Готові списки джерел за темами / Rachel, Tomb of (Bethlehem)

Добірка наукової літератури з теми "Rachel, Tomb of (Bethlehem)"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Rachel, Tomb of (Bethlehem)"

1

Bowman, Glenn. "A Weeping on the Road to Bethlehem: Contestation over the Uses of Rachel’s Tomb." Religion Compass 7, no. 3 (March 2013): 79–92. http://dx.doi.org/10.1111/rec3.12033.

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2

Isaac, Rami K., and Vincent Platenkamp. "The Actualization of the Critical Impulse in Critical Theory: Dialogical Rationality Around Rachel's Tomb in Bethlehem, Palestine." Tourism Analysis 24, no. 1 (March 1, 2019): 101–13. http://dx.doi.org/10.3727/108354219x15458296266364.

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3

Schearing, Linda S. "Rachel Weeping: Jews, Christians, and Muslims at the Fortress Tomb." Biblical Interpretation 19, no. 3 (2011): 352–54. http://dx.doi.org/10.1163/156851508x284755.

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4

Doane, Sébastien. "Rachel Weeping: Intertextuality as a Means of Transforming the Readers’ Worldview." Journal of the Bible and its Reception 4, no. 1 (January 1, 2017): 1–20. http://dx.doi.org/10.1515/jbr-2017-2000.

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AbstractThe episode of the Bethlehem massacre (Matt 2:16-18) uses many levels of intertextuality as a rhetorical device, to solicit an emotional response powerful enough to influence the reader’s worldview. What effect do these intertexts have on Matthew’s readers? How is this affective appeal concerning Rachel’s tears intended to impact the reader’s response to Matthew’s story? Rachel weeping is an emotionally charged image that somehow merges two opposites: hope and sorrow. The intertextuality of this figure can influence readers encouraging them to criticize imperial ideologies that have used violence against innocent people in the past, and oppose those which do so currently.
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5

Magness, Jodi. "Herod the Great’s Self-Representation Through His Tomb at Herodium." Journal of Ancient Judaism 10, no. 3 (May 19, 2019): 258–87. http://dx.doi.org/10.30965/21967954-01003002.

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In 2007, the late Ehud Netzer announced the discovery of the mausoleum of Herod the Great at Herodium. This paper considers Herod’s self-representation through his tomb at Herodium, which consists of a mausoleum on the side of a massive artificial tumulus that was planned by Herod as his final resting place and everlasting memorial. Comparisons with the lost Mausoleum of Alexander in Alexandria, the Philippeion at Olympia, and the Mausoleum of Augustus at Rome indicate that Herod intended Herodium to serve as a royal, dynastic monument and victory memorial situating him within a line of heroic and deified kings, while the site’s location overlooking Bethlehem visually asserted Herod’s claims to have fulfilled the expectations associated with a Davidic messiah.
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6

Towner, W. Sibley. "Book Review: Rachel Weeping: Jews, Christians, and Muslims at the Fortress Tomb." Interpretation: A Journal of Bible and Theology 62, no. 3 (July 2008): 333–34. http://dx.doi.org/10.1177/002096430806200317.

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7

Nigro, Lorenzo, Daria Montanari, Mohammed Ghayyada, and Jehad Yasine. "The el-Atan Tomb: an Early Bronze IVB female burial in the heart of Bethlehem." Vicino Oriente 21 (2017): 225–56. http://dx.doi.org/10.53131/vo2724-587x2017_13.

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8

Schwartz, Joshua. "The Story of Rachel's Tomb [ Hebrew: 'Al em ha-derekh: Sipuro shel Kever Rachel] (review)." Jewish Quarterly Review 97, no. 3 (2007): 100–103. http://dx.doi.org/10.1353/jqr.2007.0048.

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9

Fitton, Ben. "The strange monumentality of some artworks or something." Art & the Public Sphere 10, no. 1 (July 1, 2021): 71–85. http://dx.doi.org/10.1386/aps_00049_1.

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Анотація:
This article investigates the idea that sometimes artworks become strange monuments: occasionally to themselves. It begins with an overview of how various artworks have taken on aspects of monumentality, setting up a number of coordinates for thought ‐ energy, appropriation, fiction, resurrection and so on. It then turns to the contested status of Rachel Whiteread’s House (1993), paying attention to the ways in which its potential to endure as a conventional public monument was denied, leaving behind a strange set of digital monuments in its afterlife. It goes on to contrast the tomb-like preservation of Roger Hiorns’ Seizure ([2008] 2013) at the Yorkshire Sculpture Park with the rhetoric surrounding its initial staging in Southwark. This logic of preservation is compared with how Thomas Hirschhorn has revisited his early monument works, and his claims regarding their eternal life.
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10

Barako, Tristan J. "Dan II: A Chronicle of the Excavations and the Late Bronze Age "Mycenaean" Tomb. Avraham Biran and Rachel Ben-Dov." Bulletin of the American Schools of Oriental Research 333 (February 2004): 86–88. http://dx.doi.org/10.2307/1357798.

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Дисертації з теми "Rachel, Tomb of (Bethlehem)"

1

""Weeping For Her Children:" Spatial Constructions at the Tomb of Rachel the Matriarch." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55683.

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Анотація:
abstract: The traditional site of Rachel's Tomb is located just south of Jerusalem on the border of Bethlehem. In recent years, Rachel's Tomb architectural appearance and cultural significance have shifted dramatically in the last two decades and the Biblical figure of Rachel has evolved in the Jewish imagination as a figure "emplaced" there as well. The original stories that have drawn visitors to the site have developed from Biblical and Rabbinic texts, yet contemporary visitors to the site have their own perspectives and stories to tell, grounded in religious tradition, nostalgia, and current political and social realities. At the traditional site of her tomb, Rachel has served for at least the last century as something like a "patron saint" for Jewish women's domestic issues, but her intercessory abilities have recently been expanded. Her special relationship to Zionism through her connections to the Biblical notions of Jewish "return" and end-times "redemption" have been recast to fit contemporary political viewpoints and contestations. In addition, she has developed into a kind of national "mater dolorosa," representing the collective grief for deaths through acts of political violence, particularly women's deaths. This project traces the ways in which current narrative and praxis at the traditional site of Rachel's Tomb have developed as well as the ways in which current perceptions of the site-and Rachel as the cultural figure associated with the space-draw upon temporally-situated interpretations of her textual tradition, as well as affective discourse and collective cultural memory.
Dissertation/Thesis
Doctoral Dissertation Religious Studies 2019
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Книги з теми "Rachel, Tomb of (Bethlehem)"

1

Strickert, Frederick M. Rachel weeping: Jews, Christians, and Muslims at the Fortress Tomb. Collegeville, Minn: Liturgical Press, 2007.

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2

Raḥel, Mosdot Ḳever. Tefilah ʻal Tsiyon Raḥel imenu: Prayer at Rachel's Tomb. Yerushalayim: Mosdot Ḳever Raḥel, 2006.

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3

Sefer Yesod li-ḳero: Sefer Ohel Raḥel imenu : ha-kolel hishtapkhut ha-nefesh ṿe-limudim ... ha-meḳif kol ʻinyene Raḥel imenu u-matsevat ḳevuratah. Yerushalayim: Mekhon Ohel Raḥel imenu, 2003.

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4

Fraiman, Shelomoh Eliyahu. Poteaḥ sheʻarim: Zikhronot u-firḳe ḥayim mi-pinḳesaṿ shel R. Shelomoh Eliyahu Fraiman, shomer ḳever Raḥel ṿe-shamash Bet ha-keneset "ha-Ḥurvah". Yerushalayim: Feldhaim, 2009.

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5

Rachel Weeping: Jews, Christians, and Muslims at the Fortress Tomb. Liturgical Press, 2007.

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6

Shaʻar ha-shamayim: Toldot ha-meḳomot ha-ḳedoshim ṿe-tsiyune ha-ḳodesh bi-Yerushalayim, Ḥevron ṿe-Ḳever Raḥel ṿe-nispaḥ be-ʻinyene hishtaṭḥut ʻal ḳivre tsadiḳim, ʻim tefilot meyuḥadot u-musmakhot ḥelḳan nedirot, le-omran ba-meḳomot ha-ḳedoshim = Sha-ar Hashama-im : historical overvew of holy places and burial sites of tzadikim in Israel (Jerusalem, Chevron & Bet Lechem). Yerushalayim: Avraham Yeshaʼyahu Landoi, 2016.

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7

In Statu Quo: Structures of Negotiation. Hatje Cantz Verlag GmbH & Co KG, 2018.

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8

Suriano, Matthew. The Tomb and the Identity of the Dead. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190844738.003.0008.

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The ideal afterlife in the Hebrew Bible was bound to the tomb and embodied in the dead. The burial stories of Sarah, Rachel, and the man of God from Judah show how these two aspects work. Death is relational, and the tomb was a critical component in defining relationships and establishing the identity of the dead within these relationships. Although Rachel’s burial is in an individual tomb, the accounts demonstrate the power of association in death. The family tomb was a key element in the idealization of the afterlife because postmortem survival was depended in part upon with whom you were buried. Collective interment could either form the ideal, as in the case of Sarah, or a partial fulfillment of this ideal, as in the story of the prophets at Bethel.
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Частини книг з теми "Rachel, Tomb of (Bethlehem)"

1

Morozova, Yulia G. "Bethlehem and Its Symbolism in the Works of Ivan Bunin." In I.A. Bunin and his time: Context of Life — History of Work, 900–923. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-900-923.

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The paper deals with the essays from the Bunin’s book “Shadow of the Bird” (“Judea” and “Gennesaret”), poems of 1906–1907 (“Abraham”, “Star Worshippers”, “The Source of the Star. From the Syrian Apocrypha”, “Rachel’s Tomb”, “Jerusalem”, “Temple of the Sun”) and Vera Muromtseva-Bunina’s memoirs about the pilgrimage to the Holy Land in 1903–1909. The image of Bethlehem with its symbolic and toponymic signs can be drawn from those sources. The author indicates the genre, artistic, and compositional originality of works dedicated to Palestine and its main city. A special place in the paper is given to the temple of Bethlehem and the image of the Magi, whose origin (in the historical and cultural context) is associated with the most ancient peoples of the Sabaean culture. The author attempts a reconstruction of the semantics of the main biblical phrases and word forms associated with the ancient sites of Judea and Bethlehem. It is pointed out that the artistic descriptions of the nature and history of the Holy Land in Bunin’s texts reveal the writer’s historiosophical views, important conceptual positions, such as the theme of memory, the cyclicity of life and world development, and the idea of the world circle. The color symbolism and semiotics of the landscape of Bethlehem and its surroundings are considered. Biblical characters associated with the history of the city, its artifacts, and concepts that recreate the appearance of an ancient syncretic culture are considered — Ruth, David, Rachel, Virgin Mary, and Christ. It is concluded that the image of Bethlehem is a collective “mosaic”, generating different readings and expanding the already complex hermeneutical field of Bunin texts and their versions.
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2

Selwyn, Tom. "Chapter 13 Tears on the Border The Case of Rachel’s Tomb, Bethlehem, Palestine." In Contested Mediterranean Spaces, 276–96. Berghahn Books, 2022. http://dx.doi.org/10.1515/9780857451330-018.

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3

Taylor, Joan E. "Eleona." In Christians and the Holy Places, 143–56. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198147855.003.0007.

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Abstract THE fourth and final site of a Constantinian basilica is the Eleona Church on the Mount of Olives. Constantine, via Helena, constructed this edifice over a cave which, according to Bagatti, ‘had seen cult in former times, beginning with Apostolic days’. We shall consider here whether this statement is borne out by the surviving evidence, literary and archaeological. It was argued above that it is very unlikely that the tree at Mamre or the tomb and rock at Golgotha were subject to any Christian veneration before the fourth century. The cave at Bethlehem was visited by Christians in the latter part of the third century, but in fact its main identity was that of a cave of Tammuz Adonis. It is not surprising that the place of Christ’s crucifixion and burial left a distinct memory, but the Nativity did not and could not have done so, since it is very unlikely that the accounts of Christ’s birth in Bethlehem are historical.
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