998), French filmmakers Alexandre Berman and Olivier Pollet analyse the devastating conflict and under-reported repercussions which continue to reverberate in the region today. Ophir in the Old Testament (Genesis 10; 1 Kings 10:22) is a land of great mineral wealth exploited by King Solomon. In eastern Papua New Guinea, the people of Bougainville also claim Ophir to be the original name of their remote islands. Like the fabled land, Bougainville is endowed with treasure, predominantly copper and gold. In the late 20th century, exploitation of these was at the centre of a powerful story of colonialism, inequality, war and redemption.
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Harkovschenko, Yevgen A. "Sophia's theme in world and national spirituality". Ukrainian Religious Studies, n. 29 (9 marzo 2004): 86–95. http://dx.doi.org/10.32420/2004.29.1488.
Testo completoAbstract (sommario):
The Sophia tradition was formed in European philosophical and religious creativity and was developed in the pre-Christian period by Plato. Then it was reflected in Gnosticism and Neo-Platonism, the writings of prominent theorists of Christianity - fathers and teachers of the church, mystics of the Middle Ages. This tradition was reflected in the temple architecture and iconography of the Orthodox East, and took a systematic form of the doctrine of sophiology in the "philosophy of unity." The doctrine of Sophia the Wisdom of God is set forth in the biblical book of the parables of the Solomons, as well as in the non-canonical books of the Old Testament - the Wisdom of Solomon and the Wisdom of Jesus the son of Sirach. In Ukraine, Sofia teaching has been known since medieval times and was a feature of Kyiv Christianity.
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Lennox, Stephen J. "The Artifice of Love: Grotesque Bodies and the Song of Songs. Library of Hebrew Bible / Old Testament Studies 392". Bulletin for Biblical Research 20, n. 4 (1 gennaio 2010): 583–84. http://dx.doi.org/10.2307/26424726.
Testo completo
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Király, Lajos. "The Interactions of Musical Elements". Studia Universitatis Babeş-Bolyai Musica 69, n. 1 (10 giugno 2024): 73–88. http://dx.doi.org/10.24193/subbmusica.2024.1.06.
Testo completoAbstract (sommario):
This study analyses the early intersections between melody, rhythm and harmony, up to the recent emergence of new musical styles. Psychological studies of rhythm have shown that it has played an important role in social and relational experience. At the same time, it creates a sense of bonding between people and can alter the moods of several people at once and lead them in a unified direction. Melody, rhythm and tempo tell the listener that they are in a safe and good place, expressing a psychological need for a sense of security, providing a sense of life’s pulse, similarly to the heartbeat. Unfortunately, modern human life lacks the life-like rhythm that God provided for us in creation. Ritual is our identity, our memory, a continuation of the old, an exit from the individual sphere and an entry into a communal one, into a new role, suggesting a transition, accompanied by sounds, rhythm, song, music and dance Keywords: music, rhythm, melody, rites, syncopation phenomenon, Christian, Old Testament
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Csörsz, István Rumen. "“Exile on narrow paths”". Central European Cultures 2, n. 1 (26 gennaio 2023): 78–96. http://dx.doi.org/10.47075/cec.2022-1.05.
Testo completoAbstract (sommario):
The Hungarian word bujdosás originally referred to both exile and travel in general; thus, peregrination was understood as “bujdosás or travel in foreign lands”. This was not without a reason, as public safety, harsh travel conditions and unfamiliar foreign customs made exile and travel similar to each other. The genre of the exile song, which deals with wandering and leaving one’s homeland, already in the Middle Ages was connected to the image of hopelessness caused by leaving and saying farewell, as well as with the encounter with the unfathomable nature of one’s fate. The real model for later Hungarian farewell and exile songs is two poems by Bálint Balassi (cca. 1589). Seventeenth–eighteenth century complaint songs were increasingly concerned with the private sphere, turning more and more towards the lyric self. This is the experience that connects political and religious refugees, people in exile for private reasons, travellers and peregrines. Therefore, the genres of the complaint song and the exile song are markedly present in early modern popular poetry. The genre of exile song occurs with an increasing frequency already in the first half of the seventeenth century. In the early eighteenth century, the emigration waves following the end of the Rákóczi Insurgence turned exile into an everyday experience for both the exiled and those staying behind. Biblical reminiscences and the exodus motif known from the Old Testament were increasingly frequent, at times even at the expense of description of personal life. The exile song is an important and complex genre in Hungarian migration literature. These songs discuss central questions of several centuries, from fleeing personal problems to religious and political persecution, from the peregrine student’s desire for freedom to the risks taken for one’s worldview. They present all this in an empathetic, personal and rewritable way, constantly modifying the model at the same time.
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Vevyurko, Ilya. "Cardinal Virtues in the Book of Wisdom: An Eschatological Context". Philosophy of Religion: Analytic Researches 7, n. 1 (2023): 58–74. http://dx.doi.org/10.21146/2587-683x-2023-7-1-58-74.
Testo completoAbstract (sommario):
The four cardinal (so-called Platonic) virtues are mentioned twice in the Old Testament according to the Septuagint version – in the Book of Wisdom of Solomon and in the Fourth Book of the Maccabees, of which the latter was rarely included in the biblical canon. We will focus on the Book of Wisdom as a work that presents a generalized biblical view of the universe and the historical, as well as eschatological fate of the Jewish people. There is still a strong opinion in the scientific literature that the philosophical intuitions of this book, although subordinated to the logic of the Jews’ being chosen by God, are themselves entirely borrowed from ancient thought, and therefore serve either as a rhetorical refinement or a metaphysical improvement (and, accordingly, transformation) of ideas drawn from the Old Testament tradition. This should, of course, especially be suitable for the cardinal virtues, which are torn out of their philosophical (platonic or stoic, but most likely just eclectic) context and transferred to Jewish soil, as it seems at first glance, without special work on their reinterpretation. With this presumption about the nature of the book as a whole, scientists find in it teachings about metempsychosis and individual spiritualistic immortality. At the same time, not enough attention is paid, in our opinion, to the “general” (as opposed to the “private”) eschatology of Wisdom, which requires not only the usually undertaken structural and compositional, but cross-cutting thematical analysis. The eschatology of the book is built around the image of the righteous, destined to reign over the world and judge it. Immortality is justified by the author in such a way that its form turns out to be resurrection. Cardinal virtues, borrowed originally from political ethics, make it possible to build a mediation between the moral appearance of the righteous and his royal dignity.
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Ganina, Lubov G., Elena L. Madlevskaya e Aleksandr B. Ostrovskii. "‘Biblical Images in the Traditional Culture of the Orthodox Peoples of Russia’: Exhibition of the Russian Museum of Ethnography for the 520th Anniversary The Gennady Bible (January — March 2021)". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 145–67. http://dx.doi.org/10.37816/2073-9567-2023-69-145-167.
Testo completoAbstract (sommario):
The paper reveals the intention and its implementing through a museum exhibition. Based on thematically selected monuments of traditional and everyday culture, the exhibition touches on events, images of Christian historical memory. First of all, it is Annunciation, Christmas, Crucifixion and Resurrection, as well as a number of Old Testament stories — the Creation of the World, Noah's Ark, the Judgment of Solomon. The various thematic sections of the exhibition depict such significant images as the paradise tree of life, the lion, the archangels, as well as fish — the early Christian symbol of Jesus Christ, grapes (the symbol of the Church of Christ). The presented groups of objects are diverse in their place in folk life: ritual paraphernalia, nativity scene, house carvings, interior decoration items— ceramic products (plates, tiles), wooden painted utensils, woven and embroidered towels, decorative bone products, jewelry of the Eastern Slavs and Finno-Ugric peoples. The selecting of exhibits took into account that the ornamentation of objects of traditional and everyday culture had its source not always directly from the plots set forth in biblical texts, but also their folklore processing in the form of legends, beliefs; a number of sections display apocryphal Christian texts that were widespread among the people. The exhibition gave an idea of the integration of a number of key biblical subjects and images, especially the New Testament, into the worldview of Orthodox peoples. The fixation of certain images for specific categories of objects that had a specific purpose in everyday life created a single visible fabric of national Orthodoxy.
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Lewis, Christopher. "Thin Partitions: Remembrance and Reflection in Alfred Fisher's Zakhor: Remember". Canadian University Music Review, n. 13 (22 febbraio 2013): 55–70. http://dx.doi.org/10.7202/1014296ar.
Testo completoAbstract (sommario):
The injunction to remember – in Hebrew, Zakhor – is perhaps the most powerful command in the Old Testament, and memory of the past has therefore always been a central component of Jewish experience. Alfred Fisher's character and music suggest both erudition and practicality as crucial components of the Jewish heritage that has formed an increasingly central part of his life and music during the past decade. In the song cycle Zakhor: Remember, poetic and musical cross-referencing of memories is the framework for a fascinating dialectic that informs the structure and the language of the cycle. In this article, the author studies the different levels of unity in the cycle and discusses its tonal structure, which can be characterized as post-Schoenbergian chromaticism, in which much of the harmonic language is controlled by a limited number of pitch-class sets. Remembrance and reflection are here interwoven with Fisher's emotional responses into the intellectual framework of a profound work of art.
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Viviers, Hendrik. "GARDENS AS “PARTNERS” IN CONTEMPLATION: READING THE STORIES OF THE FIRST EDEN (GENESIS 2–3) AND A RESTORED EDEN (SONG OF SONGS) THROUGH THE LENS OF ATTENTION RESTORATION THEORY". Journal for Semitics 25, n. 1 (9 maggio 2017): 347–70. http://dx.doi.org/10.25159/1013-8471/2542.
Testo completoAbstract (sommario):
It is well known that gardens have always been inspiring for great thinkers of the past, for instance Greek and Roman philosophers, Confucian thinkers, Desiderius Erasmus, Isaac Newton and Arnold Toynbee, to name but a few. Why is this so? Attention Restoration Theory, developed by environmental psychologists Stephen and Rachel Kaplan, explains how both wild (e.g., reserves) and cultivated nature (e.g., parks, gardens) can assist in replenishing our cognitive and emotional coping capacities, and uplift us. Nature is not only a setting but an active agent/“partner” in sustaining human well-being, inter alia when contemplating or reflecting on the meaning of life. In order to achieve this the human/nature relationship needs to meet the properties of “being away”, “compatibility”, “‘soft’ fascination” and “extent”. Shining the light of these insights on two “Edens” in the Old Testament, the one lost (Gen 2–3) and the other revived (Song of Songs), nature’s role in evoking contemplation especially, whether on human fate or human delight, will be highlighted.
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Chalmers, Aaron Jonathan. "A Critical Analysis of the Formula “Yahweh Strikes and Heals”". Vetus Testamentum 61, n. 1 (2011): 16–33. http://dx.doi.org/10.1163/156853311x551484.
Testo completoAbstract (sommario):
AbstractThis paper identifies and analyses thirteen occurrences of the formula “Yahweh strikes and heals” or “Yahweh strikes and has mercy” that are found in the Old Testament, along with a comparative example from Ugarit where Marduk is the subject (R.S. 25.460). The various ways in which the formula could be used are highlighted, including as the basis for praise of the deity, an explanation for why the deity’s discipline should be accepted and patiently endured, as a means of understanding the present condition of the nation and/or predicting its future, and as a way of denoting the supreme power of the deity. Finally, the issue of the formula’s Sitz-im-Leben is addressed, with the author arguing that the formula probably began life within the context of domestic healing rites, and in particular as part of a song/prayer that was offered following recovery from sickness, before moving to prophetic, cultic and wisdom circles.
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Dimitrijević, Aleksandra, e Jelena Ratković-Stevović. "Iconography of the Old Testament prophets and the Virgin Kyriotissa on the east wall of the Gračanica exonarthex". Zbornik radova Filozofskog fakulteta u Pristini 53, n. 3 (2023): 263–77. http://dx.doi.org/10.5937/zrffp53-45896.
Testo completoAbstract (sommario):
The exonarthex of Gračanica has a rich and complex painted programme, which is a testimony to the medieval kingdom of Serbia ruled by the Nemanjić dynasty, after the arrival of the Ottomans in the Serbian regions. This painted programme has been preserved to a certain extent to this day, although the traces of the ravages of time are clearly visible; it is still possible to read and reconstruct the entire thematic programme, as well as to recognise the iconographic and stylistic features of this part of the church. The exonarthex was painted out several times, as it was repeatedly damaged during the turbulent and destructive centuries (14th, 15th, 16th). It was probably fresco painted after its construction (probably around 1330), but there are no physical remains or written sources testifying to this, while today two layers of fresco paintings are clearly visible in the Gračanica exonarthex. The iconography and themes of the younger layer of fresco paintings from 1570 form a more complex and intricate unity in relation to the one that was there originally. The new frescoes have a clear theological background, devotion to the Virgin Mary, who was also the patron of the Gračanica church. The depiction of the cycle of the Virgin celebrates the role of the Virgin in the Incarnation, foretold in prophetic visions. Almost the entire painted programme around the east portal of the Gračanica exonarthex is dedicated to the Mother of God; additionally, some related depictions are shown there, like the Mother of God on the throne with Christ Emmanuel on her lap surrounded by archangels in the lunette above the entrance. The entire composition was introduced with the theme "From above the prophets have prophesied thee", as shown by the painted busts of six prophets (Isaiah, Solomon, David, Moses, Aaron and Jeremiah) entwined by a decorative vine on the inside of the arch, at the top of which is a waist-high image of Christ giving blessings with both hands. The main aim of this paper is to point out the importance of the restoration and painting of Serbian monasteries during the Ottoman rule since these topics are insufficiently represented in Serbian art history. The paper provides an iconographic analysis of the scenes dedicated to the celebration of the Virgin in the Gračanica exonartex, as well as their theological background.
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Czechowicz, Bogusław. "The uncrowned “Bohemian king” and his “bible” castle. Blatná as commisioned by the highest burgrave of Prague castle, Zdeňek Lev of Rožmitál, around the years 1520–1530". Res Gestae 15 (6 febbraio 2023): 50–66. http://dx.doi.org/10.24917/24504475.15.4.
Testo completoAbstract (sommario):
This article presents a new interpretation of the ideological message of Blatná Castle after its expansion by Benedikt Ried, commissioned by Zdeňek Lev of Rožmitál around 1520-1530. The key to deciphering the biblical code of the residence of this powerful magnate is found in two columns standing in front of the castle façade, which have not been included in previous research. Their dilapidated state, as well as residually legible profile forms and ornaments, un equivocally point to their dating back to the time of Ried’s expansion. In the history of art, they are a well- known imitation of the bronze pillars of Jachin and Boaz, placed in front of the Old Testament Temple of Solomon. The expressive oriels of the part of the castle erected by Ried may be a reference to a diagram similar to a pentagram, often appearing on the pages of codices called the clavicula Salomonis. In the beginning, they contained the instructions of the great biblical king to his son Roboam. This is reflected in the family situation of the builder, as it is generally agreed that Blatná Castle was built by Zdeněk Lev in connection with the marriage of his son Adam. References to Solomon were quite common at the time, both at Prague Castle and at the residences of several Silesian dukes. They should not be surprising in the case of someone who, for more than 20 years (1507-1530), was the most important person in the state after the ruler (the highest burgrave of Prague Castle). Zdeněk Lev was a very active and influential politician with a Catholic orientation and nationalist, Bohemian disposition, who liked to moralize and judge and use biblical examples or episodes from Bohemian history.
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Темчин, Сергей Юрьевич. "Кириллический рукописный учебник древнееврейского языка (список XVI в.) и его учебно-методические приемы". Slavistica Vilnensis 58, n. 2 (1 gennaio 2013): 7–34. http://dx.doi.org/10.15388/slavviln.2013.2.1436.
Testo completoAbstract (sommario):
В статье обосновывается характеристика недавно обнаруженного рукописного кириллического учебника древнееврейского языка, созданного совместными усилиями православных и иудейских книжников, как учебного пособия, с методической точки зрения значительно превосходящего иные восточнославянские двуязычные справочные материалы того же времени. С этой целью подробно описаны применяемые в нем приемы, направленные на такую подачу языкового и сопутствующего текстового (религиозно-культурного) материала, которая облегчила бы его усвоение потенциальным читателем. Методическую сторону рассматриваемого памятника письменности следует признать одним из результатов еврейского вклада в его создание.Ключевые слова: Великое княжество Литовское, кириллическая письменность, иудейско-христианские отношения, древнееврейский язык, руськамова, библейские переводы, жидовствующие....Sergei TemchinCyrillic 16th-century manuscript “Manual of Hebrew” and its teaching methods A concise Manual of Hebrew, recently discovered in a Cyrillic manuscript miscellany of the 3rd quarter of the 16th century (Moscow, the Russian State Archive of Early Acts, F. Mazurin collection (f. 196), inventory 1, No 616, f. 124–130) is very important for the history of the Ruthenian written culture in the Grand Duchy of Lithuania. The Manual of Hebrew comprises material of three different kinds: a) some excerpts from the original Hebrew Old Testament text (Ge 2.8, 32.27–28; Ps 150; So 3.4 (or 8.2), 8.5; Is 11.12) written in Cyrillic characters; b) a bilingual Hebrew–Ruthenian vocabulary with explanatory notes; c) small quotations from the Ruthenian text of three Old Testament books (Genesis, Isaiah, Song of Songs).The meta-language used in the Manual of Hebrew is Ruthenian. The translations present in the Manual had been made directly from Hebrew. A comparison of the quotations from the Song of Songs found in the Manual and all the known Cyrillic and Glagolitic versions of this book (referring to both the manuscript and the printed sources of different periods) reveals their principal coincidence with the Ruthenian translation found in the Vilnius Old Testament Florilegium (Vilnius, Wróblewskie Library of the Lithuanian Academy of Sciences, F 19–262). The originals of the two manuscripts probably originated in the 2nd half of the 15th century in the circle of the learned Kievan Jew Zachariah ben Aaron ha-Kohen who is also known as Skhariya, the initiator of the Novgorod movementof the Judaizers (1471–1504).The Cyrillic Manual of Hebrew is a clear evidence of this language being taught/learned in the Grand Duchy of Lithuania during the late 15th–early 16th century. The learning material and its presentation methods reveal a quite elaborate (although inconsistently implemented) pedagogical approach which puts the Manual aside from the rest of early East Slavic glossaries of the same or earlier date. Thus, the Manual presents, among other features: a) a number of original Hebrew texts written in Cyrillic, divided into small portions (each with a Ruthenian translation) which are then put together to form a continuoustext; b) certain trilingual glossary entries where Hebrew, “Greek” (in reality Slavic borrowings from Greek) and Slavic words are juxtaposed, while in other cases double translations in two different Slavic languages (Ruthenian and Old Church Slavonic) are given; c) some long elaborated definitions, sometimes containing synonymous variants or alternative translations; d) information about the sources of variant Hebrew forms or their meanings; e) information on certain grammatical (gender, plural, possessive) forms and word formation (compounds), etc.It is beyond doubt that the Cyrillic manuscript “Manual of Hebrew” is a result of joint efforts of Jewish and East Slavic bookmen, but the relatively high level of pedagogical and linguistic sophistication of the joint result is to be ascribed to the Jewish compilers of the Manual rather than to their East Slavic co-authors.