Journal articles: 'Biblical Hebrew poetry'

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Niccacci, Alviero. "Analysing Biblical Hebrew Poetry." Journal for the Study of the Old Testament 22, no. 74 (June 1997): 77–93. http://dx.doi.org/10.1177/030908929702207404.

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Raz, Yosefa. "Imagining the Hebrew Ode: On Robert Lowth’s Biblical Species." Prooftexts 40, no. 1 (2023): 85–109. http://dx.doi.org/10.2979/ptx.2023.a899250.

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Abstract: The subject of this article is the reception history of biblical genres, or the metapoetics of genre-making. It argues that the seemingly fixed presentations of the genres of biblical poetry in the twentieth century—as in Robert Alter’s classic guide to biblical Hebrew poetry—emerge from an eighteenth-century encounter: the English exegete Robert Lowth’s dramatic attempt to fit Greek and Roman generic models to the Hebrew text. Lowth’s resulting genres, or what he called the “species” of biblical poetry, were shaped both by the parallels he discovered between classical and Hebrew traditions, and by the small and large aberrations he faced in his process of translation. The article focuses on the characterization of a poetic form that never existed: the ancient Hebrew ode. Although, in this case, Lowth fails in his biblical scholarship, his Hebrew ode demonstrates the spirit of his creative project. By fitting Hebrew poetry to neoclassical models, Lowth subtly transformed neoclassical categories and possibilities, opening up new imaginative expanses within the lyrical mode and preparing the way for a more flexible, complex, and emotionally sophisticated Romantic lyric.

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Emerton, J. A., and Elaine R. Follis. "Directions in Biblical Hebrew Poetry." Vetus Testamentum 39, no. 2 (April 1989): 245. http://dx.doi.org/10.2307/1519588.

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Berlin, Adele, Joze Krašovec, and Joze Krasovec. "Antithetic Structure in Biblical Hebrew Poetry." Journal of the American Oriental Society 107, no. 1 (January 1987): 140. http://dx.doi.org/10.2307/602971.

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Williamson, H. G. M., and J. Krasovec. "Antithetic Structures in Biblical Hebrew Poetry." Vetus Testamentum 35, no. 2 (April 1985): 249. http://dx.doi.org/10.2307/1518256.

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Fuller, David J. "Word Order in Biblical Hebrew Poetry." Journal of Biblical Text Research 44 (April 30, 2019): 216–36. http://dx.doi.org/10.28977/jbtr.2019.4.44.216.

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Kugel, James L., and Joze Krasovec. "Antithetic Structure in Biblical Hebrew Poetry." Journal of Biblical Literature 105, no. 4 (December 1986): 704. http://dx.doi.org/10.2307/3261220.

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Crowe, Brandon D. "Book Review: Reassessing Biblical Hebrew Poetry." Expository Times 120, no. 4 (January 2009): 200–201. http://dx.doi.org/10.1177/00145246091200041108.

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Miller, Cynthia L. "A Linguistic Approach to Ellipsis in Biblical Poetry: (Or, What to Do When Exegesis of What Is There Depends on What Isn't)." Bulletin for Biblical Research 13, no. 2 (January 1, 2003): 251–70. http://dx.doi.org/10.2307/26422671.

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Abstract Biblical Hebrew poetry frequently exhibits ellipsis (or, gapping) of the verb, but the precise patterns of ellipsis have not been identified previously. A linguistic approach to ellipsis involves identifying universal features of ellipsis, as well as those features that are specific to Biblical Hebrew. Understanding the shapes of elliptical constructions in Biblical Hebrew provides a powerful exegetical tool for evaluating alternative readings (and hence exegetical understandings) of difficult verses (e.g., Ps 49:4 and Prov 13:1).

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Weber, Beat. "Toward a Theory of the Poetry of the Hebrew Bible: The Poetry of the Psalms as a Test Case." Bulletin for Biblical Research 22, no. 2 (January 1, 2012): 157–88. http://dx.doi.org/10.2307/26424751.

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Abstract This article is intended to be an exegetically useful foundation for a theory of Biblical Hebrew (lyrical) poetry, with the center of gravity in the psalms. I take up the research on poetry of pioneer linguists and literary theorists Bühler-Jakobson and Lotman and its application to Biblical Hebrew poetry by, among others, Alter, Berlin, and Nel. I describe "repetition" (or recurrence) as the basic phenomenon. It subsumes not only parallelismus membrorum but also other forms of poetic and structural equivalence. This characteristic feature of biblical poetry establishes a multidimensional network of intra- and extratextual connections that produces a compaction and polysemy not found in the same density and complexity in other literary genres. Important insights are exemplified by three psalms that I have selected for their appropriateness (Pss 3, 13, and 130). The purpose is to elucidate the theory and make it useful for the exegesis of lyrical biblical texts.

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Smelik, Willem. "A Biblical Aramaic Pastiche from the Cairo Geniza." Aramaic Studies 9, no. 2 (2011): 325–39. http://dx.doi.org/10.1163/147783511x619881.

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Abstract Two fragments in the Cambridge Genizah Collections preserve an odd specimen of Aramaic liturgical poetry in two copies. The poem is a pastiche from Biblical Aramaic phrases, recycled with occasional later Aramaic or Hebrew supplements and supplemented with Biblical Hebrew citations. The biblical lexemes were lifted out of their original co-text and rearranged as an acrostic. The poem celebrates the reconstruction of the Temple and the city walls in the face of fierce opposition, a theme markedly enriched with eschatological motifs. It is quite difficult to date this specimen of mixed Aramaic poetry, but the dialect admixture and some dialect features suggest a relative date in the last quarter of the second millennium CE.

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Avraham, Gidon. "Towards a standardised presentation of compounds in Avot Yeshurun's later poetry (1974–1992)." Terminology 4, no. 2 (January 1, 1997): 303–41. http://dx.doi.org/10.1075/term.4.2.05avr.

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Hebrew authors, and in particular a number of prominent poets, have played an important role in the development of today's Hebrew. Compounding operations by the Polish-Israeli poet Avot Yeshurun continue this tradition by reuse of earlier language components for the application of a linguistic strategy. Most of the time it is done in accordance with normative requirements for word formation in Hebrew. The poet's reuse of biblical Hebrew language components (as linguistic and conceptual common denominators) involves three levels of usage: the primary biblical usage, choice of a marker function, and a secondary (innovative) usage of language components in compounding. The secondary usage (reuse) is a product of the interaction among a literary device (metonymy, supported by linkage to the primary source), language components (N + N compound), and a conceptual common denominator marked by the transposed usage of a known biblical language component in a new environment (a poem). I suggest that Yeshurun accomplishes systematic correspondence in compounding. Could such neologisms, or innovative compounding, be described as part of a terminologisation process ? Will the application of terminography and terminological methods of description to Yeshurun's compounds supply us with an accurate tool of research for the study of word- and term-formation strategies in Hebrew literature?

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Notarius, Tania. "Passive Voice in Ugaritic and Biblical Hebrew in the Historical Linguistic Perspective." Zeitschrift für die alttestamentliche Wissenschaft 135, no. 1 (February 23, 2023): 71–85. http://dx.doi.org/10.1515/zaw-2023-1005.

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Abstract Passive diathesis in Ugaritic and Biblical Hebrew is expressed by four morphological categories: Qal passive stem, Niphal stem, Qal passive participle, and impersonal construction. The distribution and functions of these categories are not proportional at different stages of the development of these languages. This paper concentrates on the distribution of Qal passive and Niphal stems. In the language of Ugaritic poetry G passive is the prevailing category; in the language of Ugaritic prose both G passive and N-stem are used to express passivity. In the languages of Classical Biblical Hebrew prose there are examples of Qal passive and Niphal in the passive function, but the situation is essentially different from Ugaritic: in Hebrew the lexical overlap between these stems is broader, and Niphal can be used in impersonal passive constructions. In Late Biblical Hebrew Qal passive is practically out of use. In Qumran Hebrew the Qal passive forms are sporadically attested, apparently as an archaizing retention.

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Shacham, Chaya. "Jew, Zionist, Hebrew, or Israeli?" AJS Review 28, no. 1 (April 2004): 173–88. http://dx.doi.org/10.1017/s0364009404000108.

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The life story of Jacob, one of the longest and most complex of the Bible narratives, is a mine for the imagination of modern writers. Hebrew writers of poetry and prose have been drawn to Jacob's biblical tale and have made it the overt or latent intertext in their work.

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Tania Notarius. "“Double Segmentation” in Biblical Hebrew Poetry and the Poetic Cantillation System." Zeitschrift der Deutschen Morgenländischen Gesellschaft 168, no. 2 (2018): 333. http://dx.doi.org/10.13173/zeitdeutmorggese.168.2.0333.

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Raz, Yosefa. "Robert Lowth’s Bible: Between Seraphic Choirs and Prophetic Weakness." Modern Language Quarterly 81, no. 2 (June 1, 2020): 139–67. http://dx.doi.org/10.1215/00267929-8151546.

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Abstract Between 1741 and 1750 Robert Lowth, Oxford’s fifth chair of poetry, presented a series of groundbreaking lectures that reimagined the Hebrew Bible as literature, emphasizing its artful formal qualities. Today he is best known for rediscovering the parallelism of ancient Hebrew poetry, which he imagined as originating in the responsive singing of the seraphim. At a time when the divine authority of the Bible was waning, the reclassification of large swaths of prophecy as poetry helped Lowth extol the human figure of the prophet as a literary genius. Lowth idealized the prophetic-poetic text as “strong”: artful, controlled, ordered, and balanced. He responded to an anxiety about the place of the Bible and biblical prophecy in eighteenth-century English society by disavowing or minimizing the irregularities, stutters, and fissures in prophecy. But by introducing prophecy into poetry, Lowth—with much ambivalence—also ushered more passion, enthusiasm, and subjectivity into neoclassical English poetry. Despite his attempts to minimize the formal and theological weaknesses he found in the prophetic text, his scholarly project also transmitted them into English literature, allowing Romantic poets like William Blake to draw on biblical prophetic weaknesses in constructing their own complex prophetic positions.

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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.

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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interpretation of Persian classical poetry, first and foremost the ghazals, the love poems by Hâfiz, while composing his work Der westöstlicher Divan . This article offers a comparative study of Goethe’s translation and interpretation of Song of Songs, discussing its major motives, the dialectic of profane love and the sacred, confusion and disorientation, drunkenness, erotic desire, and gender ambiguities. It refers to Goethe’s translation of the Hebrew poem also in conjunction with a critical, decolonial review of Weltliteratur (world literature). Goethe’s Song of Songs serves us as a map of literary interactions, in which the German, the Hebrew and the Persian are brought into conversation.

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Smith, John Arthur. "Musical aspects of Old Testament canticles in their biblical setting." Early Music History 17 (October 1998): 221–64. http://dx.doi.org/10.1017/s0261127900001650.

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The Hebrew Old Testament contains, besides prose narratives and laws, a considerable amount of poetry. The books of Lamentations, Proverbs and Psalms and the Song of Solomon, together with the prophetic oracles that make up the books of Amos, Habakkuk, Joel, Micah, Nahum, Obadiah and Zephaniah, consist entirely, or almost entirely, of poetry. In several other books, especially Job and the books of the prophets Haggai, Isaiah and Jeremiah, poetry predominates, while in the books of history and law, although prose predominates, poetry is never entirely absent, brief though its manifestations sometimes are. The vast majority of the poetry is sacred, as would be expected from texts that occur within religious writings. The relatively small amount of profane poetry consists of a handful of short examples and the Song of Solomon.

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Jac. van Bekkum, Wout. "Qumran Poetry and Piyyut: Some Observations on Hebrew Poetic Traditions in Biblical and Post-Biblical Times." Zutot 2, no. 1 (2002): 26–33. http://dx.doi.org/10.1163/187502102788638941.

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Münz-Manor, Ophir. "Liturgical Poetry in the Late Antique Near East." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 336–61. http://dx.doi.org/10.30965/21967954-00103005.

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The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.

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Cooper, Alan, Dennis Pardee, Willem van der Meer, and Johannes C. de Moor. "Two Recent Works on the Structure of Biblical Hebrew Poetry." Journal of the American Oriental Society 110, no. 4 (October 1990): 687. http://dx.doi.org/10.2307/602897.

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Dzera, Oksana. "Biblical conceptual sphere as a concept of Taras Shevchenko's idiostyle and its reverbalization in Ukrainian bible translations." Actual issues of Ukrainian linguistics: theory and practice, no. 36 (2018): 155–70. http://dx.doi.org/10.17721/apultp.2018.36.155-170.

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The article elaborates the analysis of Ukrainian translations of the Holy Scripture through the prism of Shevchenko’s metabiblical images. Biblical conceptual sphere is defined as a fragment of biblical picture of the world shaped on the basis of Old Hebrew, less frequently Old Greek imagery and represented by the totality of concepts which are connected through overlapping, interrelation, hierarchy and opposition and are thematically grouped. Verbalizers of biblical concepts contain the complex accumulation of senses reflecting correlations between God and people through specific world perception of ancient Hebrews. The mediating link between the Bible prototext and biblical metatexts is created by national translations of the Holy Scripture that shape national biblical conceptual spheres via multiple deviations of the Hebrew and Greek sources. The deviations affect national phraseology as well as individual authors’ interpretations of the Book of Books. Special attention is devoted to recursive deviation which manifests itself when a national biblical conceptual sphere and even national translations of the Bible contain elements of authors’ biblical intertexts. Taras Shevchenko’s poetry is viewed as the primary Ukrainian recursive biblical intertext. His idiostyle is characterized by the verbalization of biblical concepts through overlapping biblical and nationally-bound senses. Metabiblical images of Shevchenko’s idiostyle are tracked down to the Bible translation done by I. Khomenko and edited by I. Kostetskyij and V. Barka. The editors who represented the baroque tradition of the Ukrainian translation domesticated Khomenko’s version and introduced into it elements of the Ukrainian metabiblical conceptual sphere, predominantly Shevchenko’s metabiblical images. I. Khomenko himself did not approve of this strategy and regarded it as a violation of the Word of God. Yet the monastic order of St. Basil the Great that commissioned this translation did not consult the translator before publishing its edited version. Similar domesticating strategy is observed in the first Ukrainian complete translation of the Bible done by P. Kulish, I. Puluj, and I. Nechuj-Levycjkyj in 1903. Shevchenko’s influence is particularly felt in epithets specifying key biblical images, such as enemy (лютий / fierce) and heart (тихе / meek). Though each book of the Holy Scripture in this translation is ascribed to only one translator of the three it seems logical to surmise that P. Kulish, the founder of the baroque translation tradition in Ukraine, was the first to draw images from Shevchenko’s metabiblical conceptual sphere. The article postulates the necessity to perceive Shevchenko’s poetry as a complete Biblical intertext which not only interprets national biblical canon but also generates it.

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Siegismund, Kasper. "The death of a virtuous woman? Proverbs 31.10-31, gnomic qatal, and the role of translation in the analysis of the Hebrew verbal system." Journal for the Study of the Old Testament 43, no. 3 (March 2019): 284–300. http://dx.doi.org/10.1177/0309089217705277.

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This article draws attention to the phenomenon of translation-based interference in the analysis of Biblical Hebrew. It is argued that the so-called gnomic qatal only exists when we translate certain passages in a certain way. Based on Joüon’s approach to the verbs in Prov 31.10-31, it is demonstrated that it is possible to interpret the woman in the poem as deceased. Consequently, the predominant verbal forms in the passage ( qatal and wayyiqtol) are not gnomic, contrary to the almost universal rendering of the forms as present tense in modern translations. Rather, they have their usual anterior meaning. Other examples of translation-based interference in the analysis of Biblical Hebrew (including the question of the verbs in biblical poetry) are discussed, and a case is made for relative tense as the appropriate category for describing the semantic content of the basic opposition between the (non-volitive) finite verbal forms.

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Tsumura, D. T. "Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics. Paternoster Biblical Monographs." Bulletin for Biblical Research 19, no. 4 (January 1, 2009): 599–600. http://dx.doi.org/10.2307/26423702.

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Chau, Kevin. "METAPHORâ€™S FORGOTTEN BROTHER: A SURVEY OF METONYMY IN BIBLICAL HEBREW POETRY." Journal for Semitics 23, no. 2 (November 21, 2017): 633–52. http://dx.doi.org/10.25159/1013-8471/3510.

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Metaphor has long been a subject of interest for biblical scholarship; however metonymy, which is closely related to metaphor, has received far less attention. Metaphor and metonymy are distinct in their conceptual processes, metaphor juxtaposes two conceptually distinct domains and metonymy creates relationships within one conceptual domain, but they share many similarities and often function in concert in poetry. Although metaphor has received the lionâ€™s share of our attention, further study of metonymy will enrich our knowledge of metaphor and the poetics behind biblical poetry (i.e., the mechanisms and principles that govern poetry). This article introduces the two main forms of metonymy: taxonomic and partonomic. Taxonomic metonymy is based upon relationships between a more comprehensive and less comprehensive category (e.g., SPECIFIC FOR GENERAL), and partonomic metonymy is based upon contiguous relationships (e.g., PART FOR WHOLE). It surveys the various poetic functions of partonomic metonymy (semantic compaction, oblique reference, and semantic multivalency), and concludes by illustrating how accounting for metonymy can aid in solving the interpretive difficulties in the poetic passage of Jr 5:15-16.

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Bloch, Yigal. "The Prefixed Perfective and the Dating of Early Hebrew Poetry—A Re-Evaluation." Vetus Testamentum 59, no. 1 (2009): 34–70. http://dx.doi.org/10.1163/156853308x377851.

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AbstractThis article takes issue with the theory that those Biblical Hebrew poems, which show an extensive use of verbal forms belonging to the short prefix-conjugation (Northwest Semitic yaqtul) to signify complete situations in the past without the conjunction w-, were composed at an early date (c. 13th-10th centuries B.C.E.). The article takes as its starting point the fundamental discussion by David A. Robertson (1972) and argues that Robertson's neglect of the Masoretic spelling and vocalization, which often help to distinguish between the short and long prefix-conjugations in Biblical Hebrew, is unjustified. Then, it is shown that although in those biblical poems, which are commonly identified as early, short prefixed verbal forms are used to signify complete situations in the past more frequently without the conjunction w- than with it, the use of such forms with the conjunction w- (in the wayyiqtol construction) is also attested in those poems. And on the other hand, a similar pattern of use of short prefixed verbal forms to signify complete situations in the past—more frequently without the conjunction w- than with it—appears also in two poetic texts that are commonly dated to the 6th century B.C.E.: Isa. 41:1-5 and Ps. 44.

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Tsumura, David Toshio. "Vertical Grammar of Biblical Hebrew Parallelism: The AXX’B Pattern in Tetracolons." Vetus Testamentum 69, no. 3 (July 8, 2019): 447–59. http://dx.doi.org/10.1163/15685330-12341364.

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AbstractIn Hebrew poetry, a vertical grammatical relation between two parallel lines can be noted in bicolons such as Ps 18:42. One can also recognize the vertical grammar between the first and the last lines of a tetracolon, in such passages as Amos 1:5, Job 12:24-25, 2 Sam 3:33b-34c, Ps 89:36-37, and 2 Sam 7:22. In this pattern, the AXX’B pattern, the middle two lines are a bicolon (XX’) inserted into another bicolon (AB). In this article I focus on the vertical grammatical relationship between line A and line B, which constitute either a simple sentence or a complex sentence in the Hebrew text.

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Šimić, Krešimir. "On the Newer Literary-Critical Approach to Biblical Poetry." Kairos 17, no. 2 (December 8, 2023): 149–62. http://dx.doi.org/10.32862/k.17.2.3.

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This presentation discusses the views of three renowned authors – James Kugel, Robert Alter, and Jan Fokkelman – known for their literary-critical approach to the Bible, concerning biblical poetry. According to Kugel, looking at the Bible through the lens of division into poetry and prose (lyrical and epic literature) means looking at it wrongly. He maintains that even meticulous analyses of parallelism can be distorted if viewed through this lens. Therefore, Kugel asserts that there is no poetry in the Bible but rather a “continuum” of loosely connected parallel structures in what we see as prose sections and “heightened rhetoric” in what we often erroneously consider verses. According to Alter, biblical poetry is based on semantic parallelism. However, he points out that poetic expression deliberately avoids complete parallelism, just as language resists mere synonyms by introducing subtle differences between related terms. In contrast, Fokkelman believes that combining prose and poetry, and even transitioning between them, is possible because most Hebrew sentences contain two to eight words and are usually linked in sequences through parataxis (using “… and… and… but… and then”). All three opinions lead to the conclusion that biblical poetry, like prose, is to a large extent sui generis, and that any distinction between poetry and prose, if it exists at all, is not of the same nature as in Western literary culture and it is, therefore, inappropriate to refer to prosimetrum in the Bible.

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Miller, C. L. "Vocative Syntax in Biblical Hebrew Prose and Poetry: A Preliminary Analysis." Journal of Semitic Studies 55, no. 2 (June 29, 2010): 347–64. http://dx.doi.org/10.1093/jss/fgq002.

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Sivan, Daniel, and Shamir Yona. "Pivot Words or Expressions in Biblical Hebrew and in Ugaritic Poetry." Vetus Testamentum 48, no. 3 (1998): 399–407. http://dx.doi.org/10.1163/1568533982722469.

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Locatell, Christian. "Translating and Exegeting Hebrew Poetry: Illustrated with Psalm 70." Journal of Translation 11, no. 1 (2015): 35–60. http://dx.doi.org/10.54395/jot-p46yv.

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Biblical Hebrew (BH) poetry poses unique challenges to translators and exegetes because of its often complex textual development, its defamiliarized mode of communication, and its understudied relationship to its co-text. While a comprehensive analysis is welcomed for any discourse type, the unique challenges of BH poetry call for a holistic approach that marshals insights from the extra-linguistic setting, co-text, and multifaceted discourse features. The method of discourse analysis proposed by Wendland (1994) seems to provide a helpful framework for such investigation. Applying this approach to Psalm 70—a short, but incredibly multifaceted text—reveals the value of this sort of comprehensive, interdisciplinary analysis. Additionally, following the application of Lambrecht’s (1994) theory of information structure (IS) to BH by Van der Merwe et al. (forthcoming), I propose that the Psalms may use parallel word order variation patterns beyond their IS purposes to create coherence relations at the discourse level.

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Decter, Jonathan. "The Jewish Ahl al-Adab of al-Andalus." Journal of Arabic Literature 50, no. 3-4 (November 11, 2019): 325–41. http://dx.doi.org/10.1163/1570064x-12341390.

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Abstract This article studies the use of adab and related terminology among medieval Jewish authors with particular attention to shifts in cultural and religious sensibilities, matters of group cohesion and self-definition, and the contours of adab discourse across religious boundaries. The article demonstrates that, although Jews in the Islamic East in the tenth century internalized adab as a cultural concept, it was in al-Andalus that Jews first self-consciously presented themselves as udabā. The article focuses on works of Judeo-Arabic biblical exegesis, grammar, and poetics as well as Hebrew poetry composed after the style of Arabic poetry.

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Koplowitz-Breier, Anat. "A Nameless Bride of Death: Jephthah’s Daughter in American Jewish Women’s Poetry." Open Theology 6, no. 1 (January 25, 2020): 1–14. http://dx.doi.org/10.1515/opth-2020-0001.

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AbstractIn the Hebrew Bible, Jephthah’s daughter has neither name nor heir. The biblical account (Judg. 11:30–40) is somber—a daughter due to be sacrificed because of her father’s rash vow. The theme has inspired numerous midrashim and over five hundred artistic works since the Renaissance. Traditionally barred from studying the Jewish canon as women, many Jewish feminists are now adopting the midrashicpoetry tradition as a way of vivifying the female characters in the Hebrew Bible. The five on which this article centers focus on Jephthah’s daughter, letting her tell her (side of the) story and imputing feelings and emotions to her. Although not giving her a name, they hereby commemorate her existence—and stake a claim for their own presence, autonomy, and active participation in tradition and society as Jewish women.

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Landy, Francis. "Shamanic Poetics." Religion and Theology 27, no. 1-2 (July 21, 2020): 1–14. http://dx.doi.org/10.1163/15743012-bja10002.

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Abstract This essay examines the relationship between the biblical prophets and prophetic poetry in terms of the “shamanic complex.” First, a short characterization is given of the phenomenon of shamanism in archaic societies, shamanic techniques and alternate states of consciousness, as well as the social, cultural, and political role of shamanic figures. Second, the similarity between shamanism and biblical prophecy is considered. Third, the figure of First Isaiah as presented in the eponymous book in the Hebrew Bible is analyzed in terms of the shamanic complex and shamanic poetics as to aspects of his initiation as prophet and represented features of his actions as prophet.

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Holmstedt, R. D. "NICHOLAS P. LUNN, Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics (Paternoster Biblical Monographs)." Journal of Semitic Studies 54, no. 1 (March 1, 2009): 283–85. http://dx.doi.org/10.1093/jss/fgn066.

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СЕМЕРИН, ХРИСТИНА. "ҐЕНДЕРНІ ВИМІРИ ЄВРЕЙСЬКОЇ ТЕМИ У ПОЕЗІЇ ЛЕСІ УКРАЇНКИ." Studia Ukrainica Posnaniensia 8, no. 2 (December 31, 2020): 97–105. http://dx.doi.org/10.14746/sup.2020.8.2.07.

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In the article, Lesia Ukrainka’s poetry based on the Jewish cultural motifs and archetypal plots, mainly of biblical genesis, has been studied. Selected poems are being examined through the lens of imagology and gender theory. The author emphasizes gender nuancing of the Jewish theme developed in the poetry. In the study, the noticeable imagological, and gender aspects are being considered as follows: the legitimation of national identity by gender interactions; a detection of mothers’ competition under the patriarchal pressure; the discourse of a gender communicative abyss; the equalization, and the abolition of gender restrictions in order to create the idea of a person of integrity regardless gender values. In conclusion, it should be noted that the intricate social history of the Hebrew women is being transposed into Ukrainian modernity in Lesia Ukrainka’s poetry.

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Cooper, Howard. "Jonah Unbound." European Judaism 54, no. 2 (September 1, 2021): 84–93. http://dx.doi.org/10.3167/ej.2021.540210.

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The Hebrew Bible is a compilation of literary ‘fictions’ and poetry that evoke ‘the truth of the human condition’ (Elena Ferrante). This article retells the story of the Book of Jonah from the first-person perspective of ‘Jonah’. The fictional narrative is rooted in the language and themes of the original biblical text. Jonah is still angry with God’s forgiveness of the Ninevites, and readers’ complicity in the always-recurring flight from taking responsibility to act against evil in the world. As Jonah tells his story, he regresses into a manic state that parallels chapter 2 of the biblical book. The narrative moves into reflections about humanity’s lack of compassion for the natural world, and Jonah’s fears about the forthcoming ‘ecocide’ of the planet.

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Notarius, T. "ROBYN VERN, Dating Archaic Biblical Hebrew Poetry: A Critique of the Linguistic Arguments." Journal of Semitic Studies 60, no. 1 (March 19, 2015): 244–48. http://dx.doi.org/10.1093/jss/fgu044.

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Kozhushnyi, Oleh. "LINGUISTIC SCHOLIA TO THE UKRAINIAN TRANSLATION OF THE 4th – 5th PSALMS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 72–76. http://dx.doi.org/10.17721/1728-2659.2023.34.13.

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The Psalter is the most famous collection of religious poetry in the world, which is actively used during religious services by representatives of all Abrahamic religions. In view of this, the constant work of theologians and philologists on the interpretation and translation of psalms into different languages and for different intended audiences is going on. Despite the emergence of isolated attempts to translate the Psalter into the modern Ukrainian literary language, the study of biblical poetry from the point of view of the relationship between the Hebrew and Greek texts, as well as their adequate reproduction in the Ukrainian language, taking into account the active centuries-long use of the Slavic translation, remains relevant for the domestic scientific and theological community. Pointing out a practical way to solve this problem, the author proposes his own linguistic scholia to the Masoretic, Greek and Slavic texts of the 4-5 Psalms and also offers a version of their translation. The original texts from Biblia Hebraica Stuttgartensia and Septuaginta were used for the work, as well as the commonly used text of the Psalter in the Church Slavonic language. As for Ukrainian translators, the researcher focuses on the liturgical Psalter in the Kyiv translation of 1920, the text of which was edited in 1947 by professors of the Ukrainian Theological Academy in Munich, and the Book of Psalms from the translation department of the Ukrainian Bible Society in 2016: this text claims to be academic and is the latest linguistic word on this topic in Ukrainian biblical studies. The material presented in the article will be useful not only for the Ukrainian specialists in the biblical studies but also for philologists-translators, literary scholars – all those who are interested in hermeneutics and exegesis of the biblical texts.

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Pardee, Dennis. "Directions in Biblical Hebrew Poetry. Elaine R. FollisThe Structural Analysis of Biblical and Canaanite Poetry. W. van der Meer , J. C. de Moor." Journal of Near Eastern Studies 52, no. 2 (April 1993): 155–57. http://dx.doi.org/10.1086/373619.

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Koplowitz-Breier, Anat. "Commemorating the Nameless Wives of the Bible: Midrashic Poems by Contemporary American-Jewish Women." Religions 11, no. 7 (July 17, 2020): 365. http://dx.doi.org/10.3390/rel11070365.

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A proper name individualizes a person, the lack of it making him or her less noticeable. This insight is apt in regard to the nameless women in the Hebrew Bible, a resolutely androcentric work. As Judaism traditionally barred women from studying, many Jewish feminists have sought access to the Jewish canon. Much of American-Jewish women’s poetry can thus be viewed as belonging to the midrashic-poetry tradition, attempting to vivify the biblical women by “revisioning” the Bible. This article examines two nameless wives who, although barely noted in the biblical text, play a significant role in their husbands’ stories—Mrs. Noah and Mrs. Job. Although numerous exegetes have noted them across history, few have delved into their emotions and characters. Exploration of the way in which contemporary Jewish-American poets treat these women and connect them to their own world(s) is thus of great interest to both modern and biblical scholars. Herein I focus on five poets: Elaine Rose Glickman (“Parashat Noach”), Barbara D. Holender (“Noah’s Wife,” and “Job’s Wife”), Oriana Ivy (“Mrs. Noah,” and “Job’s Wife”), Shirley Kaufman (“Job’s Wife”), and Sherri Waas Shunfenthal (“Noah’s Wife Speaks,” “The Animals are our Friends,” “Time,” and “Arc of Peace”).

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Fedotova, E. Ya. "Light and colour in biblical theology." Journal of Visual Theology 5, no. 2 (2023): 151–63. http://dx.doi.org/10.34680/vistheo-2023-5-2-151-163.

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Visualisation of verbal languaging, both speech and written texts, goes back to the very dawn of culture and might well be traced back to ancient texts including the Bible. It is well known that fundamental biblical imagery together with related concepts form the basis of European art, culture, and mentality. The very possibility to visualise words draws on the met-aphorical dimension of language and enriches our understanding of both speech and texts. Imagery has its place in biblical exegesis; without it our interpretation of biblical narratives and poetry would be incomplete or even inadequate. This article explores some instruments of figurative expression of theological concepts in the Bible, namely, how lightand colourin the biblical narrative help to visualise the image of God. Contextual analysis shows that the notion of ‘light’in the Bible is almost always associated with divinity. Being God’s first creation, lightin the Bible becomes an important sign of His immanence in the world. Time and again God’s presence is marked with luminous or fiery objects. The word̓ôr (‘light’in Hebrew) is used as an attribute, epithet or even the very name of God.

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Boda, Mark J. "Poethics? The Use of Biblical Hebrew Poetry in Ethical Reflection on the Old Testament." Currents in Biblical Research 14, no. 1 (October 2015): 45–61. http://dx.doi.org/10.1177/1476993x14536486.

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DeCaen, Vincent. "Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics (review)." Hebrew Studies 49, no. 1 (2008): 322–24. http://dx.doi.org/10.1353/hbr.2008.0021.

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Kuśmirek, Anna. "“Jacob’s Blessing” (Gen 49:1–28) in Targumic Interpretation." Collectanea Theologica 90, no. 5 (March 29, 2021): 95–122. http://dx.doi.org/10.21697/ct.2020.90.5.06.

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Genesis 49 shows the scene that takes place at the deathbed of the patriarch Jacob. In the face of his upcoming death, Jacob calls on all of his sons that they may listen to and accept his words of valediction. The patriarch addresses each of them individually. This piece of text serves an example of the biblical poetry in which metaphors play an important role. In the Hebrew text there are words and phrases that raise many doubts and questions. Not only contemporary translators and biblical scholars contend with these difficulties, but ancient and medieval commentators did as well. The Aramaic Targums testify to the early Jewish exegesis and interpretation of Gen 49. This article presents the paraphrase and discusses a few selected verses of the Aramaic version of Torah (Tg. Onq., Tg. Neof., Frg. Tg(s)., Tg. Ps.-J.). Based on the above examples, the development of principal Jewish views on eschatology (49:1-2) and of Messianic expectations in context of Jacob’s blessing of the tribe of Judah (49:8-12) is portrayed. The last part of this article comprises the rendering and the meaning of the Targumic animal metaphors based on the examples of Issachar (49:14-15) and of Benjamin (49:27) that significantly differ from the Hebrew text.

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Watson, W. G. E. "Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics. By NICHOLAS P. LUNN." Journal of Theological Studies 59, no. 1 (February 6, 2008): 193–95. http://dx.doi.org/10.1093/jts/flm133.

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Barzilai, Maya. "“One Should Finally Learn How to Read This Breath”: Paul Celan and the Buber-Rosenzweig Bible." Comparative Literature 71, no. 4 (December 1, 2019): 436–54. http://dx.doi.org/10.1215/00104124-7709613.

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Abstract This article examines Paul Celan’s use of the terms cola and breath-unit in his notes for the 1960 “Meridian” address. In the 1920s, Martin Buber and Franz Rosenzweig developed their “colometric translation” of the Bible, using the breath-unit to capture, in German, the spoken qualities of the Hebrew Bible by allowing the human breath to dictate line divisions. Celan repurposed the breath-unit for his post-Shoah poetics: it registered, for him, a further disruption of the Hebrew-German translational link, following the demise of the Jewish community of readers. Celan’s breath-unit became a measure of silence, marking the pauses between poetic lines as sites of interrupted breathing, which entail a painful encounter with deformation and murder. Furthermore, if Buber and Rosenzweig used their breath-inspired cola to bypass the traditional line divisions of biblical verse, Celan’s radicalized breath-unit can be understood as a response to the musicality attributed to his earlier poetry; he drew on the singularity of the breath to forge ever shorter lines and vertical, severed poems that culminate in the lost or buried word.

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Kozhushnui, Oleh. "LINGUISTIC SCHOLIA TO THE UKRAINIAN TRANSLATION OF THE 1th – 3th PSALMS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 36–40. http://dx.doi.org/10.17721/1728-2659.2022.32.07.

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The author of the article claims that the translation of the Psalter into the contemporary Ukrainian literary language and its comprehensive study remain urgent for the domestic scientific and theological community despite the individual attempts to implement this project. The correlation of the Hebrew and the Greek texts as well as their adequate reproduction in the Ukrainian language, taking into account the active centuries-old use of the Slavic translation is a problem for the contemporary translators. Pointing out a practical way to solve this problem, the author proposes his own linguistic scholia to the Masoretic, Greek and Slavic texts of the first three Psalms and also offers a version of their translation. The original texts from Biblia Hebraica Stuttgartensia and Septuaginta were used for the work, as well as the commonly used text of the Psalter in the Church Slavonic language. As for Ukrainian translators, the researcher focuses on the liturgical Psalter in the Kyiv translation of 1920, the text of which was edited in 1947 by professors of the Ukrainian Theological Academy in Munich, and the Book of Psalms from the translation department of the Ukrainian Bible Society in 2016: this text claims to be academic and is the latest linguistic word on this topic in Ukrainian biblical studies. Analyzing the original texts, the researcher pays special attention to the basic poetic principle of the biblical poetry – parallelism. He also analyzes individual lexemes, expressions and difficult-to-understand passages, which have repeatedly become the subject of professional discussion, and gives possible options for their translation. The material presented in the article will be useful not only for the Ukrainian specialists in the biblical studies but also for philologiststranslators, literary scholars – all those who are interested in hermeneutics and exegesis of the biblical texts.

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Kozhushnyi, Oleh. "LINGUISTIC SCHOLIA TO THE UKRAINIAN TRANSLATION OF THE 50th AND 90th PSALMS." Studia Linguistica, no. 16 (2020): 71–85. http://dx.doi.org/10.17721/studling2020.16.71-85.

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The author of the article claims that the translation of the Psalter into the contemporary Ukrainian literary language and its comprehensive study remain urgent for the domestic scientific and theological community despite the individual attempts to implement this project. The correlation of the Hebrew and the Greek texts as well as their adequate reproduction in the Ukrainian language, taking into account the active centuries-old use of the Slavic translation is a problem for the contemporary translators. Pointing out a practical way to solve this problem, the author proposes his own linguistic scholia to the Masoretic, Greek and Slavic texts of the most frequently used Psalms 50 and 90 and also offers a version of their translation. Analyzing the original texts, the researcher pays special attention to the basic poetic principle of the biblical poetry ̶ parallelism. He also analyzes individual lexemes, expressions and difficult-to-understand passages, which have repeatedly become the subject of professional discussion, and gives possible options for their translation. The material presented in the article will be useful not only for the Ukrainian specialists in the biblical studies, but also for philologists-translators, literary scholars, ̶ all those who are interested in hermeneutics and exegesis of the biblical texts.

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Tsolin, Dmytro. "Archaic Verbal Conjugations in Exod. 15.2–18, 21 and Deut. 32.1–43: Their Rendering in the Targums." Aramaic Studies 15, no. 1 (2017): 44–77. http://dx.doi.org/10.1163/17455227-01501004.

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Rendering Hebrew archaic verbal forms was a challenging task for the targumists who translated biblical poetry into Aramaic. Their translational technique reveals at least three aspects of morphosyntax of the verbs in the poetical discourse in Middle and Late Aramaic: a) diachronic shifts in the use of suffix (qtl) and prefix (yqtl) conjugations; b) an influence of the interpretation and the practice of oral recitation of the targums on the choice of verbal forms; and c) correlation between semantic connotations of the verbal conjugations and their aesthetic functions. In some cases, the authors of the targums simplified the semantic spectrum of the archaic conjugations in the parallel verse structure, but in others they attempted to render these verbal forms correctly. Their choice was caused by both interpretative and aesthetic tasks.

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Journal articles on the topic 'Biblical Hebrew poetry'

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