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Dissertations / Theses on the topic 'Hebrew poetry'
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1
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.
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Huddleston, Jonathan Luke. "Translating Biblical poetry." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Maloney, 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.
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Ayars, 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.
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The present project, by employing Roman Jakobson's conceptualisation of parallelism and literary linguistic analysis, argues that linguistic parallelism occurring at all levels of language (from phoneme to syntagmeme) in biblical Hebrew poetry has a dual rhetorical discourse function of foregrounding and structural cohesion. It is proposed that patterned grammatical-syntactic continuity and deviation at a colometric level creates poetic unity that harmonises the poem’s internal diversity and poetic variation across macrostructural levels that fosters foreground semantic components of the text. As the poetic text moves forward as a discourse, the diversity created by grammatical-syntactic deviation becomes patterned with a regular form of sequence that creates structural cohesion within the poem as discourse. After outlining the state of current research on biblical Hebrew poetry and exploring Jakobson’s poetics and their relevance to this project, the heart of the work is a detailed analysis of each poetic line in Psalms 113–118. These were chosen as a representative sample in order to test the validity of the model.
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Tatu, 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.
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Lunn, 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.
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Rand, 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.
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Meir, 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.
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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.<br>The 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).<br>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.
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Jeffers, Joshua Aaron. "Ancient Yahwistic poetry the Song of the Sea in Exodus 15 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Chester, 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.
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Cobb, 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.
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Soltau, 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.
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Leatherman, 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.
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This dissertation tests and evaluates four current theories of the verse structure of biblical Hebrew poetry. These theories are: the counting of minimal units, such as poetic feet, stresses or syllables, practiced in various forms since antiquity, and recently employed by D. N. Freedman, F. M. Cross and others, the analysis of poetic line-forms proposed by Terence Collins, the syntactic structural analysis proposed by M. O'Connor, and the semantic analysis practiced by Willow van der Meer, Johannes de Moor and a group of scholars associated with the Kampen School of Theology. All of these theories purport to identify and explain the fundamentals of biblical Hebrew verse structure. Each of these theories is presented comprehensively. These presentations include a review of literature relevant to the field of Hebrew verse structure studies in general, and to these four current theories of verse structure in particular.<br>These 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.
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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/.
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The purpose of this study is to examine the notions of "exile" (qhurba) and "nostalgia" (al-hanin ila al-Watan) in Arabic and Hebrew poetry in al-Andalus (Muslim Spain). Although this theme has been examined individually in both Arabic and Hebrew literatures, to the best of my knowledge no detailed comparative analysis has previously been undertaken. Therefore, this study sets out to compare and contrast the two literatures and cultures arising out of their co-existence in al-Andalus in the middle ages. The main characteristics of the Arabic poetry of this period are to a large extent the product of the political and social upheavals that took place in al-Andalus. Some of the cities which for many years represented the bastions of Islamic civilization were falling into the hands of the invading Christian army. This gave rise to a stream of poetry that reflects the feelings of exile and nostalgia suffered by those poets who were driven away from their native land. This Arabic poetry had a substantial influence on the literary works of the Jewish poets who were reared within the cultural circles of the Arabic courts. As a consequence the Hebrew poetry they composed, in many respects, bore the stamp of the Arabic poetry in form and content. This thesis is divided into three major parts organized as follows: the first part deals with the themes of exile and nostalgia in Arabic poetry in al-Andalus. It contains three chapters: chapter one begins with a study of the origins of the themes of exile and nostalgia in the Arabic poetic tradition. Chapter two focuses on the nostalgia and lament poetry in al-Andalus describing the characteristics of each period through examining specimens of Andalusian poems. Chapter three is devoted to a study of the poetic product of Ibn Hamdis, the Sicilian (d.1133) and discusses how the themes of exile and nostalgia became the framework of both his life and his poetry. The second part of the thesis parallels the first part in that it deals with the Hebrew poetry in al-Andalus. It consists of three chapters: chapter one investigates the origins of the concept of the homeland in the Biblical sources. Chapter two discusses the form and the structural scheme of the Hebrew poetry in al-Andalus and the influence of the Arabic poetry on the Hebrew poetic works. Chapter three is devoted to a study of the poetry of the Jewish poet, Judah ha-Levi (d.1140) and his nostalgic expressions for Zion. The third part is a comparative literary study of two specimen poems of Ibn Hamdis and ha-Levi. The aim of this study is to develop methods for an analysis of the motifs and internal structure of these two poems. The linguistic analysis is focussed mainly on the levels of phonology, morphology and syntax, while the traditional analysis is focussed primarily on the content and imagery.
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Watt, 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.
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Thesis (PhD)--Stellenbosch University, 2015.<br>ENGLISH 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.<br>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.
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Rodeman, Juliet M. "The anticipatory elegy /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9717163.
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Thesis (Ph. D.)--University of Missouri-Columbia, 1996.<br>"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.
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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.
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Júnior, 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/.
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Ao lidar com uma parte considerável da Bíblia Hebraica, o leitor precisa estar a par do que é Poesia Hebraica Bíblica, suas características, peculiaridades e nuances a fim de entender e apreciar o texto. Mas como os Hebreus não deixaram nenhum manual de poética, o debate sobre a poesia da Bíblia Hebraica envolve desde sua presença no texto até suas características gerais e específicas. No presente trabalho, apresenta-se uma breve discussão sobre a Poesia Hebraica Bíblica no cenário acadêmico atual. Também são expostas as características dessa poesia, com ênfase no paralelismo.<br>When 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.
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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.
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Lepre, 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.
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Vincent, 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/.
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This dissertation presents a study of one of the most difficult texts in the Psalter, Psalm 68. After an introduction setting out the distinctive features of my treatment and arguing for the need for a painstaking literary study, I divide my work into three sections. The first of these presents a translation with detailed notes on the text. The second explores this world of the text in more detail by examining the vocabulary of the Psalm (characterisation, semantic domains including geographical terms), its structural makeup (building from the smallest units to the largest), the central use and importance of intertextual connections, and the presence of ambiguity and `underdeterminacy'. I examine each of these as being of interest in their own right, but the ultimate purpose is to use them to deduce what a good reading of the Psalm might be and to cast light on its meaning(s) both to an original audience and to subsequenrt eaders.B y the end of this section I will have argued for a an `original' setting in the reigns of David or Solomon, one which is closely linked to the bringing of the ark to Zion and the building of the temple. My third section tackles the matter of writers and readers more explicitly. Although I shall have studied the text as one hitherto (since this is the only form in which we possess it), I now examine whether the Psalm `should' be seen as essentially a unity, and ask what can be known about its compositional history. I then turn to the question of dating, followed by a more explicit consideration of the implied audience of the text. Much work ha> been done on the possible cultic use of Psalm 68; I review this as part of my work on audience, before turning to the question of other readers in a final chapter. Although I shall have been primarily concerned with the initial meaning of Psalm 68 in the dissertation (for reasons of space), that chapter presents concluding reflections on the way in which the Psalm has been used subsequently and may sti'1 be used; I reflect on the continued power of the Psalm to speak through the centuries. Psalm 68 is indeed a complex text, but one which abundantly repays close reading and study, and one which is still fascinating, vivid, and arresting in the modern world.
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Lunn, 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.
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Stocks, 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.
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In Biblical Hebrew poetry the common bipartite line-form is sometimes varied to become tripartite, producing lines commonly designated ‘tricola’. Studies of the form or function of tricola have been limited in their value by inconsistent or ambiguous approaches to the colometry of the text. A review of theories of colometry finds the accentual rhythmical approach of Sievers to provide the most consistent and reliable analysis. This approach can be nuanced by the adoption of numerical limits on words and syllables that are commensurate with several other approaches, in order to provide an explicit and consistent basis for assessing colometry. The Psalms of Ascents are taken as a sample corpus of poetic texts and their colometry is assessed on that basis. Particular attention is paid to a detail of Sievers’ theory that identifies a six-stress tripartite line as rhythmically equivalent to a six-stress bicolon. Such a line is designated a ‘para-tricolon’ and is distinguished from a full tricolon that typically has eight or more stresses. Similarly, three different analyses of the macro-structure of each psalm are used to explore how it is structured through the connections between its component cola and lines.The internal syntactic and semantic structure of each tripartite line is analysed in order to facilitate an assessment of its function within the structure of the psalm and to contribute to a general characterisation of tripartite lines. The significance of enjambment is particularly explored as a distinguishing factor between different line-forms and as a means of uniting non-parallel cola.It is evident that no single defining characteristic of a tripartite line exists. The semantic and syntactic structures of tripartite lines both vary widely. However, clear differences are apparent between the form and function of para-tricola and those of tricola.
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Fløysvik, Ingvar. "When God becomes your enemy the theology of the complaint Psalms /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Gillingham, 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.
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The thesis concludes that because the cult-centred approach has been so concerned with the cultic functions of the psalms, it has failed to appreciate the personal contributions of the psalmists, and in so doing has often misinterpreted the primary purpose of a psalm. A life-centred reading of the Psalter is therefore a vital component in correcting this imbalance in psalmic studies today.
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Tatu, 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.
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Manor, 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.
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La présente thèse cherche à étudier l’histoire de la réception et de la présence de Charles Baudelaire dans l'univers poétique de l'hébreu moderne, à travers l'influence de son œuvre sur la création poétique en hébreu comme à travers les traductions hébraïques de sa poésie. Cette dernière partie inclut une analyse comparative approfondie de différentes traductions de la poésie de Baudelaire parues en hébreu au courant du XXe siècle.À travers cette approche nous cherchons à voir dans quelle mesure il existe des corrélations entre la traduction et la réception poétique de Baudelaire d'une part, et l'évolution particulièrement rapide du langage poétique de l'hébreu moderne d'autre part.Dans toutes les générations de la poésie de l’hébreu moderne, des auteurs majeurs ont traduit Baudelaire. Ce grand intérêt pour sa poésie s'explique, entre autres raisons, par le motif suivant : traduire Baudelaire en hébreu constitue un projet singulier de par le statut unique de son œuvre qui est à la fois la pierre angulaire de la Modernité poétique en général, et le point de départ de la poésie hébraïque moderne en particulier.La poésie hébraïque moderne peut être comparée à un arbre sans tronc ; ses racines, les textes de l'hébreu classique, sont profondes et séculaires. Sa cime, la nouvelle création poétique des 120 dernières années, est fraîche et verdoyante. Mais s'il tient debout, c'est grâce à ses branches qui sont suspendues sur les riches ramifications de ses voisins – les corpus poétiques étrangers qui ont toujours alimenté ce jeune corpus. Traduire Baudelaire en hébreu moderne, c'est – symboliquement – contribuer à greffer, rétroactivement, un tronc sur cet arbre<br>This 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
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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/.
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Essa pesquisa tem como objetivo analisar a tradução dos salmos na NTLH (Nova Tradução na Linguagem de Hoje), a qual segue o princípio da equivalência dinâmica ou funcional de Eugene Nida, em que o sentido prevalece sobre a forma. Investigamos como essa tradução lida com textos poéticos, abundantes em figuras de linguagem e onde aspectos formais geram sentido. Para isso, descrevemos a teoria de Nida e as críticas pertinentes da teoria de tradução, aspectos da Poesia Hebraica e finalizamos com o estudo da tradução de alguns salmos feita pela NTLH.<br>This 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.
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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 textAbstract:
Thesis (MTh)--Stellenbosch University, 2013.<br>ENGLISH 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.<br>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.
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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 textAbstract:
Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.
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Santrac, 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 textAbstract:
The specific thesis that is tested in this study is that there is continual interaction between the sanctuary cult and personal religious experience in the Book of Psalms. The main theoretical argument is that the sanctuary cult had a formative role in creating the piety of the psalmists. The study attempts to explore the specific nature of that relationship and to benefit from the contributions of three major approaches to the Psalms, i.e., the form critical approach (Hermann Gunkel), the cultic approach (Sigmund Mowinckel) and the Psalter-shaping approach (Gerald H. Wilson, James L. Mays, Jerome F. D. Creach, Mark D. Futato, J. Clinton McCann and Walter Brueggemann).
The study suggests that the ongoing interaction between the sanctuary cult and personal piety in the Psalms is the result of the creative power of cult. It offers evidence of the possible shaping of the Psalter around the sanctuary motif. It also offers a unique perspective on the piety of the psalmists, suggesting that the psalmists, and particularly the editor(s) of the present shape of the Psalter, promoted the eschatological hope of Israel in the new temple and the heavenly aspect of Israel’s sanctuary.<br>Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus in association with Greenwich School of Theology, U.K., 2013.
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Bejarano, Ana María. "Selomoh Bonafed, poeta y polemista hebreo." Doctoral thesis, Universitat de Barcelona, 1989. http://hdl.handle.net/10803/1745.
Full textAbstract:
La presente tesis consiste en la edición crítica de una importante parte de los poemas contenidos en el "Diwán" (hasta la fecha prácticamente inéditos), de Selomoh ben Reuben Bonafed, la traducción de los mismos y un estudio introductorio acerca de la figura del poeta y de loe manuscritos utilizados para la edición.<br/><br/>Selomoh 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.<br/><br/>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.<br/><br/>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.<br/><br/>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.<br/><br/>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. <br/><br/>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. <br/><br/>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.<br/><br/>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.<br/><br/>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.<br><i>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.<br/><br/>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.<br/><br/>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. </i>
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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 textAbstract:
Bibliography: pages 202-210.<br>When 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.
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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 textAbstract:
La thèse constitue la première étude d’ensemble de l’œuvre poétique yiddish d’Élia Lévita (1469-1549) qui cherche à définir sa place dans la littérature de la Renaissance en analysant les transferts esthétiques et culturels ayant présidé à sa production. Elle situe l’œuvre vernaculaire de ce savant hébraïste, proche des humanistes chrétiens, dans les traditions poétiques juives hébraïques et yiddish et dans la logique d’une affirmation du rôle de l’écrivain et de la langue vernaculaire dans la société juive. Elle analyse également la portée des modèles extérieurs, chrétiens, en insistant sur l’inscription des romans de chevalerie de Lévita dans l’évolution générale du genre chevaleresque en Italie, et met en évidence le rôle fondamental qu’a joué l’Arioste, et en particulier le Roland furieux, dans le raffinement progressif du projet esthétique de l’auteur. Enfin, elle propose la première analyse d’un certain nombre de textes de la littérature yiddish ancienne, conservés dans des manuscrits, et fournit des arguments pour l’attribution de nouvelles œuvres à Lévita, dont un long poème satirique sur les femmes. Par son ampleur et par sa variété, l’œuvre vernaculaire d’Élia Lévita constitue non seulement la première œuvre moderne de la littérature yiddish mais aussi un cas particulièrement éclairant sur la diffusion des modèles esthétiques de la Renaissance dans des catégories ethniques (les juifs) et sociales (les classes populaires) que l’on aurait pu croire éloignées de ces mutations culturelles<br>This 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
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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 textAbstract:
Kotzo shel yod by Y. L. Gordon (1832–1892) – one of the prominent intellectuals of the Jewish Enlightenment period – is a well-known Hebrew poem. This poem is
characterized by a daring, sharp criticism of the traditional Jewish institutions, which the author felt required a critical shake-up. Gordon’s literary works were inspired by the Jewish Ashkenazi world. This unique and pioneering literary work was translated into Judeo-Spanish (Ladino). The aim of this article is to present the Sephardic version of Gordon’s poem. The article will attempt to examine the motives behind the translation of this work into Ladino, the reception of the translated work by its readership and the challenges faced by the anonymous translator who sought to make this work accessibleto the Ladino-reading public, in the clear knowledge that this version was quite far removed from the Ashkenazi original from which it sprang.<br>Kotzo 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.
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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.
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Reymond, 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.
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Gryczan, Barbara. "Verbal System in the Language of Medieval Hebrew Poetry of Jehuda Halewi." Doctoral thesis, 2016. https://depotuw.ceon.pl/handle/item/2222.
Full textAbstract:
Praca The Verbal System in Medieval Hebrew of the Poetry of Jehuda Halevi - (System czasownikowy średniowiecznego języka hebrajskiego w poezji Jehudy Halewiego) poświęcona jest analizie funkcjonowania w obrębie tego języka występujących w
starożytnych i średniowiecznych odmianach hebrajskiego pięciu form czasownikowych- qatal, wǝqatal, yiqtol, wayyiqtol oraz qotel.Jako materiał do badań posłużył dorobek poetycki Jehudy Halewiego powstały na
przestrzeni między końcem XI wieku a drugą połową wieku XII. Hebrajszczyzna tego
okresu, ze względu na swój specyficzny, niejednolity charakter, nie była (lub była w
bardzo niewielkim stopniu) przedmiotem badań językoznawczych.
Celem niniejszej pracy jest zatem dokonanie pierwszej spójnej analizy funkcjonowania
odmiennych form czasownikowych w obrębie języka korpusu jakim jest poezja Jehudy
Halewiego oraz wykazanie, że ze względu na kompleksową spójność a zarazem
oryginalność pewnych cech, które wyróżniam, struktury te powinny być identyfikowane
jako tworzące autonomiczny i jednolity system. Mimo bowiem deklarowanych dążeń
autora, by przywrócić do życia literacki ideał hebrajskiego biblijnego, język jego - choć
równie koherentny - systemowo wyraźnie odróżnia się od klasycznego pierwowzoru (a
tym bardziej od innych systemów, rozpoznanych w kolejnych fazach rozwoju języka
hebrajskiego).
By dowieść tezy, że hebrajski Jehudy Halewiego prezentuje nowatorski i spójny system
czasownikowy, analizy swojej dokonuję zarówno na poziomie synchronicznym, jak i
diachronicznym - w odniesieniu do wcześniejszych faz rozwoju języka, zwłaszcza do hebrajskiego biblijnego, który w oczach samego autora stanowił naśladowania godny
ideał.
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Wiseman, Laura. "Lamentations of a Lovelorn Soul: Self-portraits in the Poetry of Dahlia Ravikovitch." Thesis, 2010. http://hdl.handle.net/1807/32957.
Full textAbstract:
The poetry of Dahlia Ravikovitch presents as self-writing nestled in the wide embrace of non-linear écriture féminine. Each poem offers a glimpse of the persona: body and soul, the music of her voice and the perspective of her spirit. Together the poems comprise verbal self-portraits of a lovelorn soul, torn between impulses to fully remember and deliberately forget.
Through years of love, life, disappointment, bouts of depression and renewed promise, Dahlia Ravikovitch continued to compose. Through the crystals of poetry the speaker examines, from varying angles and in multiple refractions of light, those figures of alterity who are her self. For Ravikovitch poetry was the only neutral space in which her self could comfortably exist and, even so, not always.
The poet-persona experiences love in unsuitable proportions. She receives too little; she goes ‘overboard’ and ‘out of bounds’ in giving too much. She experiences love, even when accessible, as an affliction. She suffers love. She laments love.
The persona performs her malaise through contrasting physical sensations, idiosyncrasies and profound cravings. Her personal thermostat is erratic. She exhibits pronounced wardrobe-predilections. Her throat reacts to a flow of eros and creative vitality or lack thereof. She yearns for pure memory and thirsts for pure essence.
The speaker’s gallery displays an elaborate montage of a golden apple endowed with gifts of wisdom, eros, poetry and passion, alongside portraits of a royal chanteuse and a skilled scribe. Crucial brushstrokes illuminate lovers and sinners, souls in flames, shipwrecks, lyric-expressive throats in various states of constriction and release, as well as voices of collective responsibility.
Ravikovitch encrypts her poetry with rich resources of biblical, rabbinic, medieval and early modern Hebrew literature. She forwards the linguistic and literary resonance of these layers. She innovates upon their motifs through feats in the dimensions of feminine writing, intertextual engagements and postmodern poetics.
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Segal, 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.
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Lieber, 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.
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Joffe, Sharon. "Haim Guri: from identification to alienation." Thesis, 2015. http://hdl.handle.net/10539/18181.
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RANGELL, 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.
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Lea Goldberg [1911-1970] is one of modern Hebrew literature’s most significant poet/translators. This thesis approaches her early poetry and prose from the perspective of three theories of translation. ‘Polysystems’, ‘norms’, and ‘pseudotranslation’ grew from the scholarly and translation-lineage in Hebrew literary studies that Goldberg herself contributed to. Utilizing these three methods of reading, this thesis argues that translation’s thematization in Goldberg’s creative work is evidence for the poet’s ideal for a cosmopolitan, multilingual, national literature in the new Jewish State. This receptive stance to previous and concurrent literary traditions was met with much skepticism and criticism from Goldberg’s colleagues, and as a result, Goldberg’s oeuvre occupies a more peripheral position than several of her contemporaries.
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Ondrejičková, 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.
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Hermeneutic rules (so-called middot), which developed during the process of the rabbinic literature formation, partially under sopherims' or Greek influence, provided with one of the main viewpoints of hypotext choice in poetry, ruled a combination and an arrangement of elements in poetry. These principles, differenciated during the 2nd century A.D. into two systems - r. Yishma'el's and r. Eli'eser b. Josi ha-gelili's lists (for halakhic and aggadic interpretation) underwent a process of contraction in piyyut. From the recent point of view is the rabbinic hypotext identification possible at most half, since partially poets advanced on the basis of the midrashic texts available, different from extant textual versions. On the basis of original textual variants connected with the identification of the hypotext, this thesis arrived at a comparative work on the development and the understanding of implicite and explicite application of hermeneutic rules. The synagogal poetry assumed a didactical function and historical remembrance function following pre-classical period. As a result of poetic activity the originated the didactical text, which instructed, assisted at the preservation of lessons and topoi taught in yeshibot (Ashkenaz), scholarly circles (Rome, Apulia, Calabria) and later on in synagogues.
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Miller, 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.
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The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses.
Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people.
In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith.<br>Old Testament & Ancient Near Eastern Studies<br>D. Litt. et Phil. (Biblical Studies)
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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.
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This dissertation is basically a reading the book of Lamentation as a literary whole in a sense of a text-centred approach, which aims to interpret the Scripture as divine communicative action. The major philosophical resources that I employ in this study are the Speech-Act theory developed by J. Austin and J. Searle, and the concepts particularly exemplified in the work of K. Vanhoozer. I look at repetition and literary techniques in Lamentations as a clue to its structural unity. In the body of the dissertation, Instead of historical-critical approaches, I claim that the meaning exists not ‘behind the text,’ but ‘in the text itself as a whole.’ One of the most important literary approaches to understanding the book of Lamentations is to note the poetic voices, which interweave in the text. The poetic voices are my main focus of understanding the book of Lamentations. I explain the literary meaning reading the text and demonstrate that we must find the canonical level of the meaning which supervenes on the literary level. The meaning of a text at a literary level must be carefully studied and modified by the ‘fuller sense (or meaning)’ derived from the canonical context. The ‘fuller sense’ of Scripture associated with divine authorship emerges only at the level of the whole canon. Here for the canonical meaning of the text, I focus on Vanhoozer’s assertion, having proposed the suitability of speech act theory for the various tasks of biblical interpretation and theological hermeneutics. When we read the text, there is no utterance from God in Lamentations. It is the missing voice. The main theme of Lamentations is "Where is the true comfort?". The text presents no comfort. In the literary context, God keeps silent (non-speaking). Canonically, however, Christian readers as God’s people read the Bible, connecting it to Jesus Christ. Within the canonical context, we can indeed find an answer and God’s answering speech (that is, His act), because Jesus is their true comforter acting as God’s response. We can find this response in his teaching (e.g. Jesus’ Sermon on the Mount) and in his mission (e.g. presenting his body as the temple, being Immanuel, God-with-us).<br>Dissertation (MA(Theology))--University of Pretoria, 2009.<br>Old Testament Studies<br>unrestricted