Bibliografias temáticas / Hymns (Jewish)

Literatura científica selecionada sobre o tema "Hymns (Jewish)"

Autor: Grafiati
Publicado: 25 de julho de 2024

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Artigos de revistas sobre o assunto "Hymns (Jewish)"

1

Shiell, William. "Singing to “Lord Jesus Christ”: A Prose Hymn and Its Philippian Recipients". Religions 14, n.º 10 (25 de setembro de 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 audience. The reading of the “Lord Jesus Christ” hymn localized the worship of Jesus in Philippi, encouraged financial giving to Paul and Timothy, taught moral lessons, and prepared the audience to address their conflict “in the Lord”.
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Neis, Rachel. "Embracing Icons: The Face of Jacob on the Throne of God". IMAGES 1, n.º 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 will be argued that §§ 152–169 date to the early Byzantine period, reflecting a Jewish interest in images of the sacred parallel to the contemporaneous Christian intensification of the cult of images and preoccupation with the nature of religious images.
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Ioniță, Alexandru. "Mapping the Jews in the Byzantine Hymnography: The Triodion". Religions 15, n.º 2 (16 de fevereiro de 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 demonstrate that we can speak only about very few hymnographical texts containing anti-Jewish elements compared to the entire Triodion. This approach helps us in the Jewish–Christian debates to focus on what exactly are we speaking about, and what precisely those texts are saying. After a short analysis of the content of selected hymns, I propose three concrete categories of hymns that could be more easily approached by either excluding them or transforming them through translation into modern languages.
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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 (30 de dezembro de 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 elements have obvious parallels within the Jewish Aramaic texts of the Second Temple, e.g., “the Aramaic Astronomical Book” and “the Document of Levi”. Like in Ephrem’s Hymn De crucifixione, in these texts are used the astronomical and other arithmetical calculations. The Jewish scribes who composed these works, transformed the old Babylonian mathematical lore into new narrative forms. In the course of this, these real scribes used fictive authority of the biblical figures associated with writing, e.g., Moses, David, Enoch, Noah and others. The author gives heed to the similar use of these biblical figures in Ephrem’s hymns and draws a conclusion about the self-definition by Ephrem as the scribe who is inspired by God and obtain a capability to interpretate God’s “secrets”. As a result, Ephrem “blends” the Christological typological interpretation of the “secret” or “symbol” with ancient Jewish and Mesopotamian connotations. Hence, in his sixth Hymn De crucifixione, the Syrian poet functions not as a theologian but as a teacher with quasi-prophetic status who is aligned with Moses and David and imitates their writing and interpretative activities. In the opinion of the author, these conclusions could shed light not only on the origins of Ephrem’s works, but on the origins of the Syriac Christianity as a whole.
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NAHON, PETER. "Two Judeo-Spanish ‘Marrano’ hymns in the liturgy of the Jews of Cochin". Journal of Jewish Studies 75, n.º 1 (3 de abril de 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 bĕruʾe – are orally transmitted versions of prayers belonging to the liturgy of the Hispano-Portuguese New Christians. A comparison with their European counterparts and the study of the linguistic peculiarities of these Indian versions show influences from Portuguese and Malayalam. In the context of the history of Jewish and Marrano migrations to the Malabar Coast, these texts represent an important vestige of a Judeo-Iberian heritage within Indian Jewish culture.
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Ioniță, Alexandru. "Byzantine Liturgical Hymnography: a Stumbling Stone for the Jewish-Orthodox Christian Dialogue?" Review of Ecumenical Studies Sibiu 11, n.º 2 (1 de agosto de 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 plea for the revision of the anti-Jewish texts, this article actually emphasizes the need to rediscover the Jewishness of the Byzantine liturgy and to approach the hymnography as an exegesis or even Midrash on the biblical texts and motives. As such, the anti-Jewish elements of the liturgy can be considered an impulse to a deeper analysis of Byzantine hymnography, which could be very fruitful for the Jewish-Christian Dialogue.
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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 (25 de dezembro de 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 the similar use of the astronomical data in a lot of Jewish and Christian works of the 3rd and 4rd centuries. In this period the astronomical calculations have been used actively both in Christian and Jewish milieux. On the other hand, the calculations by Ephrem mirror the peculiarities of the region of the north Mesopotamia where he lived and created his works. For example, the author demonstrates that Ephrem could be influenced by the old Babylonian astronomical theory and use in his computations the Babylonian “double hour”. In the article is also demonstrated that the calculations by Ephrem are striking similar to the ones in the “Panarion” by Epiphanius of Salamis. Epiphanius seems to be acquainted with Ephrem’s works or to use the similar tradition stretching back to the Babylonian one. The author draws a conclusion that the calculations in the hymns are used to express Ephrem’s self-presentation as the scribe and the sage who obtains the cosmic “secrets”. This picture is deep rooted as in the old Mesopotamian literature as in Jewish Aramaic writings. The author points out that Ephrem uses the astronomical lore in the liturgical context and not in the theological “scientific’’ tractate. Hence, Ephrem constructs a new religious and poetic “myth” about the Crucifixion and feast of Pascha upon the astronomical dimensions it has both in the Christian and in the Jewish traditions.
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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 whom these letters are addressed are urged to sing psalmois, humnois and ōdais pneumatikais (‘psalms’, ‘hymns’ and ‘spiritual songs‘).
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Charry, Ellen T. "Awakening to Judaism and Jews in Christian Preaching". International Journal of Homiletics 4, n.º 1 (1 de outubro de 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 Christians cannot avoid it. Judaism and Christianity are one another’s nemeses. Some biblical texts lend themselves to anti-Jewish attitudes and stereotypes that may be unrecognized so deep is Christian contempt for Jews and Judaism. This paper offers suggestions for avoiding anti-Jewish preaching. To do that effectively it will be necessary to awaken a sensibility to the concern that pervades and penetrates Christian thought. That requires slogging through some “unprettiness.” The paper first illustrates anti-Jewish preaching by interrogating a popular text, Luke’s story of the Pharisee and the tax collector. It then briefly considers Christian hymns and sacred choral music and then focuses on four sermons: The Letter to the Hebrews, Melito of Sardis’s On Passover, Augustine’s sermon 122 on John 1:48-51, and a recent sermon on Galatians 3:23-29. It concludes with suggestions for preachers, musicians and congregations and includes guidelines for preaching on Jews and Judaism and a bibliography for further study.
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Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible". Journal of Theological Interpretation 4, n.º 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 festal hymnography and thereby into the mainstream of theology as performed and experienced in liturgy. Similar interpretive strategies are at work in early Christian works and later Byzantine festal hymns and icons that take up theophanies centering on God's throne in Zion. After discussing hymns and icons dealing with Sinai, Zion, and Tabor, I argue that this type of exegesis is difficult to frame within the categories commonly used to describe patristic exegesis and that a more suitable category would be that of "rewritten Bible," current among scholars of the OT pseudepigrapha. I then examine the relationship between the Christology emerging from the hymns under discussion and the normative conciliar Christology. Finally, I sketch a few ways in which today's readers can benefit, both exegetically and theologically, from Byzantine hymnographic and iconographic exegesis.
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Teses / dissertações sobre o assunto "Hymns (Jewish)"

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Gordley, Matthew E. "The Colossian hymn in context : an exegesis in light of Jewish and Greco-Roman hymnic and epistolary conventions /". Tübingen : Mohr Siebeck, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2921592&prov=M&dok_var=1&dok_ext=htm.

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Gordley, Matthew E. "The Colossian hymn in context an exegesis in light of Jewish and Greco-Roman hymnic and epistolary conventions". Tübingen Mohr Siebeck, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2921592&prov=M&dok_var=1&dok_ext=htm.

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Gordley, Matthew E. "A prose hymn of Christ the language, form, and content of Colossians 1:15-20 in its Greco-Roman and Jewish contexts and in the context of the Epistle to the Colossians /". 2006. http://etd.nd.edu.lib-proxy.nd.edu/ETD-db/theses/available/etd-04052006-150807/.

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Yatskaya, Svetlana. "Music and liturgy in early Christianity". Diss., 2001. http://hdl.handle.net/10500/1119.

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The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles.
Cristian Spirituality, Church History and Missiology
M. Th. (New Testament)
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Livros sobre o assunto "Hymns (Jewish)"

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Hymns and anthems adapted for Jewish worship. New York: G.P. Putnam, 1985.

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Weinberger, Leon J. Jewish hymnography: A literary history. London: Vallentine Mitchell, 1998.

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Jeffrey, Shiovitz, e United Synagogue of America. Dept. of Youth Activities., eds. Bʼkol echad =: [Be-ḳol eḥad] = In one voice. New York, N.Y: United Synagogue of America, Dept. of Youth Activities, 1986.

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Central Conference of American Rabbis. Union hymnal. [S.l.]: Central Conference of American Rabbis, 1985.

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5

Friedman, C. Y. Sefer Ḥai ṿe-ḳayam: Seder Melaṿeh malkah : otsar dine u-minhage seʻudat Daṿid Malka Meshiḥa : meluḳaṭim mi-tokh sifre ha-posḳim ... ʻim meḳorot, heʻarot u-veʼurim asher ḳaratiṿ ba-shem Meḳor Ḥayim ... 8a ed. Bruḳlin, Nyu Yorḳ: Mekhon Be-ḥaye Mosheh, 2007.

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Loughlin, Laurie. Hanukcats and other traditional Jewish songs for cats. San Francisco: Chronicle Books, 1994.

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Teaching through song in Antiquity: Didactic hymnody among Greeks, Romans, Jews, and Christians. Tübingen: Mohr Siebeck, 2011.

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Elʻazar, ʻAtiyah Meʼir, ed. Sefer Shire dodim: Ha-shalem : male shirim ḥadashim gam yeshanim ... Givʻat Olgah, Ḥaderah: Ḳeren Ahavat ḳedumim, 1985.

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9

Reinman, Yaakov Yosef. Songs and praises: Zemirot, shirot ṿe-tishbaḥot : li-khevod Shabat ṿe-yon ṭov : a compilation of the blessings, prayers and song associated with the formal meals on Sabbath and the Festivals. Lakewood, NJ: Olive Tree Press, 2010.

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Ṿainfeld, Yosef Shalom. Seder Zemirot le-Shabat: ʻim perush meshulav u-meshubats Yesod malkhut ... Yerushalayim: Eshkol, 1999.

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Capítulos de livros sobre o assunto "Hymns (Jewish)"

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Shalev-Eyni, Sarit. "The 1514 ‘Grace after Meals, Sabbath Hymns and Qiddush’ and the Experimental Beginnings of Woodcut Illustration in Prague". In Premodern Jewish Books, their Makers and Readers in an Era of Media Change, 151–73. Turnhout, Belgium: Brepols Publishers, 2024. http://dx.doi.org/10.1484/m.bib-eb.5.132675.

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Shepardson, Christine C. "“EXCHANGING REED FOR REED” MAPPING CONTEMPORARY HERETICS ONTO BIBLICAL JEWS IN EPHREM’S HYMNS ON FAITH". In Hugoye: Journal of Syriac Studies (Volume 5), editado por George Kiraz, 15–34. Piscataway, NJ, USA: Gorgias Press, 2002. http://dx.doi.org/10.31826/9781463214104-003.

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Weinberger, Leon J. "Synagogue Poets in Balkan Byzantium". In Jewish Hymnography, 193–298. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774303.003.0005.

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This chapter explains that Romaniote hymnography in south-eastern Europe reveals a three-stage development that is similar to the Italian experience. The early poets in Balkan Byzantium — Benjamin b. Samuel (11th c.) and his contemporaries, Isaac b. Judah, Benjamin b. Zeraḥ, and Samuel Ha-Kohen Memeli — imitated Solomon Ha-Bavli’s neo-classical revival practices. Like the Italian master, they generally built their hymns in a consistent word metre and with two-morpheme rhyme endings. They also favoured the Qilliric-style neologisms and allusions to rabbinic sources. The chapter then assesses the role of the rabbi-poet in Balkan Byzantium. It is likely that the Romaniote poet served as the congregational cantor. The chapter also discusses the role of Romaniote mysticism and folk practices in Romaniote hymnography.
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Weinberger, Leon J. "Ottoman Hymnography". In Jewish Hymnography, 368–407. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774303.003.0007.

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This chapter focuses on Ottoman hymnography. With the Ottoman conquest of Anatolia, Greece, and the Balkans from the Byzantines beginning with the capture of Bursa (Brusa) in 1326, the condition of Jews improved. The religious life of the Ottoman Jewish community was much enhanced by the installation of a Hebrew printing press in Constantinople. Among the leading rabbi-poets in the early Ottoman period were Šalom b. Joseph Enabi of Constantinople and Elia b. Samuel from Istip, in Macedonia. Like his Cretan colleagues, Enabi was attracted to the revival of classical studies in the Balkans. Other leading rabbi-poets include Mordecai Comtino, Elijah Ṣelebi, Menaḥem Tamar, and Elia Ha-Levi. The chapter then discusses how Solomon b. Mazal Ṭov rose to prominence in Constantinople. A prolific writer of sacred and secular hymns, Solomon b. Mazal Ṭov epitomizes the renaissance of Hebrew literature in an Ottoman Golden Age.
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Weinberger, Leon J. "Cantor-Rabbis in Italy, Franco-Germany and England". In Jewish Hymnography, 136–92. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774303.003.0004.

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This chapter studies the ninth- and tenth-century payṭanim in Byzantine Italy, looking at Aḥimaʻaṣ b. Palṭiel (b. 1017) and his Scroll (Megillaṭ ’Aḥimaʻaṣ), which chronicles the life and times of his family. His memoir provides knowledge about the early Italian hymnists, including the versatile Amittai b. Šefatyah of Oria (in Apulia). Amittai is credited with pioneering the genial side of the liturgy in his mock-serious dialogue between the vine and the tree. The mid-tenth century found a neo-classical revival in Italy. Solomon Ha-Bavli of Rome reintroduced the Qilliric two-root-consonant rhyme, a practice that had been neglected by less gifted poets because of its severe constraints. In the twelfth century, Italian poets began to reflect the influence of their Andalusian colleagues. Yeraḥmiel b. Solomon (12th c.) was probably the first Italian poet to compose hymns for the synagogue in Arabic-style quantitative metres. The chapter also explores the hymnography of Rhineland rabbi-poets and English synagogue poets.
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"A Collection of Jewish Philosophical Prayers". In Regional Identities and Cultures of Medieval Jews, editado por Y. Ṭzvi Langermann, 263–84. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781906764678.003.0013.

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This chapter considers the philosophical quest for God that found powerful expression in medieval Hebrew poetry. It mentions poets that composed hymns in praise of the deity and his creations as philosophers who understood them and poetically expressed their great thirst for the divine presence. It also reviews poetical compositions on the soul or on the wonders of nature that may be contemplated with devotional intent, and specific compositions whose direct address to the deity indisputably marks them as prayers. The chapter looks at Solomon Ibn Gabirol's 'Keter malkhut' which found its way into some standard liturgies. It examines philosophical prayers attributed to Aristotle and other non-Jews that were included in Hebrew collections.
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Elledge, C. D. "In the Wilderness". In Early Jewish Writings and New Testament Interpretation, 128—C5B3. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190274580.003.0005.

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Abstract New insights into Early Judaism have flourished over the past generation due to the modern discovery of the Dead Sea Scrolls. The scrolls revealed a previously unknown literary collection attesting to the religious beliefs and practices of a sectarian Jewish community. The community voluntarily separated from other Jews, forming a highly structured society with a strong priestly self-understanding and dualistic, apocalyptic beliefs. Their vast literary collection includes (1) scriptural manuscripts and their interpretation, (2) communal rules, (3) legal writings, (4) psalms, hymns, and prayers, and (5) wisdom and apocalyptic writings. Aspects of the collection have been especially important for understanding how Palestinian Jewish traditions informed Christian origins, even as the church adapted to its broader Mediterranean contexts. New Testament traditions surrounding John the Baptist, the communal structures of the early church, and messianic beliefs strike remarkable continuities and differences with the literature of the Dead Sea Scrolls.
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"Singing Hymns to Christ as to a God (Cf. Pliny Ep. X, 96)". In The Jewish Roots of Christological Monotheism, 277–92. BRILL, 1999. http://dx.doi.org/10.1163/9789004496880_017.

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"Divine Light and Salvific Illumination in St. Symeon the New Theologian’s Hymns of Divine Eros". In Jewish Roots of Eastern Christian Mysticism, 156–73. BRILL, 2020. http://dx.doi.org/10.1163/9789004429536_011.

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Lieber, Laura S. "The Stage is a World, the Body an Instrument: Hymns in Sacred Space". In Staging the Sacred, 346—C6N81. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190065461.003.0007.

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Abstract In this chapter, the diverse corpus of liturgical poetry from Late Antiquity—Jewish, Samaritan, and Christian—is scrutinized for trace evidence of specific techniques that suggest techniques of delivery and congregational reception, as well as engagement with space in both practical and conceptual terms. The analysis begins in close proximity to the body—with a study of oratorical gestures—and gradually widens the lens, to consider deixis (gestures that indicate specific items or sites), the physicality of delivery, audience participation as an embodied phenomenon, hymns as ritual scripts, and finally, the significance of imagined spaces and spatial imagination. A serious consideration of the physicality of hymnic performance—the individual embodiment and spatial dynamics—unifies these different facets of exploration. While much of this analysis is, of necessity, conjectural, the conclusion articulates how such studies help readers recover information encoded in the hymns. This data helps modern readers recover aspects of their delivery and listeners’ dynamic experience of performance.
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Trabalhos de conferências sobre o assunto "Hymns (Jewish)"

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Rotaru, Ioan-Gheorghe. "Sabbatarian Literature from the 17th Century and the Contribution of Simon Pechi". In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.38.

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Both Sabbatarianism and its poetic creation from this period were under the influence of Simon Péchi. Most of the poetic creations of the Sabbatarians came from the pen of Péchi, who also outlined the future direction regarding this kind of creation. The concern of the Sabbatarians was for the translation of Jewish religious hymns, as well as for their processing. And the literature which emerged, and which until now is an almost unknown poetic literature, which is not even very wide and which has come to us with many shortcomings, in one respect is unmatched and especially full of teachings as regarding that radical change, through which Sabbatarianism has passed from the moment Simon Péchi has reached to lead it.
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