Статті в журналах: "Biblical paraphrasis"

1

Rofé, Alexander. "The Text-Criticism of Psalm 80—Revisited." Vetus Testamentum 61, no. 2 (2011): 298–309. http://dx.doi.org/10.1163/156853311x571455.

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AbstractThe first part of this essay reviews cases of doublets in the Biblical texts, in order to substantiate the claim that Ps 80:16,18 represent a full-verse doublet. However, none of its components submits the original text. For the hypothetical reconstruction of the primary reading one must rely on a secondary textual witness—paraphrasis. For that reason, the use of that class of witnesses, also comprising quotations and allusions, is explored. One paraphrasis of Ps 80:13 in Ps 89:41-42 was detected long ago by H. P. Chayes. Building on his finding, it is maintained here that a primary text, lying behind Ps 80:16,18, was paraphrased in Ps 89:22. The reconstruction of that text is offered, followed by the restoration of the last stanza (vss. 15-20) of Psalm 80.

2

van Poll-van de Lisdonk, Miekske L. "Erasmus’ Paraphrasis on the Pauline Epistles." Erasmus Studies 36, no. 2 (2016): 123–30. http://dx.doi.org/10.1163/18749275-03602004.

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This article discusses a commentator’s choices in annotating Erasmus’ Paraphrases on the Pauline epistles for the ASD series. These choices also reveal the character of the paraphrases. The sources will be treated—as a reference for the biblical text Erasmus used both the Vulgate and his own Novum Testamentum and the patristic texts he mentions in his Annotationes turn out to play a role in his interpretations in the paraphrases, too—as well as the theological-philosophical choices Erasmus made and rules of rhetoric he employed. These elements are meant to help the reader to understand and evaluate the paraphrases on the Pauline epistles.

3

Leushuis, Reinier. "Speaking the Gospel." Erasmus Studies 36, no. 2 (2016): 163–85. http://dx.doi.org/10.1163/18749275-03602007.

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In his Paraphrases on the synoptic gospels, Erasmus stages the voice of the evangelist speaking in the first-person singular to address the reader in the second-person singular. Such a marked interlocutorial setting is absent in Scripture, with the exception of Luke’s brief address to a certain Theophilus. More than a strategy to forestall criticisms directed at the author of the paraphrase, this direct engagement between biblical author and reader reveals a deeper concern for the transfer of gospel faith and gospel philosophy to the minds of his contemporaries. This essay examines the ways in which the evangelist’s voice engages the implied reader in the Paraphrases on Matthew, Luke, and most notably Mark. It focuses on the reliability (fides) of narration and narrator, the emotional, sensory, and homiletic engagement between speaking voice and reader, and the role of drama and performative elements. The paraphrastic staging of the evangelist’s voice reflects each gospel’s unique challenge in conveying Philosophia Christi to the reader and in the Paraphrase on Mark illustrates in particular the literary dimension of reader-oriented imitatio.

4

Posta, Anna. "Latin paraphrases of Old Testament books in verse in 16th century Hungary." Hungarian Studies 37, S (November 20, 2023): 15–31. http://dx.doi.org/10.1556/044.2023.00245.

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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.

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Taylor, Andrew. "Suffering and Scholarship: The Contexts of Henry Howard, Earl of Surrey's Ecclesiastes." Translation and Literature 22, no. 2 (July 2013): 167–81. http://dx.doi.org/10.3366/tal.2013.0111.

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Surrey's partial translation of the Book of Ecclesiastes seem to have offered him a more sustained, ambitious, and complex encounter with a biblical text than his better known psalm paraphrases. It may be seen as having been conceived within the fractured field of humanist paraphrase and theological interpretation; his work lies generically across the broken ground where humanist and evangelical encounters with the text radically reshaped and contested the ultimate message of this obscure and recalcitrant biblical book.

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Mack, Peter. "Erasmus’ Paraphrases on the New Testament and the Presentation of Christ’s Teaching." Erasmus Studies 39, no. 1 (March 13, 2019): 5–21. http://dx.doi.org/10.1163/18749275-03901001.

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Abstract Erasmus wrote his Paraphrases on the New Testament (1517–1524) at the climactic point of his literary career, just after his new edition of the New Testament, the humanistic edition of the Adagia and his edition of the works of St Jerome. This lecture asks why Erasmus gave so much time to paraphrase at such a key moment, what he hoped his paraphrase would give to early sixteenth-century Christians, and how his paraphrase clarifies, dramatizes and adds to the Biblical text. It analyses quotations from the paraphrases on Romans and the Gospel of Mark, relating to his historicization of the text, his criticism of the contemporary church, and his presentation of issues of law, grace and faith, the appropriate attitude to civic authority and Christian love. It compares Erasmus’ approach to teaching from the New Testament to his hero Rudolph Agricola’s Oration on Christ’s Nativity (1484) and to Philipp Melanchthon’s approach in the first version of his Loci communes (1521).

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Hadjittofi, Fotini. "THE POET AND THE EVANGELIST IN NONNUS’ PARAPHRASE OF THE GOSPEL ACCORDING TO JOHN." Cambridge Classical Journal 66 (July 23, 2020): 70–95. http://dx.doi.org/10.1017/s1750270520000056.

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Christian poetry, and biblical epic in particular, is intensely self-conscious. Both Greek and Latin Christian poets begin or end their compositions, paraphrases and centos with poetological reflections on the value and objectives of their works. The fifth-century Paraphrase of the Gospel according to John is an anomaly in this tradition. While Nonnus’ mythological epic, the Dionysiaca, is heavily self-conscious in that it includes a strong authorial voice as well as an extensive prooemium and an interlude, the Christian Paraphrase has no prooemium, epilogue or interlude, and its narrator never identifies himself. This article examines two passages in the Paraphrase where subtle, implicit poetological reflections may be detected, and then explores the reasons why Nonnus may have chosen to deny the Paraphrase a clear (meta)literary identity. It argues that Nonnus’ poem presents itself as the Gospel of John, and that its narrator ‘becomes’ John the Evangelist in a spiritual exercise which is indebted to Origen's views on that Gospel.

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Porter, D. A. "Navigating Sacred Languages: Paraphrasing the Psalms in Renaissance Scotland." Renaissance and Reformation 45, no. 2 (December 1, 2022): 83–104. http://dx.doi.org/10.33137/rr.v45i2.39759.

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Translations and paraphrases of the Biblical psalms were popular throughout early modern Europe. The Latin poetic paraphrase of Psalm 51 by George Buchanan is examined alongside the Scots-language translation of Psalm 2 by Alexander Montgomerie to illustrate some of the complexities of the Renaissance interplay between Latin and vernacular translation, poetics, confession, and politics. Both poets engage with contemporary debates over the meaning of the Biblical texts, and both display a high degree of poetic and rhetorical sophistication in transforming the psalms according to their own interpretative commitments. Each demonstrates close attention towards and care for correct interpretation, and each shows a high degree of freedom in adapting and recreating the polysemous meanings of the original while also applying new meanings to serve their own liturgical, spiritual, and poetic purposes.

9

Nastasia, Mariana. "Conceptul de inserat biblic – Definiție. Tipologizare. Exemple." Anuar de lingvistică şi istorie literară 63, no. 2023 (November 30, 2023): 141–54. http://dx.doi.org/10.59277/alil.2023.08.

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The term biblical insert (Rom. inserat biblic) refers to a concept that can encompass all types of interpretations and representations of biblical content in literature. This concept is useful for analyzing texts, whether they are translations or original works, at various stages of literary development. This concept involves aspects specific to both literary theory and textual linguistics and describes what is known in literary theory and textual linguistics as quotation, motif, theme, symbol, allusion, image, character, paraphrase, biblical story. Biblical inserts can be classified into several categories, which we have named according to the criteria we developed and the action of each type of insert in the text.

10

Drzewiecka, Ewelina. "(Post)Modern Apocrypha as an Epiphany of Sense (on the Basis of Bulgarian Literary Biblical Paraphrases)." Studia Ceranea 4 (December 30, 2014): 35–48. http://dx.doi.org/10.18778/2084-140x.04.03.

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The paper is devoted to the author’s concept of modern apocrypha in the context of the two main tendencies of (Post)modernity: unmasking and paraphrasing. On the basis of the literary paraphrases of the Evangelical story, found in the Bulgarian (Post)Modern literary, there is shown a hermeneutic passage from “apocrypha as a literary mystification” (“literary apocrypha”), i.e. a concept often applied in literary studies, to “apocrypha as an epiphany of sense”, i.e. a concept which can be useful in cultural studies and in history of ideas. It is suggested that in the light of the postsecular thought, being an individual interpretation of the canon, the (Post)Modern apocrypha has a great epiphanic potential, which means that hiding minority truths, it reveals in fact some crucial, and crypto-theological, problems of the present. Drawing the axiological difference between “the unmasking apocrypha” (pseudo-gospel) and “the paraphrasing apocrypha” (epiphany of sense), the author claims that only the last one does actually incarnate Charles Taylor’s ideal of the authentic (and poetic) expression (of will), which helps in establishing an individual sense-making horizon as a positive response to the “heretical imperative” of (Post)Modernity.

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Buszewicz, Elwira. "Jan Kochanowski’s Psalter – a Source of Polish Poetry and Mirror of the Human Mind." Biblical Annals 13, no. 3 (July 11, 2023): 419–37. http://dx.doi.org/10.31743/biban.14572.

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The article deals with Jan Kochanowski’s Psałterz Dawidów [David’s Psalter], published in 1579. This paraphrase of the biblical Psalter, intensely lyrical in its spirit, was inspired by George Buchanan’s Latin poetic paraphrase of the Psalms, which is strongly Horatianising. Kochanowski’s work can be seen as a presentation of humanist piety. That is to say that the borders between secular and sacred spaces, or even between Judeo-Christian and Pagan traditions, may seem blurred. The Psalter is also interconfessional (or “doctrinally neutral”) and acts as a universal mirror reflecting the human mind. The author analyses three of Kochanowski’s Psalms to demonstrate the intellectual and emotional space of his Psalter and its polyphonic structure: 1 (Beatus vir qui non abiit in consilio impiorum), 19 (Caeli enarrant gloriam Dei) and 91 (Qui habitat in adiutorio Altissimi), displaying some interplays of ideas and different approaches to paraphrasing applied by the poet.

12

Leushuis, Reinier. "Poetics or Homiletics? Hearing and Feeling the New Testament in Erasmus’ Paraphrases." Erasmus Studies 40, no. 2 (November 12, 2020): 101–26. http://dx.doi.org/10.1163/18749275-04002002.

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Abstract One of the unique homiletic challenges of the Erasmian paraphrase is the transmission of faith in divine matters from the page to the reader’s mind. By which form of imitation is the acquisition of faith by the disciples and their communities not only cognitively understood by, but also imitated in the reader’s mind? Constituting what can be called a poetics of Erasmus’ paraphrastic writing, questions of literary imitation and transmission are exemplified in his enrichment of the sensorial and emotional aspects of the biblical narrative. This essay examines instances where the biblical text highlights the disciples’ witnessing of Jesus both in earthly life and as a risen but living presence. Such instances lead to paraphrastic developments that exemplify reader-oriented imitation by instrumentalizing the senses, in particular hearing and touch, to steer the reader’s inner affective response, and thus to facilitate the acquisition of faith. Although sight is not neglected, I argue that in this process hearing and feeling (both as touch and emotion) are poetically and homiletically privileged to lodge the holy Word in the innermost affective sanctuary of a community of readers and listeners over time who, unlike the witnessing disciples, can no longer see, hear, and touch Christ.

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Korovin, Vladimir L. "Two Versions of Psalm 143 in Paraphrases of Russian Poets of the Late 18 – First Half of the 19 century." Two centuries of the Russian classics 4, no. 2 (2022): 194–213. http://dx.doi.org/10.22455/2686-7494-2022-4-2-194-213.

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The final verses (12–15) of Psalm 143 (144) are read differently in Greek and Jewish versions: the first is about the temporary well-being of sinners, while the second is about the bliss of the righteous. In the Church tradition, the Greek version, which included all the Patristic interpretations adopted by the Orthodox and Catholics, was considered canonical. The Jewish version in Russia was known from foreign translations until 1822. The first biblical paraphrases in Russian poetry of the 18th century were the paraphrases of Psalm 143, made in 1743 by Lomonosov, Trediakovsky and Sumarokov according to the Greek-Slavic version. This article discusses some later paraphrases of Psalm 143, the authors of which also had to make a choice between two versions of the original text. The example of Lomonosov was followed by N. P. Nikolev, G. A. Pakatsky and V. K. Kuchelbecker, as well as E. V. Karneev. The Jewish version was used by A. M. Kotelnitsky and N. M. Shatrov. The paraphrase of F. N. Glinka was regardless of the discrepancy between two versions of Psalm 143. The most interesting are the poems of Kuchelbecker and Shatrov. The article also clarifies the circumstances of the creation of some paraphrases and notes cases of their textual dependence on the “Psalter in the Russian Language” published by the Russian Bible Society and “Commentary on the Psalter” compiled by Archbishop Irenaeus (Klementievsky).

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Niekraszewicz-Karotkaja, Żanna. "Псалтирь царя Давида Симеона Полоцкого в контексте паралитургической и парафрастической традиции XVI–XVII вв." Studia Rossica Posnaniensia 47, № 2 (25 грудня 2022): 9–25. http://dx.doi.org/10.14746/strp.2022.47.2.1.

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The collection of poetic translations of King David’s Psalms, compiled by Symeon of Polatsk, is usually used in the scientific discourse under the descriptive title Psaltir’ rifmotvornaya. In this article, King David’s Psalter (1680) of Symeon is considered not in the context of the poet’s entire creative heritage, but in terms of the evolution of the European book tradition of paraliturgical discursive psalmic practices and the poetic paraphrase of the psalms, beginning with the German poets of the Renaissance Helius Eobanus Hessus and Ioannes Mylius Libenrodensis. Not only the artistic experience of Western and Central Europe but also of the Grand Duchy of Lithuania is taken into account. Addressing the broader historical context allows us to move away from traditional scientific discussions about the degree of influence of Jan Kochanowski’s poetic paraphrases of psalms (Psałterz Dawidów, 1578) and to more adequately appreciate Symeon’s merits in the field of cultural transfer. The King David’s Psalter of Symeon is evaluated as a result of the interaction of the European book tradition of creating poetic paraphrases of biblical texts and the East Slavic singing culture. The functioning of this culture from the end of the 16th century and especially in the 17th century was greatly influenced by Polish spiritual songs (first of all, the poetic paraphrases of the psalms of Jan Kochanowski), as well as by the increased interest in polyphonic singing thanks to Nikolai Diletsky.

15

Rychter, Joanna. "„Boże… / czemu nas opuściłeś” – odwołania religijne w tomiku Z ziemi do nieba Władysława Grabana." Poznańskie Studia Polonistyczne. Seria Językoznawcza 25, no. 1 (August 28, 2018): 167–79. http://dx.doi.org/10.14746/pspsj.2018.25.1.10.

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The paper discusses religious references in poems from Z ziemi do nieba, a poetry book published by Władysław Graban in 2015. These references appear at a number of language levels: lexis, orthography, phraseology (including paraphrases of Bible verses). There are direct references to the Old Testament (lexemes, phraseological units of biblical origin) and indirect references to biblical motifs and themes.

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Conley, Thomas. "Biblical Epic and Rhetorical Paraphrase in Late Antiquity." Rhetorica 4, no. 4 (1986): 423. http://dx.doi.org/10.1525/rh.1986.4.4.423.1.

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Bloemendal, Jan. "Erasmus’ Paraphrases on the New Testament." Erasmus Studies 36, no. 2 (2016): 105–22. http://dx.doi.org/10.1163/18749275-03602003.

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In 1516 Erasmus published his new Latin translation of the New Testament. After that he started to write his paraphrases of all books, except Apocalypse. This introduction gives a state of the art. It will be first discussed when and where Erasmus wrote his paraphrases, which were composed between May 1517 and January 1524 when he was also reworking his Novum Instrumentum/ Novum Testamentum. The next issue treated is what kind of work they are, being a kind of commentary, but also an aid for preachers to bring the New Testament to their audience. This is related to the aim Erasmus had with his ‘New Testament project’: to advance the philosophia Christi and Christian piety, and his intended or implied readership, theologians. He used several sources to bring his interpretations of the biblical stories in line with the exegetical tradition.

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Malsbary, Gerald. "Epic Exegesis and the Use of Vergil in the Early Biblical Poets." Florilegium 7, no. 1 (January 1985): 55–83. http://dx.doi.org/10.3138/flor.7.005.

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The Latin Christian biblical poets of late antiquity are customarily divided into two groups: a) those who keep rather strictly to a ’’paraphrase’’ of the scriptural narrative, and b) those who go "beyond paraphrase" in order to develop imaginative and dramatic interest or allegorical and typological commentary. Thus Juvencus and "Cyprianus" Gallus, the straightforward paraphrase-makers of the New and Old Testaments respectively, are set apart, usually with disparagement, from Proba, Sedulius, Victorius, Dracontius, Avitus, and Arator, the poets who are noted, and sometimes praised, for exercising a degree of poetic or exegetical freedom from the sacred text.

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Morey, James H. "Peter Comestor, Biblical Paraphrase, and the Medieval Popular Bible." Speculum 68, no. 1 (January 1993): 6–35. http://dx.doi.org/10.2307/2863832.

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Ogurechnikova, Nataliia L. "Themes of gospel and nativity in Icelandic biblical paraphrase." Vestnik of Saint Petersburg University. Language and Literature 19, no. 2 (2022): 253–71. http://dx.doi.org/10.21638/spbu09.2022.203.

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The article examines stanzas 27–33 from “Lilja”, an Icelandic biblical paraphrase written in the form of skaldic drapa and dating from the first half of the XIV c. The subject of the article is the sources of these stanzas and the nature of the skald’s work with the sources. Comparative textual analysis, which is the main method of work, has shown that the skald borrowed the general idea of the text from the Bible of Herman de Valenciennes, and stanzas 27–33, where the theme of the Gospel sounds, are an adaptation of a fragment from “Conception Nostre Dame” (“The Conception of the Virgin”) by Wace (lines 783–864). Analysis of the forms of speech and narrative strategies in stanzas 27–33 has shown their convergence with the forms of speech characteristic of “The Elder Edda” and the use of eddic narrative strategies by the skald. The noted interaction of the eddic and the skaldic traditions in «Lilja» suggests reconsideration of the traditional classification of the text as a skaldic work, despite the form of skaldic drapa and its semantic aureole. “Lilja” is regarded in the paper as a poetic biblical paraphrase born as a result of adaptation of the continental tradition of vernacular theology to the verbal culture of Iceland, i. e. as a manifestation of a new function of the art of poetry.

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Drzewiecka, Ewelina. "The Bulgarian Worldview Mosaic: Literary Paraphrases of the Bible as a Source for the History of Ideas." Journal of the Bible and its Reception 5, no. 2 (October 25, 2018): 171–93. http://dx.doi.org/10.1515/jbr-2018-0003.

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Abstract The paper raises the question of functioning of Biblical tradition in modern culture in the perspective of the history of ideas. Referring to the postsecular interpretation of the Modernity, the research is based on Biblical paraphrases in Bulgarian literature of the interwar period, which are perceived as a testimony of the search for a worldview. The aim is to show how a situation of ideological turmoil accompanied by experiences of social crisis leads to utilizing a Gnostic worldview. The phenomenon is seen in a broader context as an illustration of transmission of ideas within the Western culture and religious thought.

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Bardski, Krzysztof. "Początek Ewangelii św. Mateusza (Mt 1-4) ‒ parafraza alternatywna." Warszawskie Studia Teologiczne 35, no. 2 (December 31, 2022): 142–59. http://dx.doi.org/10.30439/wst.2022.2.8.

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In this article we present the continuation of our work on an alternative paraphrase of the Gospel according to St. Matthew. The specificity of the alternative paraphrase lies in the fact that we reach for new translation solutions that we confront with the existing translations of the Bible into Polish. The purpose of the alternative paraphrase is to revive the biblical message by abandoning some common formulations in favor of idiomatic constructions referring either to the context of Judaism in the time of Jesus, or to the etymology and original meaning of expressions that over the centuries have grown theological patina, or to modern formulations that may even be considered colloquialisms.

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Rossi, Albert L. "Biblical Epic and Rhetorical Paraphrase in Late Antiquity. Michael Roberts." Speculum 64, no. 2 (April 1989): 493–96. http://dx.doi.org/10.2307/2852012.

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Levchenko, Nataliia, Olena Liamprekht, Maryna Povar, and Olena Chukhno. "Adoption of Western Four-Sense Biblical Hermeneutics by Ukrainian Baroque Literature." Revista Amazonia Investiga 9, no. 31 (August 7, 2020): 178–84. http://dx.doi.org/10.34069/ai/2020.31.07.16.

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The study outlines general principles of biblical hermeneutics influence on the poetics of Ukrainian baroque prose. The Bible perceived by ancient writers as a collection of sacred books written by the Holy Spirit through the mediation of hagiographers is full of metaphors, comparisons, allegories and parables that needed clarification. Biblical hermeneutics developed rules for the Bible exegesis in order to avoid false variants of interpreting the Scripture. The four-sense method of biblical hermeneutics borrowed from Western Catholic tradition helped to avoid controversial interpretation of the Holy Scripture. The immersion of Ukrainian baroque literature into the biblical domain caused its paraphrasing nature and created conditions for the development of the four-sense hermeneutics as the structure of the poetics of Ukrainian baroque prose. Principles of biblical hermeneutics, having become a monolithic core of the form and content of authors’ texts, eventually began to go beyond the actual theological literature into the field of secular arts.

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Hamlin, Hannibal. "Psalm Culture in the English Renaissance: Readings of Psalm 137 by Shakespeare, Spenser, Milton, and Others." Renaissance Quarterly 55, no. 1 (2002): 224–57. http://dx.doi.org/10.2307/1512536.

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Psalm 137, “By the Waters of Babylon we sat down and wept, “ one of the most widely known biblical texts in Renaissance England, provided consolation for spiritual and political exiles, as well as giving Shakespeare, Spenser, and Milton language in which to express such alienation — language especially powerful for poets, since the psalm troped alienation as the inability to sing. The Psalm's closing cry for vengeance, seen as un-Christian by some, was used as a call to arms by polemicists on both sides of the English Civil War. This study examines a range of translations, paraphrases, commentaries, sermons, and literary allusions that together reconstruct a biblical text as it was interpreted by its Renaissance readers.

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Tsolin, Dmytro. "Some Syntactic Aspects of the Verse Structure in the Targum Onqelos." Aramaic Studies 12, no. 1 (2014): 53–88. http://dx.doi.org/10.1163/17455227-01201002.

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Targum Onqelos adopts a sequential approach to rendering of biblical poetry: even the passages that have been completely paraphrased imitate the parallelism membrorum structure, and supplementary words and clauses are well-fitted into the parallel verse scheme. Only a small number of passages may be defined as quasi-poetical forms which combine poetry with prosaic elements. On the other hand, the targumic parallel verse structure differs from its biblical counterpart in some syntactic details. This type of modified verse structure is inherent in the targums only, and may be considered as a specific kind of poetry in Aramaic.

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Sukharieva, Svitlana. ""If you knew how important the word is": the latest trends In biblical hermeneutics study in the ukrainian polish-language prose of the baroque period." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 345–59. http://dx.doi.org/10.36770/bp.487.

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The article deals with the main trends of modern biblical studies of ancient literature, in particular the Ukrainian Polish-language prose of the Baroque period. Attention is focused on the universal and individual factors of sacral images and motifs interpretation derived from the Scriptures and designed on the background of fiction. Accordingly, the polycultural character of Polish-language works created on the borders of Ukrainian and Polish literatures is underlined. The author analyzes the creative work of baroque writers such as Meletii Smotryckyi, Ipatii Potii, Andrii Muzhylovskyi, Lazar Baranovych, Petro Mohyla, Ioanykii Galiatovskyi, Teofil Rutka, Pahomii Woina Oranskyi, etc. In the context of their bible interpretation a special place is dedicated to the quotation of the Holy Scriptures, as well as concord series of biblical images for which numerous references have been given, biblical paraphrases and repositions of evangelical parables, liturgical symbols, and metaphorical constructions derived from the Bible mentioned by ancient authors as works possessing individual and typological characteristics.

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Rofé, Alexander. "Qumranic Paraphrases, the Greek Deuteronomy and the late History of the Biblical נשיא". Textus 14, № 1 (19 серпня 1988): 163–74. http://dx.doi.org/10.1163/2589255x-01401012.

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Ogurechnikova, Natalija. "Theme of Lucifer and forms of speech in Icelandic biblical paraphrase." Scandinavian Philology 20, no. 1 (2022): 127–49. http://dx.doi.org/10.21638/11701/spbu21.2022.109.

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The subject of the article is the theme of Lucifer in Lilja, a poetic Icelandic biblical paraphrase dating from the first half of the 14th century. When analyzing Lucifer stanzas, attention is paid to the forms of speech of the author, their communicative properties and distribution. Attention to the sources of the monologue is determined by specificity of its structure and by peculiarities of the internal monologue as a form of speech. One thesis is that the context of St. Anselm’s speculative theology supports an interpretation of the monologue, which corresponds to the main idea of all Lucifer stanzas in Lilja. The article contains two sections, within the framework of which the following tasks are solved: In the first section, the forms of speech in Lucifer stanzas are compared with the forms of speech in the songs of the Poetic Edda; the purpose of the comparative analysis is to clarify relationship of Icelandic biblical paraphrase to the poetic traditions of Iceland. The second section of the article examines Lucifer’s monologue and its sources; here the structure of the monologue is considered and its meaning is clarified in the context of Lucifer stanzas on the one hand and the works of St. Anselm on the other. Results of the analysis are summarized in the Conclusion. The main method of work is comparative textual analysis from the standpoint of historical poetics.

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Korovin, Vladimir L. "A. F. Labzin is the Author of “The Lamentations of Jeremiah, Translated into Verse”: The Experience of Attribution." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 2 (2023): 72. http://dx.doi.org/10.31857/s160578800025503-9.

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This article is about “The Lamentations of Jeremiah, translated into verse”, published without a signature in the magazine “Evening Dawn” (1782). We prove that the author of this work was A.F. Labzin (1766–1826), an influential writer in the reign of Alexander I, translator of European mystics and publisher of the magazine “Zion Bulletin”, who participated in the activities of the Russian Bible Society. This Paraphrase of The Lamentations of Jeremiah is one of the first works of Labzin and the most voluminous of those written in verse, and in the history of Russian literature this is one of the first complete paraphrase of an entire (albeit small) Biblical book.

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Marc’hadour, Germain. "Erasmus and the New Testament: The Pastoral Context." Moreana 35 (Number 133), no. 1 (March 1998): 37–48. http://dx.doi.org/10.3366/more.1998.35.1.5.

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Erasmus, after the dry philological task of editing the Greek text of the New Testament with annotations and a new translation, turned to his paraphrases with a sense of great freedom, bath literary and pastoral. Thomas More’s debt to his friend’s Biblical labors has been demonstrated but never systematically assessed. The faithful translation and annotation provided by Toronto provides an opportunity for examining a number of passages from St. Paul and St. James in the light of bath Erasmus’ exegesis and More’s apologetics.

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Drzewiecka, Ewelina. "“Bible in Translation”: Bulgarian Narrative About St. Clement of Ohrid in the Interwar Period and the Transfer of Modern Ideas." Przekłady Literatur Słowiańskich 13 (August 9, 2023): 1–22. http://dx.doi.org/10.31261/pls.2023.13.06.

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The paper raises the question of the role of Biblical tradition in the transfer and adaptation of modern ideas in cultures rooted in Eastern-Orthodox tradition. The subject of reflection is the narrative about St. Clement of Ohrid, the most famous disciple of SS. Cyril and Methodius, and its various literary paraphrases during the interwar period in Bulgaria, in the context of modernist reading of the Bible, as well as the ambivalent experience of secularization among the local intellectual elites.

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Widok, Norbert. "Biblical references in catecheses about the Holy Mass by Cyril of Jerusalem." Byzantinische Zeitschrift 115, no. 3 (September 1, 2022): 1083–114. http://dx.doi.org/10.1515/bz-2022-0051.

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Abstract Cyril of Jerusalem is one of the very important witnesses of faith in the East in the fourth century. He is the author of the Catecheses, which contain the content of the catechumenal and mystagogical teaching in Jerusalem. They are an excellent example of how to transmit Christian doctrine to candidates for Christianity and confirm it in the newly baptized. However, the basic method used by Cyril to convey his message is the use of biblical texts. The present study will show the motivation for using biblical references in two mystagogical catecheses on the Eucharist, i.e. Catechesis 22 and Catechesis 23. Their author emphasizes the formation of deep faith and Christian formation of the spirit in the audience. The analysis of the content of these catecheses also shows the principle of the catechist invoking biblical texts based on the active or passive involvement of participants in the liturgical rite. Secondary reasons for the use of quotations or paraphrases from the holy books of the Bible are also highlighted.

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Faber, Riemer A. "The Argumentum as Paratext." Erasmus Studies 37, no. 2 (2017): 161–75. http://dx.doi.org/10.1163/18749275-03702003.

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In the 1519 edition of the Novum Testamentum Erasmus replaced the traditional Marcionite Argumenta which prefaced each of the Pauline Epistles in the Novum Instrumentum of 1516 with newly composed Argumenta of his own. This article explores the function of these prefaces within the broader context of Erasmus’ program of biblical scholarship. Broaching the topics of authorship, literary style, theological content, and devotional application which are more fully worked out in the Annotations, Paraphrases, and Ratio verae theologiae, the Argumenta express in miniature Erasmus’ objectives as an editor of the Bible.

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TSOLIN, D. "The Paraphrases of the Biblical Poetry in the Targum Onqelos: Elements of Eschatological Interpretation." World of the Orient 2015, no. 4 (December 30, 2015): 94–110. http://dx.doi.org/10.15407/orientw2015.04.094.

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Johnson, Bruce R. "Scripture, Setting, and Audience in the RAF Talks of C. S. Lewis." Journal of Inklings Studies 4, no. 2 (October 2014): 87–113. http://dx.doi.org/10.3366/ink.2014.4.2.7.

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It is difficult to connect individual sermons by C. S. Lewis with specific scripture texts. The wartime talks Lewis gave to RAF officers, NCOs, and airmen provide a new lens for examining this puzzle. Through biblical allusions and paraphrases, both colloquial and literary, Lewis was able to translate Holy Writ for live military audiences. Sometimes he spoke on the prescribed scripture text from the Book of Common Prayer. On other occasions, he chose a different text. When addressing committed believers, he delved deeper into explaining particular biblical passages. More often, he sent up an intellectual barrage, answering preliminary questions regarding faith, reason, and imagination. Lewis undertook an exhausting travel schedule visiting RAF stations, units, and camps throughout Britain. His creative approach to the use of scripture was one of the ways he sought to encourage military chaplains and to engage RAF aircrews and ground crews with the Christian message.

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Tkacz, Catherine Brown. "A Biblical Woman's Paraphrase of King David: Susanna's Refusal of the Elders." Downside Review 128, no. 450 (January 2010): 39–51. http://dx.doi.org/10.1177/001258061012845003.

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Ogurechnikova, Nataliia L. "The Bible of Hermann of Valenciennes and the Icelandic Biblical Paraphrase Lily." Studia Litterarum 7, no. 4 (2022): 54–73. http://dx.doi.org/10.22455/2500-4247-2022-7-4-54-73.

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The article presents the results of a comparative textual analysis of the Bible of Herman de Valenciennes (end of the 12th c.) and Lily, an anonymous Icelandic biblical paraphrase (the first half of the 14th c). The main thesis of the article is that Herman’s Bible served as a reference point for the skald of Lily, who took over from Herman the idea and general logic of the narrative and, apparently, was familiar with the version of Herman’s text, recorded in the manuscript Paris, BnF, fr. 2162. An essential aspect of the comparative textual analysis of Lily and Herman’s Bible is the relation of the compared texts to the national poetic traditions. While Herman immerses the audience in the atmosphere of the French heroic epic, the skald of Lily alludes to oral traditions of Iceland. Despite the composition that brings Lily closer to the skaldic drapa, Lily belongs not to the skaldic tradition, but to the European tradition of vernacular theology and is a synthesis of the elements of form and content, borrowed from various poetic traditions, both continental and national.

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Marcus, Joel. "The Enigma of the Antitheses." New Testament Studies 69, no. 2 (March 8, 2023): 121–37. http://dx.doi.org/10.1017/s0028688522000352.

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AbstractWhile it is easy to interpret the first and second of the Matthean Antitheses (5.21–30) as intensifications of the Mosaic law, it is difficult to interpret the remaining Antitheses (5.31–48) in this manner. In the history of interpretation, two main strategies have been adopted for dealing with these later Antitheses, the ‘rejected interpretation’ hypothesis and the revocation hypothesis. The ‘rejected interpretation’ hypothesis, however, is only plausible for the last Antithesis (5.43–8), which appends ‘and hate your enemy’ to the Levitical exhortation to love one's neighbour; in all other instances, the ‘thesis’ statement is either a biblical citation or a close paraphrase of one or more biblical passages. Although the revocation hypothesis has often been deployed in an anti-Jewish way, there is nothing intrinsically anti-Jewish about it; indeed, both biblical authors, such as the Deuteronomist and Ezekiel, on the one hand, and some rabbis, on the other, explicitly revise prior biblical laws while at the same time claiming to be changing nothing. Matthew does something similar when he introduces the revisionist Antitheses with a programmatic statement about the unchangeableness of the Law (5.17–20). The Matthean Jesus, then, is not ‘seconding Sinai’ but correcting it.

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Zinovieva, Regina V. "Biblical Text in Edward Albee’s Play “Delicate Balance”." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 130–38. http://dx.doi.org/10.18522/1995-0640-2020-3-130-138.

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The author explores the Bible motifs in Edward Albee’s play «A Delicate Balance». Over the past few decades the theme of religiosity in literature has acquired special significance in connection with the rethinking of Christian values in the postmodernism. Edward Albee’s play «A Delicate Balance» defined in many ways the Christian theme in the work of American playwright which contradicted the established opinion of domestic literary critics about the incompatibility of Albee’s plays with the ideas of Christianity. The author conducts a conceptual analysis of the New Testament and Old Testament plots (the parable of the Good Samaritan and the story of Tobias from the Book of Tobit) and their interpretation in the drama. The author focuses on the intertextuality of the postmodern text: its cento form (allusions, parodies, paraphrases), the features of presence of the biblical text in the text of the play. Consequently, the article shows the distorted representation of the idea of brotherly love on the example of the interpretation of the parable about the Good Samaritan and the story about Toby. It is underlined that Edward Albee’s work is a continuation of the tradition established in American literature, including didactic and prophetic (messianic) principles.

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Tkachenko, Tetiana. "The Reinterpretation of Biblical Images in Katrya Grynevycheva’s “On the Way to Sykhem” and Other Stories." Perspektywy Kultury 28, no. 1 (March 1, 2020): 25–36. http://dx.doi.org/10.35765/pk.2020.2801.05.

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Paper deals with the peculiarities of the small prose by Katrya Grynevycheva. It clarifies the symbolic dominants, means of character creation, and the author’s world outlook. The article identifies biblical images in her book “Po dorozi v Syxem” ta inshi opovidannya [“On the way to Sykhem” and Other Stories]. The writer uses paraphrases for citation of the Biblical text. She adds new meanings and extends the semantics of religious images. The images include: Heroes, Characters, Flora and Fauna, and the Elements. Katrya Grynevycheva correlates such concepts as ground, terra, earth and Homeland. Thus, Ukraine is spiritual substance. The investigation reveals the main features of the author’s individual style. The book represents a variety of genres (legend, fairytale, parable, storytelling). The Christian intertext pervades all stories. Katrya Grynevycheva builds the artistic God’s world and insists on basic truths (love, faith and peace). The paper proves the uniqueness and significance of the writer’s heritage in the development of Ukrainian literature.

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Fernández, José María Perez. "Translation and Metrical Experimentation in Sixteenth-Century English Poetry: The Case of Surrey's Biblical Paraphrases." Cahiers Élisabéthains: A Journal of English Renaissance Studies 71, no. 1 (May 2007): 1–13. http://dx.doi.org/10.7227/ce.71.1.2.

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Ferda, Tucker S. "Jeremiah 7 and Flavius Josephus on the First Jewish War." Journal for the Study of Judaism 44, no. 2 (2013): 158–73. http://dx.doi.org/10.1163/15700631-12340372.

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Abstract Study of Josephus’ interpretation of the Bible has focused on the paraphrase in Antiquities, but Josephus continued to engage Scripture in his post-biblical history. This article contends that Josephus, like the authors of the synoptic gospels and later Jewish exegetes, saw the events of 66-70 C.E. through the lens of Jeremiah’s temple sermon (7:1-34). The accounts of Jesus ben Ananias and Josephus’ speech before the city walls, among other examples, show recourse to Jeremiah 7.

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John Reid, Steven. "Andrew Melville, sacred chronology and world history: the Carmina Danielis 9 and the Antichristus." Innes Review 60, no. 1 (May 2009): 1–21. http://dx.doi.org/10.3366/e0020157x09000390.

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The accepted view of the ecclesiastical reformer Andrew Melville (1545–1622) as the dynamic leader of the Presbyterian movement in Jacobean Scotland has been severely eroded in recent years, with particular criticism of the actual importance of his contribution to the Kirk and to Scottish higher education. While this reductionism has been necessary, it has resulted in an inversion of the overwhelmingly positive traditional image of Melville, and does not give us a rounded assessment of his life and works. This article attempts to partially redress this balance by looking at a neglected aspect of Melville's Latin writings, which showcase his talents as a humanist intellectual and biblical commentator. It focuses on two long poems that are both commentaries and paraphrases of Daniel and Revelation: the Carmina Danielis and the Antichristus. Through these poems, we see how Melville engaged with two problems exercising reformed theologians across Europe: the dating of key biblical events and the historicised meaning of prophecies within these texts. We also find evidence that Melville read widely among both contemporary and ancient commentators on both these issues.

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de Mowbray, Malcolm. "Philosophy as Handmaid of Theology: Biblical Exegesis in the Service of Scholarship." Traditio 59 (2004): 1–37. http://dx.doi.org/10.1017/s036215290000252x.

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“One can only grant the theological faculty the arrogant claim that the philosophical faculty is its maidservant (leaving aside the question of whether the latter bears the torch before, or carries the train after her mistress) on the condition that she is not banished or gagged.” Thus wrote Immanuel Kant, paraphrasing Peter Damian, in hisDer Streit der Fakultätenof 1798, shortly after being freed from a ban on writing about religion. Kant argued that the role of the philosophy faculty in universities was to lay down the truth for the use of the more practically orientated higher faculties, including that of theology. It could only perform this function if it was totally free.

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Casas Olea, Matilde. "From Gregory of Nazianzus to Theodore Prodromos: Texts and Contexts of Greek Biblical Paraphrase." International Journal of Religion and Spirituality in Society 14, no. 1 (2024): 1–24. http://dx.doi.org/10.18848/2154-8633/cgp/v14i01/1-24.

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Olesiejko, Jacek. "Nebuchadnezzar’s Mind and Memory in the Old English “Daniel”." Anglica Wratislaviensia 59 (December 28, 2021): 65–90. http://dx.doi.org/10.19195/0301-7966.59.5.

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As Mary Carruthers observes in her seminal Book of Memory, the cultivation of memory was considered a mark of superior ethics in the Middle Ages. She claims, for example, that “the choice to train one’s memory or not, for the ancients and medievals, was not a choice dictated by convenience: it was a matter of ethics. A person without a memory, if such a thing could be, is a person without moral character and, in a basic sense, without humanity” (Carruthers 14). In the present article, which aims to discuss the Old English biblical paraphrase Daniel, I argue that memory plays an important, if not essential, role in Nebuchadnezzar’s conversion. The poet expands on the biblical source, the Old Testament Book of Daniel, to depict the Babylonian king as commencing a process of rectiﬁcation of the self by incorporating and internalizing the word of God, mediated in the poem by Daniel the prophet, as part of his self.

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Tkacz, Catherine Brown. ""Completely Trapped": Gendered Translation in The New American Bible?" Antiphon: A Journal for Liturgical Renewal 27, no. 3 (2023): 277–321. http://dx.doi.org/10.1353/atp.2023.a916117.

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ABSTRACT: The Bible describes the education of only one woman, Susanna; she shows her learning by deftly paraphrasing King David when he, too, faced a life-threatening dilemma. Her history attests that biblical psalms and laws written in the masculine generic were in fact received generically, for they are applied to her. Moreover, she was the first woman Christians interpreted as a type of Christ, from the Synoptic Gospels on. Yet each of these traits is muted or absent from her history in the New America Bible. Surprisingly, misogynistic innovations from Renaissance art appear in this translation. Its methodology is therefore critiqued.

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Rojszczak-Robińska, Dorota. "Strategies for Quoting the Holy Scriptures in the Old Polish Biblical-Apocryphal Narrations." Scrinium 16, no. 1 (October 19, 2020): 271–91. http://dx.doi.org/10.1163/18177565-00160a26.

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Abstract The Old-Polish Biblical-apocryphal narrations are the most extensive manuscripts preserved in the Polish language, the texts very important from the perspective of the beginnings of the Polish literary language. Majority of them have been preserved as copies, quite often copies obtained from other copies. They are based on many different Latin sources, originating from various periods. We can see the creation of a new text from fragments translated into Polish, sometimes quoted, sometimes paraphrased, often combined at the lowest level – within a single sentence. In the paper, I will show how the quotations from The Bible function in those multi-layered and multi-styled medieval texts stemming from many sources.

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Widok, Norbert. "List do Rzymian w Katechezach Cyryla Jerozolimskiego. Sposoby wykorzystania i interpretacji." Vox Patrum 69 (December 16, 2018): 623–45. http://dx.doi.org/10.31743/vp.3279.

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Cyril of Jerusalem, the author of the Catechesis delivered to the catechumens and the newly baptized, gave the teachings of Jesus Christ on the basis of the Symbol in force in Jerusalem, and above all on the basis of the Holy Scriptures. He readily referred to the books of the Old and New Testaments, quoting literal citations or paraphrasing individual biblical ideas. Among the frequently quoted biblical books is also the St. Paul’s Epistle to the Romans, which was used by Cyril almost 40 times. Some of Paul’s statements were used as an element of the content link, while others are the starting point for presenting the wider context of Christian teachings to the audience. In most cases, these are literal quotes from the Letter to the Romans. It turns out that the statements of the Apostle of Nations constitute the basis for the interpretation of mainly the Trinitarian aspects of the Christian faith, because individual references serve to bring the listeners closer to the Three Divine Persons. Other quotes Cyril also uses to present some issues of Christian morality.

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