Dissertations / Theses on the topic 'Hebrew poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 46 dissertations / theses for your research on the topic 'Hebrew poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Schippers, Arie. "Arabic tradition and Hebrew innovation : Arabic themes in Hebrew Andalusian poetry /." Amsterdam : Institute for modern Near Eastern studies, Department of Arabic and Islamic studies, University of Amsterdam, 1988. http://catalogue.bnf.fr/ark:/12148/cb35454451r.
Full textHuddleston, Jonathan Luke. "Translating Biblical poetry." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
Full textMaloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.
Full textAyars, Matthew Ian. "The structure of the poetic text : structural cohesion and foregrounding as the dual rhetorical discourse function of linguistic parallelism in Biblical Hebrew poetry." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620335.
Full textTatu, Silviu. "The qatal//yiqtol (yiqtol//qatal) verbal sequence in Semitic couplets : a case study in systemic functional grammar with applications on the Hebrew Psalter and Ugaritic poetry /." Piscataway, N.J : Gorgias Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781593339586.
Full textLunn, Nicholas P. Heimerdinger Jean-Marc. "Word-order variation in biblical Hebrew poetry : differentiating pragmatic poetics /." Carlisle : Paternoster press, 2006. http://catalogue.bnf.fr/ark:/12148/cb410779456.
Full textRand, Michael Chaim. "Introduction to the grammar of Hebrew poetry in Byzantine Palestine /." Piscataway (N.J.) : Gorgias press, 2006. http://catalogue.bnf.fr/ark:/12148/cb412737947.
Full textMeir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
Full textThe effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
Jeffers, Joshua Aaron. "Ancient Yahwistic poetry the Song of the Sea in Exodus 15 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
Full textChester, Clyde Anthony. "The lion has roared a seminar on preaching from Old Testament poetry /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
Full textCobb, Olivia O'Brien. "The Contemporary Interpellation of Women Through Poetry and the Hebrew Bibleand The Rib Bridge: A Poetry Collection." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524508102177162.
Full textSoltau, Kai P. "A structural analysis of the book of Lamentations." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
Full textLeatherman, Donn Walter. "An analysis of four current theories of Hebrew verse structure /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35906.
Full textThese four theories are applied to four poetic passages from the Hebrew Bible: Judges 5:2--31, Isaiah 5:1--7, Lamentations 1 and Psalm 126. These applications show how each of these theories describes the verse structure of each of the poems. Following this, the theories and their applications to these passages are compared to determine which, if any, of these theories are effective in distinguishing poetry from prose, distinguishing one poem from another, predicting the form of a poem, and prescribing rules for the composition of poetry. The strengths and weaknesses of each theory are identified. In addition, the reasons for the failure of these theories to provide an adequate description of the verse structure of biblical Hebrew poetry are indicated.
Salem, Rafik M. "Exile and nostalgia in Arabic and Hebrew poetry of al-Andalus (Muslim Spain)." Thesis, SOAS, University of London, 1987. http://eprints.soas.ac.uk/28839/.
Full textWatt, Milton Lewis. "Re-sculpting a sacred text : towards an acceptable poetic translation of the Psalms – exemplified by Psalms 131 and 150." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97805.
Full textENGLISH ABSTRACT: The aim of this study is to make a contribution to the formulation of a set of guidelines for an acceptable poetic translation of a sacred poetic text. To achieve this definition, a thorough review of current translation theory and practice is conducted, a specific model for translating poetry is presented, two English poems are created by using the principles of the model, and these two poems are evaluatively tested against other English translations. Wendland‘s LiFE methodology combines a literary/rhetorical approach, Skopostheorie and functionalist approaches, relevance theory, cognitive linguistics, an equivalence methodology, and a respect for sacred texts. The re-sculpting model builds upon Wendland‘s approach, particularly emphasizing insights gained from analyzing literary translations of non-Biblical texts, a narrow view of translating, and the care needed when working with a sacred text. To create a poetic sacred text, three kinds of guidelines are proposed concerning: project definition, determination of acceptability, and re-sculpting. Project definition – This involves pre-project planning and research. The results of this research will enable one to specify the communicative purpose for the translation (Skopos) and to formulate a range of agreements (translation brief) that guides all aspects of the project. Determination of acceptability – Following Beekman-Callow‘s model, a basic two-fold guideline of source text accuracy and target group acceptability is adopted to avoid extreme literalness and unduly free translating. Other recommendations for achieving this dual guideline are given through strategic planning, collaboration, communication, and effective training. Re-sculpting – A metaphorical term ―re-sculpting‖ was created. The proposed definition of re-sculpting is: ―a moderately re-structured and meaning-based translation of a poetic sacred text based on theological, thematic, and other literary/rhetorical concerns‖. By working within a slightly larger semantic range, a translator has room to be creative. For example, one can re-structure over two or three lines of Hebrew poetry rather than being restricted to a single line. However, very broad re-creations of a text (e.g., restructuring an entire long poem) are not recommended in a re-sculpting approach. A narrow definition of translation is proposed that distinguishes ―translation proper‖ (where a conservative grammatical-historical hermeneutic is applied) from more extreme approaches such as excessive adaptation or excessive paraphrase. Wendland‘s ten step literary/rhetorical method of analysis is applied to Psalm 131 and Psalm 150, and two re-sculpted poems are created. Each of these poems is evaluatively compared with five other English versions, and a survey is conducted to determine how readers rate these various translations. Results of the survey show that both of the re-sculpted poems are viewed as very acceptable and poetic. Although a relatively small sample of readers was used in the survey, it is reasonable to argue, at least tentatively, that re-sculpting appears to be a valid and useful method to consider in the translation of sacred poetic texts.
AFRIKAANSE OPSOMMING: Die doel van die studie is om ʼn bydrae te maak tot die definiëring van riglyne vir die maak van ʼn aanvaarbare vertaling van ʼn godsdienstige poëtiese teks. Vir hierdie doel is ʼn indringende ondersoek na huidige tendense in die teorie en praktyk van vertaling geloods en ʼn model vir die vertaling van poësie geformuleer. Daarna is twee Engelse gedigte in terme van hierdie model geskep en beoordeel in die lig van ander Engelse vertalings van dieselfde twee gedigte. Wendland se LiFE (literêr-funksioneelekwivalente) model kombineer ʼn literêr/retoriese benadering met Skoposteorie en ander funksionalistiese benaderings, relevansieteorie en kognitiewe taalkunde. In die model word ekwivalensie aan die bronteks nagestreef terwyl die aard van ʼn godsdienstige teks gerespekteer word. Die ―resculpting model‖ bou voort op Wendland se benadering. Dit beklemtoon veral die insigte wat verkry word deur die analise van die literêre vertalings van nie-Bybelse tekste, ʼn eng opvatting van vertaling en die sensitiwiteit wat nodig is wanneer ʼn godsdienstige teks vertaal word. Vir die skep ʼn godsdienstige poëtiese teks word drie soorte riglyne voorgestel: definisie van die project, bepaling van aanvaarbaarheid en ―re-sculpting‖. Definisie van die projek – Dit behels voorafbeplanning en navorsing. Die bevindings van die navorsing maak die identifisering van die kommunikatiewe doel (Skopos) van die vertaling moontlik, asook die formulering van ʼn vertaalopdrag. In laasgenoemde word ʼn aantal afsprake wat alle aspekte van die projek rig, geformuleer. Bepaling van aanvaarbaarheid – In navolging van Beekman-Callow word die vermyding van, aan die een kant, ekstreem letterlike en, aan die ander kant, onnodig vrye vertaalkeuses as ʼn basiese tweeledige riglyn vir aanvaarbaarheid beskou. ʼn Verdere manier om aanvaarbaarheid te verseker is deur middel van strategiese beplanning, samewerking, kommunikasie en effektiewe opleiding. ―Re-sculpting‖ – ʼn Model van ―re-sculpting‖ word voorgestel. ―Re-sculpting‖ is ʼn metafoor wat geskep is en wat beskryf kan word as ―ʼn gematigde hergestruktureerde en betekenis-geörienteerde vertaling van ʼn poëtiese godsdienstige teks wat berus op teologiese, tematiese en ander literêre/retoriese oorwegings‖. Deur met ʼn effense breër semantiese horison as een kolon te werk (in Hebreeus, tipies op die vlak van die bi-kolon of tri-kolon), het ʼn vertaler ruimte om kreatief te wees. Herskeppings op ʼn breër vlak (byvoorbeeld, die hele gedig), word nie in terme van hierdie model aanbeveel nie. ʼn Eng definisie van vertaling (wat op grammaties-historiese hermeneutiek berus en waarin waarde geheg word aan historiese geloofwaardigheid) word aanbeveel. Hierdie opvatting van vertaling word onderskei van meer ekstreme benaderings waarin selfs verwerkings en parafrases van 'n bronteks as vertalings beskou word. Wendland se retories/literêre analise in tien stappe word gebruik om Psalm 131 en 150 te ontleed. Twee ―re-sculpted‖ gedigte word geskep. Elk van hierdie gedigte word met vyf ander vertalings vergelyk en ʼn ondersoek word geloods om te bepaal hoe lesers die verskillende vertalings beöordeel. Daar word bevind dat lesers beide hierdie ―re-sculpted‖ gedigte as heel aanvaarbaar en poëties beskou. Alhoewel die relatief klein aantal lesers wat in die ondersoek gebruik is, nie as ʼn verteenwoordige monster beskou kan word nie, is dit redelik om te argumenteer (ten minste voorlopig) dat ―re-sculpting‖ ʼn geldige en nuttige metafoor is om te gebruik in die vertaling van godsdienstige poëtiese tekste.
Rodeman, Juliet M. "The anticipatory elegy /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9717163.
Full text"This dissertation is a combination of a critical essay and an original collection of poetry" -- P. ii. Typescript. Vita. Includes bibliographical references (leaves 42-43). Also available on the Internet.
David, Alun Morris. "Christopher Smart and the Hebrew Bible : poetry and biblical criticism in England (1682-1771)." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321555.
Full textJúnior, Edson Magalhães Nunes. "Uma introdução geral à poesia hebraica bíblica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8158/tde-15032013-101615/.
Full textWhen dealing with most part of the Hebrew Bible, the reader must be aware of what is biblical Hebrew poetry, its characteristics, peculiarities and details in order to understand and appreciate the text. Since there isn\'t a Hebrew manual of poetics, the debate about the biblical Hebrew poetry comprises from its presence in the text to its general and specific characteristics. The following research presents a brief discussion about Hebrew Bible in the current academic scenario, as the characteristics of this kind of poetry with an emphasis in parallelism.
Rudavsky-Brody, Miriam. "Solomon ibn Gabirol and Samuel ibn Naghrela: An Examination of Life and Death." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374014712.
Full textLepre, Stefanie. "Leserlenkung in der Bibel : die Informationsgliederung in poetischen hebräischen Bibeltexten und ihren deutschen Übersetzungen." Stuttgart Dt. Bibelges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2896428&prov=M&dokv̲ar=1&doke̲xt=htm.
Full textVincent, Mark Anthony. "From Sinai to Jerusalem : a study of the Hebrew text of Psalm 68." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/1237/.
Full textLunn, Nicholas Peter. "Word order variation in Biblical Hebrew poetry : the role of pragmatics and poetics in the verbal clause." Thesis, Brunel University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401557.
Full textStocks, Simon Paul. "The function of the tricolon in the Psalms of Ascents." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-function-of-the-tricolon-in-the-psalms-of-ascents(23ccae88-89a8-4737-a59a-b3a603e31adc).html.
Full textFløysvik, Ingvar. "When God becomes your enemy the theology of the complaint Psalms /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
Full textGillingham, Susan E. "Personal piety in the study of the psalms : a reassessment." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:0267b635-59d5-4bf4-a453-6c9e054648e5.
Full textTatu, Silviu. "The qatal//yiqtol (yiqtol//qatal) verbal sequence in couplets in the Hebrew Psalter with special reference to Ugaritic poetry : a case study in systemic functional grammar." Thesis, Oxford Centre for Mission Studies, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430301.
Full textManor, Dory. "L'arbre sans tronc : Les Fleurs du mal de Charles Baudelaire en hébreu : présence, influence, traductions." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF001/document.
Full textThis thesis examines the history of the reception and of the immanence of Charles Baudelaire in Modern Hebrew poetry through the influence of his work on original poetic work in Hebrew and through the translations of his poems into Hebrew. As part of the latter, a detailed comparative analysis is offered of some of Baudelaire’s poems translated into Hebrew and published through the 20th century.In examining these questions we wish to examine the extent to which one may trace a correlation between, on the one hand, the translation and reception of Baudelaire’s poetry and, on the other hand, the exceptionally rapid evolution of Modern Hebrew poetic language.In every generation of Modern Hebrew poetry, Baudelaire was translated by major authors. This significant interest in his poetry can be attributed, among other reasons, to the constructive role that such translation plays in Hebrew. For, in the Hebrew context, Baudelaire's poetry has a unique role: he is both a keystone of Modern poetry in general and the starting point of Modern Hebrew poetry in particular.Modern Hebrew poetry can be compared to a tree without a trunk: Its roots – the classical Hebrew texts – are ancient and deep. Its crown – the New Hebrew creation of the last 120 years – is fresh and green. But what keeps it standing are its branches that lean on the rich offshoots of its neighbours in the forest: the foreign poetic corpora which have always nourished this young literature, born modern. Translating Baudelaire into Modern Hebrew implies, symbolically, a contribution to the retrospective grafting of a trunk to the tree
Moreira, Tarsilio Soares. "Os salmos na NTLH: uma análise da equivalência dinâmica aplicada à Poesia Hebraica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-17022014-112314/.
Full textThis research aims at analyzing the translation of the Psalms in NTLH (Nova Tradução na Linguagem de Hoje), which adopts Eugene Nidas principles of Dynamic Equivalence or Functional Equivalence, in which sense prevails over form. We investigate how this translation deals with poetic texts that abound with figures of speech and in which formal aspects generate sense. Therefore, we describe Nidas theory and some of its pertinent criticism; aspects of Hebrew Poetry; and, finally, we analyze some of the Psalms translations in NTLH.
Choi, Junho. "Understanding the literary structures of Acrostic Psalms : an analysis of selected poems." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85583.
Full textENGLISH ABSTRACT: By means of literary, linguistic and comparative literary approaches, this study examines the literary structure of the alphabetical acrostic poems in the Psalms. First, a literary approach is used to analyze the form and content of each alphabetical acrostic poem to show that the literary structure of the poems is varied. Selected Psalms 9-10, 111 and 112 are translated from the Hebrew and compared to ancient Near Eastern languages especially Akkadian and Ugaritic. Second, by means of linguistic approaches, the literary structure of each poem is determined on both micro and macro levels using the researcher’s own translations of these psalms. Furthermore, a comparative literary approach is employed to compare the forms of ancient Near Eastern acrostics, in particular Akkadian, Egyptian and Ugaritic poems, to Hebrew acrostics. The analysis reveals both similarities with other ancient Near Eastern forms as well as the uniqueness of the Hebrew alphabetical acrostic poems. Both linguistic and literary insights are used to determine the relationship between the different forms. The findings suggest that the alphabetical acrostic poems were probably written around or after 1000 B.C.E. since the ancient Near Eastern poems were written before 1000 B.C.E. The unique 22-line form of the Hebrew alphabetical acrostics also indicates that Hebrew thought was distinct from what can be observed in other ancient Near Eastern texts. On the basis of this research, a conclusion is reached and suggestions for future research are made.
AFRIKAANSE OPSOMMING: Deur literêre, linguistiese en vergelykende literêre benaderings ondersoek hierdie studie die literêre struktuur van die alfabetiese akrostiese gedigte in die Psalms. Eerstens word ‘n literêre benadering gebruik om die vorm en inhoud van elke alfabetiese lettervers te ontleed om aan te toon dat die literêre struktuur van die gedigte verskillend is. Die gekose Psalms 9-10, 111 en 112 word uit die Hebreeus vertaal en in vergelyking met die Ou-Nabye-Oosterse tale, veral Akkadiese en Ugarities, bespreek. Tweedens, deur linguistiese benaderings, word die literêre struktuur van elke gedig op beide mikro-en makro vlakke bepaal deur gebruik te maak van die navorser se eie vertalings van hierdie psalms. Verder, word ‘n vergelykende literêre benadering aangewend om die vorms van die Ou-Nabye- Oosterse akrostiese gedigte, in die besonder Akkadies, Egiptiese en Ugaritiese gedigte, met Hebreeuse akrostiese gedigte te vergelyk. Die ontleding toon die ooreenkomste met ander antieke Nabye- Oosterse vorms sowel as die uniekheid van die Hebreeuse alfabetiese akrostiese gedigte. Beide linguistiese en literêre insigte word gebruik om die verhouding tussen die verskillende vorms te bepaal. Die bevindinge dui daarop dat die alfabetiese akrostiese gedigte waarskynlik geskryf is rondom of later as 1000 vC, angesien die antieke Nabye-Oosterse gedigte voor 1000 vC geskryf is. Die unieke 22-reël vorm van die Hebreeuse alfabetiese akrostiese gedigte dui ook aan dat die Hebreeuse denke te onderskei is van wat in ander antieke Nabye-Oosterse tekste gereflekteer word. Gebaseer op hierdie navorsing, word tot ‘n gevolgtrekking gekom, en word voorstelle vir toekomstige navorsing gemaak.
Boast, Rachael. "Dark saying : a study of the Jobian dilemma in relation to contemporary ars poetica : Bedrock : poems." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/906.
Full textSantrac, Dragoslava. "Sanctuary cult in relation to religious piety in the Book of Psalms / by Dragoslava Santrac." Thesis, North-West University, 2012. http://hdl.handle.net/10394/9827.
Full textThesis (PhD (Old Testament))--North-West University, Potchefstroom Campus in association with Greenwich School of Theology, U.K., 2013.
Bejarano, Ana María. "Selomoh Bonafed, poeta y polemista hebreo." Doctoral thesis, Universitat de Barcelona, 1989. http://hdl.handle.net/10803/1745.
Full textSelomoh Bonafed es el último poeta de importancia de la poesía hebraicoespañola. Del lugar y fecha de nacimiento y muerte de Bonafed nada seguro sabemos, aunque según conjeturas nuestras a las que hemos llegado por medio de sus escritos, parece muy probable que hubiera nacido en Barcelona alrededor de 1370 y que muriera en Belchite después de 1445. Bonafed habría nacido en Barcelona de donde suponemos que huyó, ya que no se convirtió al cristianismo al estallar, en 1392, en dicha ciudad las revueltas populares que diezmaron su aljama.
Por sus escritos nos consta que Bonafed vivió además en Zaragoza, en Serós, muy probablemente en Tárrega y, ya en su vejez, en Belchite. Tres veces, en distintos encabezamientos a sus poemas, dice Bonafed que vivía en el pueblo, de Serós, situación que según sus propias palabras no le satisfacía en absoluto, quizá porque añorara los días pasados en Zaragoza en casa de su principal mecenas, Don Benveniste de la Caballería, lugar en el que se reunía a principios del siglo XV el último círculo de poetas hebreos en tierras de España ("Adat Ha-Nogenim"), del que, además de Bonafed, formaban parte los poetas Don Vidal ben Labí y Selomoh ben Mesullam de Piera.
En Zaragoza se instaló Bonafed más tarde, bien entrado ya el siglo XV. Habiendo llegado a ser un personaje influyente en la aljama de esta ciudad, tuvo que salir huyendo de ella, pues a causa de su fuerte carácter se había enemistado con los principales judíos de la aljama. Fue entonces cuando se refugió en Belchite desde donde escribió sus sarcásticos e hirientes escritos en prosa rimada contra los judíos de Zaragoza, escritos entre los que se incluyen unos poemas fechados en 1445.
Al margen de los lugares en los que Bonafed nos dice explícitamente que vivió, lo que resulta evidente es que, debido a su condición de poeta profesional, anduvo de un lado para otro en busca de clientes para sus poemas. Bonafed es el último poeta hebraico-español que intentó hacer de su poesía un medio de vida. Él mismo nos cuenta a través de sus escritos las dificultades por las que pasaba en busca de un mecenas o de un cliente ocasional al que poderle ofrecer, naturalmente a cambio de dinero, sus poemas. En ocasiones se queja Bonafed de que no sepan apreciar sus poemas, tanto por sentir herido su orgullo de poeta, y eso no lo ponemos en duda, como por saber que entonces no va a recibir renumeración pecuniaria por sus versos.
A la disputa de Tortosa acudió Bonafed con "la mayoría de los poetas del reino", y varios de sus poemas están escritos desde aquella ciudad. Los poetas seguían teniendo la función de narrar "bellamente" los acontecimientos que afectaban a la sociedad y más concretamente a su comunidad, y por esa razón acudieron también en aquella ocasión. Varios son los poemas de Bonafed que reflejan el estado de postración en que quedaron las aljamas judías de la Corona de Aragón a raíz de aquella controversia, que fue la más larga e importante de los debates entre judíos y cristianos que jamás haya habido. Repetidamente se lamenta Bonafed de que los principales hombres del judaísmo de entonces no supieran resistir la prueba. La conversión de su amigo el poeta Don Vidal ben Labí, en febrero de 1414, le causó una gran decepción y lo entristeció profundamente, hasta llegar casi a ser una obsesión a lo largo de su obra. Así mismo, el abandono de la fe judía por parte del conocido poeta Selomoh ben Mesullam de Piera, también conmocionó a Bonafed, que se lamenta de ello en varios poemas. Sin embargo, que sus amigos se convirtieran al cristianismo no supuso, que rompiera con ellos. Muchos de los escritos que nos han llegado de aquella generación son testimonio de las estrechas relaciones que seguían manteniendo los judíos y los conversos. Bonafed expresa su dolor ante la nueva situación, pero desea mantener el contacto.
A pesar de ser Bonafed uno de los autores que menos poesía religiosa nos ha dejado, fue sin duda alguna un hombre fiel a la fe de sus mayores. Repetidamente pone unas pinceladas de religiosidad en sus escritos y, en ocasiones, expone explícitamente su postura al respecto, que es la de defender la verdadera de de las almas cándidas y criticar el averroísmo que había corrompido el espíritu de los principales de su pueblo hasta arrastrarlos a la apostasía.
Además de poeta, Selomoh ben Reuben Bonafed destacó como polemista. Llegó a lo más alto del género en sus escritos contra los judíos principales de la aljama de Zaragoza. Víctima, seguramente, de su mordaz lengua, Bonafed se vio obligado a huir de Zaragoza y refugiarse en Belchite, desde donde escribió el opúsculo satírico que distribuyó entre sus amigos y conocidos. Parece, pues, que Bonafed acabó sus días buscando la imposible reconciliación con los últimos poetas de su generación, que habían traicionado su fe y su poesía, y querellándose verbalmente (como era inherente a su carácter) con la última gran aljama, ante cuya decadencia no podía permanecer impasible.
El manuscrito en el que se encuentra el "diwán" de Selomoh Bonafed es un manuscrito único, el Mich.155 (OI.809) de la Biblioteca Bodleiana de Oxford. Este códice figura con el núm. 1984 en el catálogo de Neubauer (A. Neubauer: Catalogue of the Hebrew Manuscripts in the Bodleian Library and in the College Libraries of Oxford. Clarendon Press, Oxford 1886) y ha sido descrito en esta tesis con todo lujo de detalles. Además de este manuscrito Oxoniense que ha sido utilizado como base para la edición de los poemas y que es llamado O en el aparato crítico, han sido utilizados dos manuscritos más: uno depositado en la biblioteca Sassoon de Londres y que figura con el núm. 590 en el catálogo de Sasoon "Ohel David" (S. Sassoon: "Ohel David" Descriptive Catalogue of the Hebrew and Samaritan Manuscripts in the Sassoon Library, London. London 1992) y al que se ha llamado L en el aparato crítico, y un manuscrito que se halla en la Biblioteca Montezinos de Amsterdam que figura con el núm. 440 en el catálogo de Fuks (L. Fuks: Hebrew and Judaice Manuscripts in Amsterdam Public Collections. II: Catalogue of the Manuscripts of Ets Haim / Livraria Montezinos Sephardic Communíty of Amsterdam, Leiden, 1975) y al que se ha llamado A en el aparato crítico.
Para la edición de los poemas se ha tomado, pues, como base el texto que transmite el ms. O, que ha sido vocaliado; además se presenta una traducción al castellano de los poemas.
Selomoh ben Reuben Bonafed (Barcelona ca. 1370 - Belchite ca. 1445) is the last poet of any importance in Hebrew Spanish poetry. He wrote his poetry when the period of decadence was at its highest level and died approximately 50 years before the expulsion of Spanish Jews. He was the last professional Hebrew poet and his principal patron was Don Benveniste de la Caballería. The last circle of Hebrew Spanish poets, Adat Ha-Nogenim, would meet in the house of Don Benveniste de la Caballería from the last decade of the 14th century until the Dispute of Tortosa (1414). Together with Bonafed, such poets as Don Vidal ben Labí and Selomah ben Mesullam de Piera, formed also part of this circle.
This thesis presents the critical edition and the translation of 57 poems of the "diwán" of Selomoh Bonafed which has not been published until now. The edition is based upon ene single manuscript which contains the diwán of Selomoh Bonafed and is deposited in the Bodleian Library in Oxford. The catalogue number is 1984 and it was registered by A. Neubauer, Catalogue of the Hebrew Manuscripts in the Bodleian Library and in the College Libraries of Oxford. Clarendon Press, Oxford, 1886. For the edition of eight of the poems two more- manuscripts were used: one is in the Sassoon Library in London and the other one in the Montezinos Library in Amsterdam.
The edition is preceded by an introduction studying the figure of the poet, the level of importance he reached in his time, and also his work as a polemicist and it is followed by annotated translation.
Dison, Naomi Judith. "An inquiry into the withdrawal from writing of the modern Hebrew poet Avraham ben Yitzchak." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/22105.
Full textWhen one reads Dr Sonne's poetry (Avraham ben Yitzchak, or ABY) from time to time, it strikes one as being the most unique in Hebrew, unlike all other classic poems of his era. Instead of writing about the nationalistic or Zionistic spirit, ABY dealt with the poems in a very personal but objective lyric way, which touches the heart. The nature description is unusual and unique, and the special aura or outlook, the philosophy, something that is not quite Jewish, was a taste of something else (the other, different) and this work contends that on examining this element of distinction, it became most obvious that here was a testimony of Chinese culture that had invested itself into a sensitive philosopher and touched his heart and made an imprint upon him.
Bikard, Arnaud. "La Renaissance italienne dans les rues du Ghetto : autour de l’œuvre poétique yiddish d’Élia Lévita (1469-1549)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040115.
Full textThis PhD dissertation is the first study entirely dedicated to the poetical creation of Elia Levita in Yiddish (1469-1549) and aims at defining its place in Renaissance literature by proposing a detailed analysis of the esthetical and cultural transfers this work illustrates. It locates the vernacular production of this renowned Hebraist, who was acquainted with numerous Christian Humanists, inside the Yiddish and Hebrew poetical traditions and sheds light on the new functions endorsed by the writer and the vernacular language in Jewish society at the beginning of the modern era. It also discusses the influence of external – i.e. Christian – models on the poet and insists on the participation of Levita’s chivalric romances to the global evolution of this genre in Italian literature, by underlying, in particular, the essential role played by Ariost, and his Orlando Furioso, in the progressive refinement of the author poetical practice. Finally, it analyses, for the first time, some texts of Old Yiddish literature which were still buried in manuscripts, and argues for the attribution of new works to Elia Levita, among them, a long satire about women. Elia Levita’s vernacular work not only constitutes, by its size and variety, the first modern work of Yiddish literature but it is also a rich and enlightening example of the diffusion of Renaissance esthetical models inside ethnic and social groups (the Jews and popular classes) which one might have thought untouched by such cultural transformations
Refael, Shmuel. "Hebrew Poetic Manifesto Kotzo shel yod (1878) by Y.L.Gordon translated into Ladino La punta de la yod (1901). On the oppressed state of the Jewish woman (between Ashkenaz and Sefarad)." Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6710/.
Full textKotzo shel yod von Y. L. Gordon (1832–1892) – einem wichtigen Intellektuellen der jüdischen Aufklärung – ist ein bekanntes hebräisches Gedicht. Dieses Gedicht zeichnet sich durch eine kühne, scharfe Kritik an den traditionellen jüdischen Einrichtungen aus, welche nach Meinung des Autors ein unbedingtes Überdenken erforderten. Gordons literarisches Werk ist von der jüdisch-aschkenasischen Welt inspiriert. Dieses einzigartige und innovative Gedicht wurde ins Judenspanische (Ladino) übersetzt. Der Artikel möchte die sephardische Version von Gordons Gedicht vorstellen. Es soll versucht werden, die Hintergründe für die Übersetzung dieses Werks in Ladino zu analysieren, die Rezeption der Übersetzung durch die Leserschaft und die Herausforderungen, denen sich der anonyme Übersetzer stellen musste, der das Werk der ladino-lesenden Öffentlichkeit im vollen Bewusstsein zugänglich machen wollte, dass diese Version sich deutlich vom zugrundeliegenden aschkenasischen Original unterscheidet.
Rand, Michael. "Poetry and grammar in the works of Eleazar be-rabbi Qillir : a grammatical analysis of selected liturgical poems /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3089320.
Full textReymond, Eric D. "Even unto a spark : an analysis of the parallelistic structure in the Wisdom of Ben Sira 40:11-44:15 /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951831.
Full textGryczan, Barbara. "Verbal System in the Language of Medieval Hebrew Poetry of Jehuda Halewi." Doctoral thesis, 2016. https://depotuw.ceon.pl/handle/item/2222.
Full textWiseman, Laura. "Lamentations of a Lovelorn Soul: Self-portraits in the Poetry of Dahlia Ravikovitch." Thesis, 2010. http://hdl.handle.net/1807/32957.
Full textSegal, Miryam Kronfeld Chana Alter Robert Seidman Naomi. "The Motherland speaks : new Hebrew, the new accent and the poetry of the 1920s /." 2004. http://wwwlib.umi.com/dissertations/fullcit/3165555.
Full textLieber, Laura Suzanne. ""Let me sing for my beloved" : transformations of the Song of Songs in synagogal poetry /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3097131.
Full textJoffe, Sharon. "Haim Guri: from identification to alienation." Thesis, 2015. http://hdl.handle.net/10539/18181.
Full textRANGELL, BENJAMIN. "'Choose a Language Like a Wedding Ring': Polysystems, Norms and Pseudotranslation in Lea Goldberg’s Poetry & Prose." 2019. https://scholarworks.umass.edu/masters_theses_2/851.
Full textOndrejičková, Sylva. "Italský a sicilský pijut v dobovém kontextu a jeho jedinečný přínos pozdější básnické tvorbě." Doctoral thesis, 2011. http://www.nusl.cz/ntk/nusl-311423.
Full textMiller, David Jay. "Characterisations of YHWH in the song of the vineyard : a multitextural interpretation of Isaiah 5:1-7." Thesis, 2013. http://hdl.handle.net/10500/10146.
Full textOld Testament & Ancient Near Eastern Studies
D. Litt. et Phil. (Biblical Studies)
Kang, Shinman. "Reading the book of Lamentations as a whole : canonical-literary approach to the scripture as divine communicative action." Diss., 2009. http://hdl.handle.net/2263/25614.
Full textDissertation (MA(Theology))--University of Pretoria, 2009.
Old Testament Studies
unrestricted