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Journal articles on the topic 'Hebrew with and humor'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Asscher, Omri. "A model for Hebrew translation of British humor." Target. International Journal of Translation Studies 22, no. 2 (December 31, 2010): 237–63. http://dx.doi.org/10.1075/target.22.2.04ass.

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The influence of translational norms on the translation of humor manifested in prose fiction has not been a focus of much research. This paper will try to establish the existence of an institutionalized strategy of amplification, presumably born out of a wish to bridge the cultural gap reflected in two different national traditions of literary humor. The effect of amplification, as it is implemented in the various Hebrew translations of Charles Dickens’s The Pickwick Papers and Jerome K. Jerome’s Three Men in a Boat, is analyzed on the basis of Attardo’s General Theory of Verbal Humor (Attardo 2001, 2002). The use of amplification as a model for the translation of humor from the beginning of the 20th century, and its diminishing currency from the 1980s onwards are also discussed.

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2

Ravid, Dorit, and Vital Geiger. "Promoting morphological awareness in Hebrew-speaking grade-schoolers: An intervention study using linguistic humor." First Language 29, no. 1 (February 2009): 81–112. http://dx.doi.org/10.1177/0142723708097483.

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Research indicates that morphological awareness contributes to success in literacy acquisition and consolidation, since morphology links together phonological and semantic facets of language. The role of morphology is especially important in Hebrew, a highly synthetic Semitic language. The current study aimed to investigate the impact of an intervention program on knowledge and awareness of morphology in Hebrew-speaking grade-schoolers. Two three-month intervention programs were conducted in two groups of 4th-grade children: a metalinguistic morphological intervention program using linguistic humor, and a parallel intervention program using nonverbal humor. A morphological awareness test was administered to the two groups prior to and following the intervention period. The results demonstrate consistent advantages to the morphological intervention group, including tasks related both directly and indirectly to content taught.

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3

Boxman-Shabtai, Lillian, and Limor Shifman. "Digital humor and the articulation of locality in an age of global flows." HUMOR 29, no. 1 (January 1, 2016): 1–24. http://dx.doi.org/10.1515/humor-2015-0127.

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AbstractThis paper uses the lens of internet-based humor to examine how, amidst massive global flows of content, young Israelis articulate a sense of local-national affinity. We analyzed verbal and visual comic email forwards to trace: (a) the extent to which Israelis share local versus global content and (b) the means through which national affinity is conveyed. Results show that while Israelis’ humorous diet is mainly non-local, a pervasive use of the Hebrew vernacular plays an important role in creating local affinity. Our analysis yielded five discursive frames that mark locality in humor:

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4

Littman-Ovadia, Hadassah, and Shiri Lavy. "Character Strengths in Israel." European Journal of Psychological Assessment 28, no. 1 (September 1, 2012): 41–50. http://dx.doi.org/10.1027/1015-5759/a000089.

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The Values in Action Inventory of Strengths (VIA-IS) has been extensively used to assess character strengths. We adapted a Hebrew translation and analyzed its psychometric properties and associations with life satisfaction, personality traits, and positive and negative affect, and examined its factorial structure in 635 Israeli adults. Results indicated the following: (1) All 24 subscales had satisfactory reliabilities (αs > .72). (2) Hope, gratitude, vitality, curiosity, and love had the highest associations with life satisfaction, whereas modesty, appreciation of beauty, fairness, humor and honesty, had the lowest. (3) Women scored higher than men on love, appreciation of beauty and gratitude, with men scoring higher on creativity. (4) A five-dimensional model best represented the factorial structure. Most findings replicated previous findings in other countries, supporting the use of the Hebrew version.

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5

Kynes, Will. "Beat Your Parodies into Swords, and Your Parodied Books into Spears: A New Paradigm for Parody in the Hebrew Bible." Biblical Interpretation 19, no. 3 (2011): 276–310. http://dx.doi.org/10.1163/156851511x576900.

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AbstractWhile previous works on parody in the Hebrew Bible have addressed the literary technique ad hoc in the service of the interpretation of specific texts, this article approaches the topic more broadly, attempting to understand the nature of the technique itself. Drawing on literary criticism, particularly the work of Linda Hutcheon, the commonly accepted definition of parody as a text which "ridicules" its "target" is questioned, and a broader definition of parody as "antithetical allusion," in which the earlier text may act as a "weapon" instead of a "target," and subversion and humor are only secondary features, is presented. This redefinition of the term grounds a new paradigm for parody that divides parody into four types: ridiculing, rejecting, respecting, and reaffirming. This paradigm is then applied to a series of exemplary parodies in the Hebrew Bible (Song 7:1-10, Psalm 29, Jonah, Job 7:17-18, Joel 4:10) that demonstrate the versatility of parody and the necessity of reading parodies in their wider context to determine their meaning.

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6

Sebba-Elran, Tsafi. "The intertextual Jewish joke at the turn of the twentieth century and the poetics of a national renewal." HUMOR 31, no. 4 (September 25, 2018): 603–21. http://dx.doi.org/10.1515/humor-2017-0043.

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Abstract The article examines the role of the intertextual Jewish joke at the turn of the twentieth century, in its historical and cultural contexts. The case studies would be Alter Druyanow’s popular anthology, Sefer Habediha Vehahiddud (The Book of Jokes and Witticisms, Frankfurt 1922), and his archived, unpublished collection of sexual jokes. The frequent use of quotations from sacred Jewish texts, characteristic of these collections, is discussed in light of the distinction between sub-genres of the intertextual joke: the allusive joke, the parodic joke, and the satiric joke. While most reflect the folklorist’s ambition to bridge the gap between Hebrew as a holy language and Yiddish as a Jewish vernacular, a deeper examination of the jokes may discover Druyanow’s subversive motivations as a national activist as well. Druyanow and his contemporaries engaged the biblical and rabbinical sources freely, as vessels capable of sanctifying the secular subject matter of the Jewish national revival. Moreover, the unpublished collection exposes satirical elements embodied in the intertextual Jewish joke of the time, potentially threatening the traditional Jewish worldview.

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7

Gordon, R. P., Y. T. Radday, and Athalya Brenner. "On Humour and the Comic in the Hebrew Bible." Vetus Testamentum 42, no. 1 (January 1992): 133. http://dx.doi.org/10.2307/1519136.

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8

Porat, Ailor. "What is a "Sebastian"?: A nonsensical look at the poetry of Yona Wallach." European Journal of Humour Research 5, no. 3 (November 21, 2017): 68. http://dx.doi.org/10.7592/ejhr2017.5.3.porat.

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This article compares the nonsense works of Lewis Carroll to the poetry of the canonical Hebrew poet Yona Wallach. Both writers present literary works which are not based on the logic of 'ordinary' reality, but rather on systems of unfamiliar, surreal and 'dreamlike' logic. However, Carroll's logical nonsense is famously comical and playful in nature. Unlike him, Yona Wallach's poetry is mostly regarded as 'serious', even tragic, with a 'doom-like' atmosphere hovering over it. Nonetheless, and precisely because of their considerable dissimilarity, the comparison between Yona Wallach and Lewis Carroll discloses their surprising similarity. In this artiel will examine two mechanisms in which they both play with the conventional meanings of words and use them incongruously, non-commonsensically.Throughout this article, Carroll reveals his serious and gloomy face whereas Wallach reveals her (hardly spoken of) logical and amused face.Thus, the contrasts between the comically playful accuracy of Carroll's work and Wallach's ambiguous and mostly "dark" poetry, sheds light on their respective mechanisms of signification and humor-making, in a manner indiscernible when each is treated in isolation.

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9

Steir-Livny, Liat. "Is it OK to laugh about it yet? Hitler Rants YouTube parodies in Hebrew." European Journal of Humour Research 4, no. 4 (January 29, 2017): 105. http://dx.doi.org/10.7592/ejhr2016.4.4.steir.

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The Holocaust was and remains a central trauma in Israel’s collective memory. For many years, the perception was that a humorous approach to the Holocaust might threaten the sanctity of its memory. Official agents of the Holocaust memory continue to believe in this approach, but since the 1990s, a new unofficial path of memory began taking shape in tandem with it. It is an alternative and subversive path that seeks to remember – but differently. In the last decade, YouTube has become a major cultural field including new humorous representations and images of the Holocaust. The article analyses a virtual phenomenon – “Hitler Rants” (or “Hitler Reacts”) parodies in Hebrew. These are internet memes in which surfers take a scene from the German film Downfall (Oliver Hirschbiegel 2004), showing Hitler ranting at his staff as the end of WWII approaches, and they add parodic subtitles in which Hitler rants about completely different things – current affairs and pesky little details. The incompatibilities between the visuals, the German screaming, and the subtitles turn Hitler into a ludicrous individual. The article objects to the notion that views the parodies as “cheapening” the Holocaust, and rather claims that they underscore humour’s role as a defence mechanism. Israelis, who live in a society in which the Holocaust memory is intensive and creates constant anxiety, seek to lessen reactions of tension and anxiety, even for a few minutes, and they do so through humour.

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10

Haxen, Ulf G. "An Artist in the Making. Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769." Fund og Forskning i Det Kongelige Biblioteks Samlinger 59 (January 4, 2020): 43. http://dx.doi.org/10.7146/fof.v59i0.123730.

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Ulf G. Haxen: An Artist in the Making – Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769 ‘Eclecticism’ as an artistic term refers to an approach rather than a style, and is generally used to describe the combination of different elements from various art-historical periods – or pejoratively to imply a lack of originality. Proponents of eclecticism argue more favourably, however, with reference to the 16th century Carracci family and their Bolognese followers, that the demands of modernity (i.e. the new Baroque style) could be met by skilful adaptation of art features from various styles of the past. The essay concerns the eighteenth century scribe and miniaturist Yehuda Leib ben Eliyah Ha-Cohen’s illustrated Haggadah liturgy of the second book of the, Old Testament Exodus, which represents a shift of paradigm away from the traditional Bohemia-Moravian school of Jewish book-painting towards a new approach. Our artist experiments freely, and to a certain extent successfully, with a range of different styles, motifs, themes, and iconographical traits, such as conversation pieces. Yehuda Leib Ha-Cohen may have abandoned his home-town, the illustrious rabbinic center Lissa/Leszno in Poland, after a fire devastated its Jewish quarter in 1767. He migrated to Denmark and lived and worked in Copenhagen for at least ten years, as indicated by two of his extant works, dated Copenhagen 1769 and 1779 respectively. He was thus a contemporary of another Danish Jewish master of the Bohemia – Moravian school, Uri Feibush ben Yitshak Segal, whose iconic miniature work The Copenhagen Haggadah (1739) is well-known by art historians in the field. Yehuda Leib Ha-Cohen drew some of his Haggadic themes from two main sources, the Icones Biblicae by Mathäus Merian and the Amsterdam Haggadot 1695 and 1712 (e.g. Pit’om and Ramses, The Meal Before the Flight). He never imitates his models, however. He adapts the standard motifs according to his own stylistic perception of symmetry and perspective, furnishing the illustrations with a muted gouache colouring. Several of his Haggadic themes are executed with inventiveness, pictorial imagination, and a subtle sense of humour, such as The Seder Table, The Four Sons, The Finding of the Infant Moses, Solomon’s Temple, and Belshazzars Feast. Yehuda Leib’s enigmatic reference to the ‘the masons’ (Hebrew הבנאים ) in the manuscript’s colophon has until now hardly been satisfactorily interpreted. Incidentally, however, another Hebrew prayer-book written and decorated by Mayer Schmalkalden in Mainz in 1745, recently acquired by Library of Congress, bears the same phrase (fi ‘inyan ha-bana’im = according to the code of the Masons). Dr. Ann Brener, a Hebrew specialist at the Oriental Department of Library of Congress, suggests in an unpublished essay, that the reference may be an allusion to ‘the Talmudic scholars who engage in building up the world of civilization’, (The Babylonian Talmud, Shabbat 114a). However that may be, Yehuda Leib Ha-Cohen’s miniatures constitute a veritable change of paradigm as far as eighteenth-century Hebrew book illustration is concerned.

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11

Brenner, Athalya. "Who's Afraid of Feminist Criticism? Who's Afraid of Biblical Humour? the Case of the Obtuse Foreign Ruler in the Hebrew Bible." Journal for the Study of the Old Testament 19, no. 63 (September 1994): 38–55. http://dx.doi.org/10.1177/030908929401906303.

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12

Beyse, K. M. "Yehuda T. Radday - Athalja Brenner (ed.), On Humour and Comic in the Hebrew Bible (Bible and Literature Series 23 = JSOT Supl. 92), Sheffield (The Almond Press) 1990, 328 S." Biblische Zeitschrift 39, no. 2 (September 22, 1995): 287–88. http://dx.doi.org/10.1163/25890468-03902018.

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13

Meshel, Naphtali S. "Translating the Hebrew Bible from Hebrew into Hebrew." Hebrew Studies 57, no. 1 (2016): 39–50. http://dx.doi.org/10.1353/hbr.2016.0002.

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14

Roth, Gene L. "Humor, humor theory, and HRD." Human Resource Development Quarterly 13, no. 4 (2002): 351–55. http://dx.doi.org/10.1002/hrdq.1037.

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15

Ullendorff, Edward. "H.J. Polotsky (1905–1991): Linguistic Genius." Journal of the Royal Asiatic Society 4, no. 1 (April 1994): 3–13. http://dx.doi.org/10.1017/s1356186300004880.

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H. J. Polotsky was my teacher at the Hebrew University of Jerusalem for four years in the 1930s and my friend and mentor and scholarly critic for 53 years. It is difficult for me to speak or write about him without a measure of personal involvement and indeed emotion. In the humanities he was a polymath, as a student of languages he was, I believe, without parallel in this generation. He could appear austere to those not well acquainted with him; he was a man of few words but many thoughts and great profundities. His style in all languages was exquisite and witty; his letters were invariably full of humour and his aphorisms pithy, widely admired, and never forced. He did not suffer fools gladly, but he mellowed with age and developed much tolerance even towards the majority of mankind who could contemplate his mastery with awe – yet never emulate it. While he and I lived in the same city, Jerusalem, for five years only, we were in wellnigh constant communication by letter (more about that correspondence, in part now published, anon), by meetings (often extending over many weeks), and in more recent years by telephone. When I was in error, even in senectute, he could be as sharply reproving as he had been towards the immature undergraduate – and such frankness was not only welcomed, but it had always been of the very essence of our relationship. In a book of reminiscences of Jerusalem in the 1930s I had written of the difficulty of envisaging a future deprived of his guidance and counsel and had expressed the hope that such a contingency would not arise until senility had numbed the blow for me. Alas, this was not to be: he died shortly before his 86th birthday. When his son telephoned me with the sad news on 10 August 1991, I found some consolation in the task of editing his letters in the manner prescribed by him earlier; and that book was published just six months after his death.

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16

Laufer, Asher. "Hebrew." Journal of the International Phonetic Association 20, no. 2 (December 1990): 40–43. http://dx.doi.org/10.1017/s0025100300004278.

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17

Morahg, Gilead. "HEBREW." Journal of Jewish Education 65, no. 3 (October 1999): 9–16. http://dx.doi.org/10.1080/0021624990650305.

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18

Woodbury-Fariña, Michel A., and Joalex L. Antongiorgi. "Humor." Psychiatric Clinics of North America 37, no. 4 (December 2014): 561–78. http://dx.doi.org/10.1016/j.psc.2014.08.006.

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19

Eagle, Kim A. "Humor." ACC Current Journal Review 10, no. 3 (May 2001): 13. http://dx.doi.org/10.1016/s1062-1458(01)00287-2.

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20

BERGER, ARTHUR ASA. "Humor." American Behavioral Scientist 30, no. 3 (January 1987): 6–15. http://dx.doi.org/10.1177/000276487030003002.

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21

Gunderman, Richard B., and James R. Hamblin. "Humor." Radiology 251, no. 1 (April 2009): 23–25. http://dx.doi.org/10.1148/radiol.2511081684.

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22

Warner, Mark J., and Raymond W. Studwell. "Humor:." Journal of College Student Psychotherapy 5, no. 2 (April 3, 1991): 59–70. http://dx.doi.org/10.1300/j035v05n02_06.

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23

Beeman, William O. "Humor." Journal of Linguistic Anthropology 9, no. 1-2 (June 1999): 103–6. http://dx.doi.org/10.1525/jlin.1999.9.1-2.103.

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24

Gildberg, Frederik A., Kristian J. Paaske, Vivian L. Rasmussen, Ricko D. Nissen, Stephen K. Bradley, and Lise Hounsgaard. "Humor." Journal of Forensic Nursing 12, no. 3 (2016): 120–28. http://dx.doi.org/10.1097/jfn.0000000000000118.

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25

Pasquali, Elaine Anne. "Humor." Journal of Holistic Nursing 21, no. 4 (December 2003): 398–414. http://dx.doi.org/10.1177/0898010103258602.

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26

James, Diane H. "Humor." Journal of Holistic Nursing 13, no. 3 (September 1995): 239–47. http://dx.doi.org/10.1177/089801019501300305.

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27

Dziegielewski, Sophia F. "Humor." International Journal of Mental Health 32, no. 3 (September 2003): 74–90. http://dx.doi.org/10.1080/00207411.2003.11449592.

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28

Bellert, Judy L. "Humor." Cancer Nursing 12, no. 2 (April 1989): 65???70. http://dx.doi.org/10.1097/00002820-198904000-00002.

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29

Wheeler, Billy Edd. "Humor." Appalachian Heritage 36, no. 1 (2008): 37–39. http://dx.doi.org/10.1353/aph.2008.0024.

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30

Lone, Tracy A. "Humor." Plastic Surgical Nursing 7, no. 4 (1987): 125. http://dx.doi.org/10.1097/00006527-198700740-00015.

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31

Lone, Tracy A. "Humor." Plastic Surgical Nursing 7, no. 4 (1987): 125. http://dx.doi.org/10.1097/00006527-198700740-00016.

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32

Ruxton, Jean P., and Maureen P. Hester. "Humor." Clinical Gerontologist 7, no. 1 (November 13, 1987): 13–21. http://dx.doi.org/10.1300/j018v07n01_03.

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33

Degnan, James P. "Humor." Change: The Magazine of Higher Learning 26, no. 3 (June 1994): 96. http://dx.doi.org/10.1080/00091383.1994.9940684.

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34

Perez, Anne. "How Hebrew were the Hebrew Christians?" Journal of Modern Jewish Studies 18, no. 1 (December 7, 2018): 21–37. http://dx.doi.org/10.1080/14725886.2018.1551837.

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35

APTE, MAHADEV L. "Ethnic Humor Versus “Sense of Humor”." American Behavioral Scientist 30, no. 3 (January 1987): 27–41. http://dx.doi.org/10.1177/000276487030003004.

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36

Evans, Thomas Rhys, and Gail Steptoe-Warren. "Humor Style Clusters: Exploring Managerial Humor." International Journal of Business Communication 55, no. 4 (October 15, 2015): 443–54. http://dx.doi.org/10.1177/2329488415612478.

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The current study is the first to explore the relationships between managerial humor and workplace facets using cluster analysis. Two-hundred and two employed adults rated their managers’ humor and workplace facets online. K-means cluster analyses identified three managerial humor clusters, mostly replicating those found in the existing literature. A significant pattern of differences in stress, communication, creativity, perceptions of leader power, and job satisfaction were found between the clusters. Findings suggest negative humor use is most likely to be damaging to organizations when not used alongside positive humor types, and it is not merely the frequency with which a manager uses an individual humor type, but the holistic view of their humor, which is of importance in gauging valence of organizational facets. Using cluster analysis was beneficial in challenging assumptions from the existing literature, further contextualizing our understanding of humor and reinforcing the importance of humor use in the workplace.

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37

Hirschhausen, Eckart. "Humor hilft heilen – Humor im Gesundheitswesen." physiopraxis 18, no. 03 (March 2020): 50–53. http://dx.doi.org/10.1055/a-1103-3789.

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Dass Humor dabei hilft, mit Schicksalsschlägen wie Krankheit, Trennung und Tod besser umzugehen, zeigt die Wissenschaft schon lange. Eckart von Hirschhausen gibt einen Überblick zum Wirkfaktor Humor im Gesundheitswesen und zu den Möglichkeiten in der Praxis.

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38

Silva, João Pinheiro da. "Mau humor ou humor mau? Dois problemas na ética do humor." ethic@ - An international Journal for Moral Philosophy 19, no. 3 (December 16, 2020): 811–30. http://dx.doi.org/10.5007/1677-2954.2020v19n3p811.

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O “fenômeno humorístico” deve ser entendido enquanto o exercício do “olhar humorístico”. Este busca uma distância estética que permite a formulação de incongruências num determinado jogo social onde as normas sociais e linguísticas comuns são violadas com o objetivo de produzir o “gosto humorístico”. Ou seja, o “fenômeno humorístico” realiza-se num determinado jogo humorístico que, como tal, requer um terceiro, um interlocutor. A análise ética do presente artigo foca-se nos dois agentes do jogo humorístico através de dois casos: o mau humor, que pode ser manifestado pelo interlocutor; e o humor mau, que pode ser manifestado pelo locutor. Propõe-se que um problema ético ignorado na filosofia do humor diz respeito ao interlocutor moralista que, por não conseguir manter a distância estética necessária ao fenômeno humorístico, tenta categorizá-lo em termos éticos e julgar a atitude moral do locutor. Por outro lado, podemos encontrar um problema simétrico: o locutor que, por não entender as características necessárias ao jogo humorístico, não consegue criar o ambiente necessário para que este ocorra. Estes problemas devem ser entendidos, contudo, na sua complexidade e sem deixar de ter em conta os comummente ignorados aspetos positivos do humor.

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39

Milgrom. "The Preposition Hebrew in the Hebrew Pericopes." Journal of Biblical Literature 126, no. 1 (2007): 161. http://dx.doi.org/10.2307/27638424.

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40

Tonelli, Maria José, and Felipe Zambaldi. "HUMOR NA ACADEMIA E PESQUISAS SOBRE HUMOR." Revista de Administração de Empresas 59, no. 2 (April 2019): 80–81. http://dx.doi.org/10.1590/s0034-759020190201.

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41

Allen, LaRue, and Edward Zigler. "Humor in children: A nonverbal humor test." Journal of Applied Developmental Psychology 7, no. 3 (July 1986): 267–76. http://dx.doi.org/10.1016/0193-3973(86)90034-1.

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42

Ackerman, Michael H., Mary Beth Henry, Kathy M. Graham, and Nancy Coffey. "Humor Won, Humor Too: A Model to Incorporate Humor Into the Healthcare Setting." Nursing Forum 28, no. 4 (December 1993): 9–16. http://dx.doi.org/10.1111/j.1744-6198.1993.tb00944.x.

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43

Yosef-Paz, Netta Bar. "Hebrew Dystopias." Israel Studies Review 33, no. 2 (September 1, 2018): 66–84. http://dx.doi.org/10.3167/isr.2018.330205.

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This article examines contemporary Hebrew dystopic novels in which ecological issues play a critical role, reflecting an increasing preoccupation of Israeli culture and society with the environment. The literary turn to dystopia is not new, but whereas Israeli dystopias published in the 1980s–1990s focused mainly on military apocalyptic visions, current novels combine these national anxieties with ecological dangers, following present-day trends in American literature and cinema. These contemporary dystopias either conjoin a national crises with an ecological disaster as the source of the catastrophe or represent environmental recklessness as evidence of moral corruption, linking ecological and social injustice to the emergence of a Jewish theocracy. Offering an ecocritical reading of these novels, the article pinpoints the American cultural influence on the narratives. This thematic shift in Hebrew fiction, I argue, reflects a rising environmental awareness and positions literature as a major arena in which these issues are raised.

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44

James S. Diamond. "Hebrew Prose." Prooftexts 21, no. 1 (2001): 129. http://dx.doi.org/10.2979/pft.2001.21.1.129.

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45

Ringvald, Vardit, and Syracuse Language Systems. "TriplePlayPlus! Hebrew." Modern Language Journal 82, no. 2 (1998): 282. http://dx.doi.org/10.2307/329230.

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46

Soffer, Oren. "WHY HEBREW?" Media History 15, no. 3 (June 9, 2009): 253–69. http://dx.doi.org/10.1080/13688800902966162.

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47

Ringvald, Vardit, and Alan Mintz. "WHICH HEBREW?" Journal of Jewish Education 65, no. 3 (July 1, 2000): 8. http://dx.doi.org/10.1080/00216240091028294.

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48

Diamond, James S. "Hebrew Prose." Prooftexts 21, no. 1 (2001): 129–34. http://dx.doi.org/10.1353/ptx.2001.0001.

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49

Berdichevsky, Norman. "Why hebrew?" Israel Affairs 2, no. 2 (December 1995): 95–114. http://dx.doi.org/10.1080/13537129508719380.

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50

Tov, Emanuel. "Hebrew - Abstracts." Textus 12, no. 1 (August 19, 1985): 264–67. http://dx.doi.org/10.1163/2589255x-01201012.

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