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Journal articles on the topic 'The Song of Solomon'

Author: Grafiati

Published: 28 July 2024

Last updated: 30 July 2024

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1

Rainbow, Jesse. "The Song of Songs and the Testament of Solomon: Solomon's Love Poetry and Christian Magic." Harvard Theological Review 100, no. 3 (July 2007): 249–74. http://dx.doi.org/10.1017/s0017816007001587.

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A widespread early Christian tradition regarded Solomon as the great exorcist and magician of antiquity, the forerunner of the exorcistic activity of Jesus, and the genius of later Christian magic and divination. In time, this tradition (henceforth the “Solomon magus” tradition) would become increasingly syncretistic and would yield the numerous grimoires and claviculae of the Middle Ages, but in the early centuries of Christianity, the tradition produced texts which were more or less haggadic, that is, engaged in the exegesis of canonical materials and rooted in earlier Jewish interpretive traditions. Modern students of the documents of this tradition have long perceived its debt to the Old Testament, particularly to the portrait of Solomon in 1 Kgs 5:9–14 (4:29–34), a text which both traditional Christian and modern critical interpreters have subsequently explained in nonmagical terms. While Solomon's magical identity is widely recognized to be inspired by the biblical description of his greatness, little is known about how readers in the Solomon magus tradition interpreted the canonical books of traditional Solomonic authorship—the Song of Songs, Proverbs, Ecclesiastes and the Wisdom of Solomon.

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2

Schellenberg, Annette. "The Description of Solomon’s Wedding: Song 3:6-11 as a Key to the Overall Understanding of the Song of Songs." Vetus Testamentum 70, no. 1 (January 20, 2020): 177–92. http://dx.doi.org/10.1163/15685330-12341433.

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Abstract This article argues that Song of Songs 3:7-11 is a mocking song about King Solomon and was not originally connected with 3:6. After presenting aspects of 3:7-11 that might convey criticism of Solomon, the thesis is further substantiated by observations showing that taking Solomon as a cipher for the nonroyal human lover or a divine lover does not work in this passage. The article concludes by pointing out some consequences of this analysis for the overall understanding of the Song.

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3

Juliawati, Fransiska, and Hendi. "Makna Spiritual Aku Hitam dalam Teks Kidung Agung 1:6." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 2, no. 2 (November 30, 2022): 210–18. http://dx.doi.org/10.54170/dp.v2i2.87.

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The article is a commentary on the Spritual significance in the song of Solomon 1:6 based on Origen view of the song of song commentary and homilies origen and another book by Gregory of nysa as homilies on the song of song. It was a book that blotted out the black spiritual significance of the song of Solomon. Many of god’s servants today have been inspired to convey only the literal meaning of the song of Solomon, and are then complemented by the experience and testimony of that servant of God. With the intent of making the hearts of the congregation rejoice even if the message of the text that is presented is irrelevant to the lives of the congregation the servants of the Lord often underestimate or take for granted the spiritual meaning of the song of Solomon because it is viewed only as a song representing the love of a man and a woman who love each other. There are not few servants of the Lord who view the text of the song of Solomon as relevant only to married congregations or to those in their 17th year of age or older. Because it’s so rare that the song of Solomon is preached because it is considered irrelevant in the modern age because it is just plain. This was the basic for the writer’s conception to discuss the book song of Solomon 1:6. Artikel ini adalah sebuah ulasan tentang Makna Spritual Dalam Kidung Agung Ps. 1:6 pandangan berdasarkan Origen dengan judul The Song of Songs Commentary and Homilies Origen dan buku lain oleh Gregory of Nysa yaitu Homilies on the Song of Songs. Yaitu sebuah buku yang membahas mengenai makna spiritual hitam dalam kitab kidung agung. Kebanyakan di zaman sekarang ini banyak hamba Tuhan yang hanya menyampaikan makna dari teks Kidung Agung secara literal saja, kemudian di lengkapi dengan pengalaman serta kesaksian hamba Tuhan tersebut. Dengan maksud membuat hati para jemaat menjadi senang meskipun pesan dari teks yang disampaikan tidak relevan dengan kehidupan jemaatnya. Hamba Tuhan seringkali menyepelekan atau tidak serius dalam menyampaikan makna spiritual dari teks Kidung Agung, karena dianggap hanya sebagai suatu nyanyian yang melambangkan antara cinta seorang pria dan wanita yang saling mencintai. Tidak sedikit hamba Tuhan yang berpandangan bahwa teks Kidung Agung ini dianggap relevan hanya bagi jemaat yang sudah berkeluarga atau kepada jemaat yang sudah menginjak usia 17 tahun ke atas. Oleh sebab itu Kidung Agung sangat jarang di khotbahkan karena dianggap tidak relevan di zaman kekinian sebab hanya ditujuhkan kepada kalangan-kalangan tertentu saja. Pandangan ini merupakan pandangan yang dangkal karena salah diartikan. Hal itulah yang mendasari penulis sehingga penulis tertarik untuk membahas kitab kidung agung 1:6.

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4

Binczycka-Gacek, Elżbieta. "O jednym odczytaniu Song of Solomon." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 12 (December 21, 2023): 171–85. http://dx.doi.org/10.18778/2299-7458.12.12.

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Przedmiotem analizy w niniejszym artykule będą dwa powiązane z sobą teksty: wydana w 1977 roku powieść Toni Morrison Song of Solomon i poświęcony jej artykuł Ewy Łuczak zatytułowany Powrót do domu w „Pieśni Salomonowej”: nostalgia a budowanie tożsamości. Część moich rozważań chciałabym poświęcić przyjrzeniu się tekstowi Łuczak, dla którego punktem wyjścia są obecne w powieści konteksty polityczne i społeczne. Song of Solomon2 zostaje w nim zanalizowana w kontekście „dyskursu domu” obecnego w twórczości Morrison, oraz poprzez kategorię nostalgii. W moim artykule chciałabym zwrócić uwagę na inne możliwe interpretacje tekstu noblistki, uzupełniając tym samym interpretację, którą proponuje Ewa Łuczak o nowe konteksty. Kategorię nostalgii proponuję zastąpić odczytaniem Song of Solomon w świetle jednego z najważniejszych mitów diaspory afrykańskiej, wokół którego ustrukturyzowana jest cała powieść – mitu Flying Africans, któremu w tekście Łuczak poświęcone zostało zaledwie jedno zdanie. Mimo iż niniejszy artykuł zawiera pewne elementy polemiczne, chciałabym, aby stanowił przede wszystkim interesujący punkt wyjścia do szerszej dyskusji na temat kulturowej hegemonii zachodnich odczytań tekstów z kręgu literatury postkolonialnej.

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5

Zitter, Emmy Stark. "Songs of the Canons: Song of Solomon and "Song of Myself"." Walt Whitman Quarterly Review 5, no. 2 (October 1, 1987): 8–15. http://dx.doi.org/10.13008/2153-3695.1166.

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6

Pragt, Marion. "Tu, felix Salomon, nube: Solomon’s Marriages in Early Christian and East Syrian Biblical Interpretation." Vigiliae Christianae 75, no. 3 (April 21, 2021): 303–26. http://dx.doi.org/10.1163/15700720-12341478.

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Abstract This article explores the political portrayal of Solomon’s marriages presented by three East Syrian authors. It will be shown that whereas Jewish and early Christian interpreters often pointed to desire and demonic influence to explain Solomon’s many marriages, Theodore bar Koni, Ishoʿdad of Merv and the commentators of the anonymous manuscript olim Diyarbakır 22 instead portrayed the marriages as a form of nuptial politics intended to provide peace. The article examines the role of this political motif against the background of Theodore of Mopsuestia’s views on Solomon and the Song of Songs. It will be argued that the ways in which the East Syrian authors evaluated Solomon’s marriages are related to their different attitudes to the Song. The article illustrates how Greek exegesis could be transmitted and transformed in the East Syrian tradition of scriptural interpretation.

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7

Kirton, Jenny. "“No Future to Be Had”: Journeying toward Death in Toni Morrison’s Song of Solomon." MELUS: Multi-Ethnic Literature of the United States 48, no. 4 (December 1, 2023): 183–205. http://dx.doi.org/10.1093/melus/mlad076.

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Abstract This article examines Toni Morrison’s Song of Solomon (1977) by focusing on the way that the novel’s protagonist, Milkman Dead, rejects various traditional Euro-American formulations of “progress.” I argue that Milkman’s actions uncover a legacy of loss associated with African American culture and, relatedly, buried narratives of African American history. I take a cue from dance scholar Ann Cooper Albright’s attentiveness to what she terms “the cultural hegemony of the vertical” (37) in considering Milkman’s embodied resistance to existing paradigms of progress. By positing a vertical conceptualization of racial uplift ideology, the Dead family ancestry, and the journeys North and South between Michigan and Virginia in Song of Solomon, I demonstrate how Milkman’s very corporeality comes to signify the importance of African American cultural preservation and moving “counter-to” in re-visioning liberatory, counter-hegemonic routes of progress. My reading unfolds from a critical moment in chapter 2 of Song of Solomon; in this scene, the Dead family journeys northward in Milkman’s father’s Packard toward the wealthy white neighborhoods of Honoré, meanwhile Milkman demonstrates a remarkable preoccupation with what lies behind him. Situating Milkman’s embodied opposition to the journey’s progress as a point of departure, I examine how Morrison disrupts various paradigms of progress throughout Song of Solomon.

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8

Heinze, Denise, and Valerie Smith. "New Essays on Song of Solomon." African American Review 31, no. 1 (1997): 159. http://dx.doi.org/10.2307/3042201.

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9

Sofer, Danielle. "The Macropolitics of Microsound: Gender and sexual identities in Barry Truax’sSong of Songs." Organised Sound 23, no. 1 (December 22, 2017): 80–90. http://dx.doi.org/10.1017/s1355771817000309.

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This analysis explores how Barry Truax’sSong of Songs(1992) for oboe d’amore, English horn and two digital soundtracks reorients prevailing norms of sexuality by playing with musical associations and aural conventions of how gender sounds. The work sets the erotic dialogue between King Solomon and Shulamite from the biblical Song of Solomon text. On the soundtracks we hear a Christian monk’s song, environmental sounds (birds, cicadas and bells), and two speakers who recite the biblical text in its entirety preserving the gendered pronouns of the original. By attending to established gender norms, Truax confirms the identity of each speaker, such that the speakers seemingly address one another as a duet, but the woman also addresses a female lover and the man a male. These gender categories are then progressively blurred with granular time-stretching and harmonisation (which transform the timbre of the voices), techniques that, together, resituate the presumed heteronormative text within a diverse constellation of possible sexual orientations.

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10

Hathaway, Heather. "Rewriting Race, Gender and Religion in Toni Morrison’s Song of Solomon and Paradise." Religions 10, no. 6 (May 28, 2019): 345. http://dx.doi.org/10.3390/rel10060345.

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This article explores author Toni Morrison’s creation of female spiritual leaders in her 1977 novel, Song of Solomon, and her 1998 novel, Paradise. I argue that she deliberately distorts Biblical imagery and narrative to rewrite women into the roles of spiritual agents rather than subjects, using irony and inversion, in Song of Solomon. She builds on this in Paradise by exploring the limitations of patriarchal orthodox Christian systems of social order and control by casting them in light of alternative spiritual beliefs, most notably Gnosticism.

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11

Dhamala, Roshani. "What Is ‘Home’? The Meaning and Function of ‘Home’ in Morrison’s Song of Solomon." SCHOLARS: Journal of Arts & Humanities 1 (August 1, 2019): 67–78. http://dx.doi.org/10.3126/sjah.v1i0.34449.

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This paper explores the motif of ‘home’ in Toni Morrison’s novel Song of Solomon. Although home is a prominent and recurrent motif in many of Morrison’s works, this paper focuses explicitly on Song of Solomon. In Song of Solomon ‘home’ is more than a piece of geography. Instead, it is a space that is situated in race, a space where race and racial history matters, albeit in a positive and empowering way for the Black community. Such a home lives in the memories of people, and it is kept alive through the oral songs and stories that are handed down across generations of Black Americans. Home is also a space that provides protection from trauma and helps in the healing of the individual. This healing can take place through reconnection with the root or through a reignited sense of belongingness to the community. The sense of belongingness is strong in home, and that helps individuals within the community to shape a formidable sense of identity and a sense of self. Home is enriched by the presence of ancestors, who are the bearers of tradition and who act as the binding force within the community that pulls everything and everyone together into one coherent structure of relationships. But most importantly, home is what Milkman finds at the end of his journey from Northern to Southern America. In addition, once he finds it, he heals and transforms himself to prepare for a future that is more harmonious with his past.

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12

WANG, Miaomiao, and Chengqi LIU. "A Study on the Postmodern Narrative Features in Toni Morrison’s Song of Solomon." English Language and Literature Studies 11, no. 3 (July 15, 2021): 28. http://dx.doi.org/10.5539/ells.v11n3p28.

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Toni Morrison (1931-2019) is renowned as the Nobel and Pulitzer Prize-winning American novelist. Her third novel Song of Solomon was written in the context of postmodernism, which embodies a variety of postmodern narrative features. Postmodern works are frequently inclined to ambiguity, anarchism, collage, discontinuity, fragmentation, indeterminacy, metafiction, montage, parody, and pluralism. Such postmodern narrative features as parody, metafiction and indeterminacy have been manifested in Song of Solomon. In this novel, Toni Morrison employs the strategy of parody in order to subvert traditional narrative modes and overthrow the western biblical narrative as well as African mythic structure. Meta-narratives are also used in the text to dissolve the authority of the omniscient and omnipotent narrator. By questioning and criticizing the traditional narrative conventions, Morrison creates a fictional world with durative indeterminacy and unanswered problems. Through presenting parody, metafiction and indeterminacy, this paper attempts to analyze the postmodern narrative features in Song of Solomon and further explore Morrison’s writing on the African-American community and its future development.

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13

Sasson, Victor. "King Solomon and the Dark Lady in the Song of Songs." Vetus Testamentum 39, no. 4 (1989): 407–14. http://dx.doi.org/10.1163/156853389x00183.

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14

Moore, Stephen D. "The Song of Songs in the History of Sexuality." Church History 69, no. 2 (June 2000): 328–49. http://dx.doi.org/10.2307/3169583.

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The arduous task of queering the Song of Songs, a book that is ostensibly an unequivocal celebration of male-female sexual love, was accomplished over many centuries by the Fathers and Doctors of the Church (as well as by Jewish Sages of blessed memory, though they were hampered by a modesty and restraint to which their Christian cousins were seldom subject). Night after night in their cells, by flickering candlelight, they queeried the Song of Solomon, strenuously inquiring after its spiritual meaning and confidently setting it forth. And as they did so their austere cells were transformed into lavish theaters. What follows is a series of preliminary portraits of some of the more remarkable performers.

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15

Spallino, Chiara. "Song of Solomon: An Adventure in Structure." Callaloo, no. 25 (1985): 510. http://dx.doi.org/10.2307/2930822.

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16

Brenkman, John. "Politics and Form in Song of Solomon." Social Text, no. 39 (1994): 57. http://dx.doi.org/10.2307/466364.

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17

Wehner, David Z., and Jan Furman. "Toni Morrison's Song of Solomon: A Casebook." Journal of the Midwest Modern Language Association 37, no. 2 (2004): 110. http://dx.doi.org/10.2307/4144715.

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18

Stryz, Jan. "Inscribing an Origin in Song of Solomon." Studies in American Fiction 19, no. 1 (1991): 31–40. http://dx.doi.org/10.1353/saf.1991.0003.

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19

Weinstein, Mark. "The song of Solomon andsong of Lawino." World Literature Written in English 26, no. 2 (September 1986): 243–44. http://dx.doi.org/10.1080/17449858608588981.

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20

HOVSEPYAN, LILIT, and TATEVIK MANUKYAN. "WHAT DO THE MANUSCRIPTS HIDE? ABOUT THE DESCRIPTION OF A MANUSCRIPT PUBLISHED IN THE "SION" MAGAZINE." JOURNAL FOR ARMENIAN STUDIES 3, no. 62 (November 14, 2023): 27–44. http://dx.doi.org/10.24234/journalforarmenianstudies.v3i62.56.

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Maksoudian published in 1968 in the magazine “Sion” a description of the manuscript of 1311, supplementing the manuscript heritage of the medieval Artske, copied by the scribe Hovhannes in the “Desert of Artske” under the title Recently discovered Armenian manuscript in America. The manuscript contains the books of Solomon the Wise: Proverbs, Ecclesiastes, Song of Songs, Wisdom, as well as the work by Grigor Nyusatsi Interpretation of the Song of Songs. The article considers this description as an important source, equivalent to a manuscript, for the study of the written environment of Artske. In 1317 the Hovhannes, in the same Artske desert, made an exact copy of the manuscript (colophons and contents coincide), which is the manuscript number 76 of the Mashtots Matenadaran. The comparative textological-codicological analysis of these two manuscripts from the Artske Desert reveals new details both about the copyist Hovhannes and about the writing environment of Artske at the beginning of the 14th century; the worldly name of the copyist and the names of his relatives become known, of whom there is no mention in the colophon of the manuscript number 76. The article highlights the fact that Solomon's Proverbs, Ecclesiastes, Song of Songs and Wisdom were copied in a separate manuscript as a unique phenomenon of copying the biblical text, which justifies the presence in this copied text of noteworthy discrepancies that are absent in the readings of the Bible, considered authoritative, published by Hovhannes Zohrabian in 1805 year, and may contribute to a future work on the composition of the critical text of the Bible.

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21

Exum, J. Cheryl. "Seeing Solomon's Palanquin (Song of Songs 3:6-11)." Biblical Interpretation 11, no. 3 (2003): 301–16. http://dx.doi.org/10.1163/156851503322566741.

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AbstractSong 3:6-11 shares distinctive poetic features with the rest of the Song of Songs, such as the impression of immediacy, the conjuring up of the loved one, the blurring of distinctions between past and present, and the address to an audience that includes the reader. This pericope is constructed in such a way as to bring a luxurious conveyance bearing Solomon (the male lover in his royal guise) from the furthest imaginable horizon, the wilderness, closer and closer to the speaker who describes the procession, and through whose eyes we perceive the sight in greater and greater detail. The poetic analysis sheds light on three debated questions in Song of Songs interpretation: (1) who is the speaker in these verses?, (2) who or what is coming up from the wilderness—a person or an object?, (3) do these verses describe a moving means of transport or a fixed structure?

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22

Emerton, J. A., and G. L. Carr. "The Song of Solomon. An Introduction and Commentary." Vetus Testamentum 35, no. 1 (January 1985): 120. http://dx.doi.org/10.2307/1517881.

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23

Cowart, David. "Faulkner and Joyce in Morrison's Song of Solomon." American Literature 62, no. 1 (March 1990): 87. http://dx.doi.org/10.2307/2926784.

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24

Fletcher, Judith. "Signifying Circe in Toni Morrison's "Song of Solomon"." Classical World 99, no. 4 (2006): 405. http://dx.doi.org/10.2307/4353064.

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Fletcher, Judith. "Signifying Circe in Toni Morrison's Song of Solomon." Classical World 99, no. 4 (2006): 405–18. http://dx.doi.org/10.1353/clw.2006.0065.

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Farhan, Muhammad Dera. "Ulysses Theme in Toni Morrison‟s Song of Solomon: A Thematic Study." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 1489–96. http://dx.doi.org/10.37200/ijpr/v24i5/pr201819.

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27

Spencer, F. Scott. "Song of Songs as political satire and emotional refuge: Subverting Solomon’s gilded regime." Journal for the Study of the Old Testament 44, no. 4 (May 4, 2020): 667–92. http://dx.doi.org/10.1177/0309089219862820.

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This article proposes a viable reading of Song of Songs as historicized allegory and political satire. In this view, the Song co-opts royal imagery from Solomon’s past golden age to elevate the consummate value of an ordinary ‘country’ couple’s exuberant, mutual love as a model for flourishing, postexilic life. Put another way, this love ‘anthem’ extols ‘emotional refuge’ from exploitative monarchical rule, domestic or foreign. The argument is grounded in close analysis of Song 1-3 and 8.11-12 interlaced with biblical legal, historical, and prophetic critiques of Solomonic pride and greed, and informed by theoretical frameworks on politics, music, and emotion.

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

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

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Tsvelykh, A. N., and E. D. Yablonovska-Grishchenko. "Song Repertoire of the Crimean Chaffinch, Fringilla Coelebs (Fringillidae), and Comparative Analysis of the Vocalization Features of F. C. Solomkoi, F. C. Coelebs and F. C. Caucasica Subspecies." Vestnik Zoologii 46, no. 6 (December 1, 2012): 55–63. http://dx.doi.org/10.2478/v10058-012-0047-4.

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Abstract Song repertoire of chaffinch F. c. solomkoi subspecies from Crimea was analyzed. We discerned 38 song types in Crimean chaffinches’ repertoire, 27 of them were more frequent. Comparing Crimean chaffinches’ songs with those of nominative subspecies from Eastern Europe showed no common songs. Comparison of individual song elements showed that songs of F. c. solomkoi consisted of 108 elements, of which 18 were distinctive to Crimean birds, 18 were specific to Crimean chaffinches and Carpa-thian F. c. coelebs population while absent in songs of chaffinches from Eastern Europe plains. Comparison of F. c. solomkoi songs with songs of Caucasian subspecies F. c.caucasica revealed no common types of songs. There are certain similarities in song structures between some Crimean chaffinches and hybrid popula-tion of F. c. caucasica and F. c. solomkoi from Northwest Caucasus. Other specifics of vocalization showed drastic differences in rain-call structures of all subspecies and no after-song “kit“ element for Caucasian sub-species

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關永中, 關永中. "大德蘭和十字若望所心儀的《雅歌》." 新世紀宗教研究 19, no. 1 (June 2021): 001–34. http://dx.doi.org/10.53106/168437382021061901001.

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<p>西方神祕主義論及人神之愛，都多少牽涉到《舊約．雅歌》的主題與象徵。在神祕冥合的高峰上，我們尚且聆聽到大德蘭《默思〈雅歌〉》和十字若望《靈歌》的間奏與和鳴。我們為此把《雅歌》、《默思》、《靈歌》三者綜合起來沉思，盼能浸潤在屬天綸音的律動下，獲致身、心、靈的諧協、啟發與進境。</p> <p> </p><p>Christian mysticism has its affinity concerning the Spiritual Love between God and Man as visualized in the Song of Songs. Great mystical writers as St. Teresa of Avila and St. John of the Cross, having meditated on the symbols and themes of the Song. of Solomon, have left to us beautiful passages which we may benefit abundantly when reflected upon their thoughts. Hopefully we attempt to make a survey on the Connections and discrepancies among the three masterpieces-the Song of Songs, Teresa’s Meditations on the Song of Songs, and John of the Cross’ Spiritual Canticle.</p> <p> </p>

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Tidey, Ashley. "Limping or Flying? Psychoanalysis, Afrocentrism, and Song of Solomon." College English 63, no. 1 (September 1, 2000): 48–70. http://dx.doi.org/10.58680/ce20001198.

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Explores the possibility of seeing in Toni Morrison’s novel, “Song of Solomon,” the co-existence of two narratives of subjectivity. Examines the extent to which the application of a Western and non-Western narrative of subject formation yields conflicting interpretations of the novel and, in particular, the novel’s ending.

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Rainbow, Jesse John. "The Derivation of kordiakos: A New Proposal." Journal for the Study of Judaism 39, no. 2 (2008): 255–66. http://dx.doi.org/10.1163/156851507x193090.

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AbstractThe medical term kordiakos (m. Git. 7:1) is derived not from the anatomical situs of disease, but from the harmful action of a pathogenic demon who acts upon the "heart" to effect a husband's legal incompetence. This is consistent with the Talmud's own definition of kordiakos as the name of a spirit. The Talmud's interest in tales of Solomon's mastery of the demons (b. Git. 67b-71b) is due to the derivation of kordiakos from the verb καρδιóω in Song 4:9 (LXX), which readers understood to describe the enchantment whereby Solomon was led to his own moral collapse (1 Kgs 11:1-10).

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R, NIVETHITHA. "STUDY OF RACISM IN TONI MORRISON’S SONG OF SOLOMON." INTERNATIONAL JOURNAL OF RECENT TRENDS IN ENGINEERING & RESEARCH Special Issue 7 (March 14, 2020): 5–9. http://dx.doi.org/10.23883/ijrter.conf.20200315.002.xcbvt.

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Tidey, Ashley. "Limping or Flying? Psychoanalysis, Afrocentrism, and Song of Solomon." College English 63, no. 1 (September 2000): 48. http://dx.doi.org/10.2307/379031.

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강준수. "The Restoration of African Tradition in Song of Solomon." Journal of English Cultural Studies 10, no. 1 (April 2017): 5–31. http://dx.doi.org/10.15732/jecs.10.1.201704.5.

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Medoro, Dana. "Justice and Citizenship in Toni Morrison’s Song of Solomon." Canadian Review of American Studies 32, no. 1 (January 2002): 1–16. http://dx.doi.org/10.3138/cras-s032-01-01.

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López Ramírez, Manuela. "Icarus and Daedalus in Toni Morrison's "Song of Solomon"." Journal of English Studies 10 (May 29, 2012): 105. http://dx.doi.org/10.18172/jes.183.

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In Song of Solomon Toni Morrison rewrites the legend of the Flying Africans and the Myth of Icarus to create her own Myth. Her depiction of the black hero’s search for identity has strong mythical overtones. Morrison rescues those elements of mythology black culture which are still relevant to blacks and fuses them with evident allusions to Greek mythology. She reinterprets old images and myths of flight, the main mythical motif in the story. Her Icarus engages on an archetypical journey to the South, to his family past, led by his Daedalic guide, on which he finally recovers his ancestral ability to fly. His flight signals a spiritual epiphany in the hero’s quest for self-definition in the black community.

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Holton, Robert. "Bearing Witness: Toni Morrison’s Song of Solomon and Beloved." ESC: English Studies in Canada 20, no. 1 (1994): 79–90. http://dx.doi.org/10.1353/esc.1994.0042.

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Allawi, Thamer. "Struggle for Existence in Toni Morison’s Song of Solomon." Al-Adab Journal, no. 145 (June 29, 2023): 15–28. http://dx.doi.org/10.31973/aj.v2i145.4184.

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The purpose of this study is to examine the philosophical perspective that Toni Morrison employed when creating the primary characters in Song of Solomon. This article examines the philosophical foundations of the novel at hand by Toni Morrison. It is precisely this aspect that pertains to man's very existence and being. Existentialism is a philosophical and literary school of thought. It focuses on individual liberty and responsibility as two fundamental aspects of man's existence. Existentialism is present both in literature and philosophy. This study provides an in-depth analysis of the Song of Solomon text. In this novel, Morrison places Milkman and Pilate in situations from which they can proceed in a variety of ways. The existential aspect of the book will be analyzed by focusing on the struggles that both of the main characters confront when attempting to make decisions about the course of their lives and overcoming obstacles. Morrison's method will be evaluated based on her ability to weave the preexisting social and cultural situations of the main characters into the fabric of numerous societies. Milkman's unwillingness to be controlled by conventional codes and his desire to adapt to the needs of his new being, both of which are emphasized in the study, are illuminated by the research. The research will concentrate on the two characters' distinct conceptions of which they are, as well as the perspective from which each character views the surrounding community, its morals and values, and the societal expectations placed on its members.

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Pattiserlihun, Selvone Christin. "The Women Poet: Exploring the Existence of Women and Feminist Values from the Song of Songs 3:1-5." Satya Widya: Jurnal Studi Agama 5, no. 2 (December 29, 2022): 16–28. http://dx.doi.org/10.33363/swjsa.v5i2.844.

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Aren't humans created equally? in every situation, they are equal whatever the situation. Humans are social creatures who always depend on groups and cannot live alone to the fullest. Biologically, humans are classified based on sex in two forms, namely male (male) and female (female). Both men and women, humans still have the same awareness to express their existence in society. However, the awareness to accept existence (existence) is based on several conditions. The Bible is a place to describe the existence of women in society in terms of religion (Christianity). Women have always been objects and do not have the same existence as men, which was once based on public awareness (which was very patriarchal). One of the love poems, the Song of Solomon, records the existence of women and describes it clearly that women had a unique existence in society at the time of the writing of the Bible even before Jesus. This paper aims to explain the existence of women in Kidung Agung using a feminist literary criticism approach as a writer. The author would like to emphasize that the poem “Dream of the Bride” in Song of Solomon 3:1-5 was written by a woman. In the end, this paper will provide moral values for women today.

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Prabowo, Paulus Dimas. "Kajian Didaktis Mengenai Cinta Lelaki dan Wanita dalam Kidung Agung." HUPERETES: Jurnal Teologi dan Pendidikan Kristen 2, no. 1 (December 25, 2020): 1–13. http://dx.doi.org/10.46817/huperetes.v2i1.28.

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A popular interpretation of the Song of Solomon states that the love poetry in it is a description of the relationship between God and His people. The Jews interpreted it as the relationship between Yahweh and Israel (allegorical), while Christians interpreted it as the relationship between Christ and the church (Christological). However, if one considers the genre of the book, the use of the Hebrew word dod, and the close praise for Solomon and the Shulamite, it would be argued that the Song of Songs contains a celebration of eros love between man and woman as an offering God that can be enjoyed. Song of Songs also presents another dimension in all of its articles, namely the values about the love relationship between a man and a woman. This article is written to explore the didactic aspects of the love relationship between a man and a woman in the entire Song of Songs. The method to be used is thematic analysis, using a literal perspective that takes into account the rules of Hebrew poetry. Finally, it found the didactic aspects of love in it including the right timing, a binding marriage, a charming character, equality, strong loyalty, role as a friend, communication, and solving problems quickly.Penafsiran yang populer terhadap Kidung Agung menyatakan bahwa puisi cinta di dalamnya merupakan penggambaran dari hubungan antara Tuhan dengan umat-Nya. Orang Yahudi memaknainya sebagai hubungan antara Yahweh dengan umat Israel (alegoris), sedangkan orang Kristen memaknainya sebagai hubungan antara Kristus dengan gereja (Kristologis). Namun bila mempertimbangkan genre kitab, pemakaian kata Ibrani dod, dan adanya puji-pujian fisik yang begitu intim antara Salomo dengan gadis Sulam, maka akan dimengerti bahwa Kidung Agung berisi selebrasi tentang cinta eros antara lelaki dan wanita sebagai pemberian Tuhan yang perlu dinikmati. Tidak sekedar urusan seksualitas dan sensualitas, Kidung Agung juga menyajikan dimensi lain di dalam seluruh pasalnya, yakni nilai-nilai pengajaran tentang hubungan cinta antara seorang laki-laki dan seorang wanita. Artikel ini ditulis untuk mengupas aspek didaktis tentang hubungan cinta seorang laki-laki dan seorang wanita di dalam seluruh kitab Kidung Agung. Metode yang akan dipakai adalah analisis tematis, dengan memakai perspektif literal yang memperhatikan kaidah-kaidah puisi Ibrani. Akhirnya, ditemukanlah aspek didaktis tentang cinta di dalamnya meliputi waktu yang tepat, pernikahan yang mengikat, karakter yang memikat, persamaan derajat, kesetiaan yang kuat, peran sebagai sahabat, komunikasi yang hangat, dan penyelesaian masalah dengan cepat.

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TORMAKHOVA, Veronika, and Yuliia LEBID. "Features of the chamber musical "Solomon and Sulamife: song of songs" by Vyacheslav Polyansky." Humanities science current issues 3, no. 41 (2021): 36–40. http://dx.doi.org/10.24919/2308-4863/41-3-6.

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Linardou, Kallirroe. "The Couch of Solomon, a Monk, a Byzantine Lady, and the Song of Songs." Studies in Church History 39 (2004): 73–85. http://dx.doi.org/10.1017/s0424208400015011.

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In the early twelfth century, the Byzantine monk James of the monastery of Kokkinobaphou composed six sermons on the early life of the Virgin Mary. Two copies of these sermons, known collectively as the Kokkinobaphos manuscripts, have survived: BN, MS gr. 1208 and BAV, MS gr. 1162. Based on a combination of internal and external evidence, scholars have dated the manuscripts to the second quarter of the twelfth century, and furthermore suggested that their production and decoration was undertaken during the lifespan of James. Both copies bear an extensive and almost identical narrative and typological cycle of illumination, which has been securely connected to the imperial environment of the Byzantine court of the twelfth century and was linked, more tentatively, with the Sevastokratorissa Eirene, a prominent patroness of the court, widow of the Seuastokrator Andronikos, the second son of the Emperor John II Komnenos (1118-43). The miniatures illustrating the text of James are renowned for their artistic quality and their iconographical peculiarities.

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Heinze, Denise. "Unlikely Antiphony: Whitman’s Call and Morrison’s Response in “Song of Myself” and Song of Solomon." Walt Whitman Quarterly Review 33, no. 2 (December 30, 2015): 85–113. http://dx.doi.org/10.13008/0737-0679.2192.

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Izgarjan, Aleksandra M. "METAPHOR OF FLIGHT IN TONI MORRISON'S NOVEL „SONG OF SOLOMON“." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 6, no. 6 (March 7, 2017): 305. http://dx.doi.org/10.19090/zjik.2016.6.305-322.

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Članak se bavi analizom metafore leta u romanu Toni Morison Song of Solomon. Autorka koristi legendu o afričkim robovima koji su mogli da lete kako bi naglasila dualnost metafore leta i njenu subverzivnu ulogu koja omogućava različite interpretacije. Kompleksnost metafore leta u romanu Toni Morison zahteva upotrebu nekoliko književno-teorijskih okvira tako da će se u članku koristiti okvir magijskog realizma, praksa marginalizacije i označavanja pripadnika manjinskih grupa kao Drugog onako kako se tom temom bavio Edvard Said u svom delu Orijentalizam i Jungov koncept arhetipa i putovanja mitskog heroja. Fokus članka je posebno na korišćenju magijskog realizma i spajanju master narativa zapadne civilizacije sa legendama koje potiču iz afroameričke zajednice kako bi se preispitao process konstrukcije istorije i zajednice. Morison u prvi plan stavlja univerzalnost leta kao jednog od ljudskih impulsa koji može da se nađe i u zapadnoj, afričkoj i afroameričkoj kulturi čime pruža validnost svojim likovima i njihovoj sposobnosti da lete.

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Elena Dzhola. "Female images in Tony Morrison’s novel "The Song of Solomon"." Cross-Cultural Studies 11, no. 2 (December 2007): 207–34. http://dx.doi.org/10.21049/ccs.2007.11.2.207.

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Lee, Hyun-Kyung. "“Overcoming the Scapegoat Mechanism in Toni Morrison’s Song of Solomon.”." Literature and Religion 27, no. 1 (March 31, 2022): 137–69. http://dx.doi.org/10.14376/lar.2022.27.1.137.

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Middleton, Joyce Irene. "Orality, Literacy, and Memory in Toni Morrison's Song of Solomon." College English 55, no. 1 (January 1993): 64. http://dx.doi.org/10.2307/378365.

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Mahapatra, Subhasmita, and Sthitaprajna. "Xenophobiain morrison's the bluest eye, sula & song of solomon." Asian Journal of Research in Social Sciences and Humanities 12, no. 9 (2022): 113–25. http://dx.doi.org/10.5958/2249-7315.2022.00391.4.

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Brenner, Gerry. "Song of Solomon: Morrison's Rejection of Rank's Monomyth and Feminism." Studies in American Fiction 15, no. 1 (1987): 13–24. http://dx.doi.org/10.1353/saf.1987.0024.

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