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Bibliografías temáticas / Hymns (Jewish)

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Artículos de revistas

Literatura académica sobre el tema "Hymns (Jewish)"

Autor: Grafiati

Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Hymns (Jewish)"

1

Shiell, William. "Singing to “Lord Jesus Christ”: A Prose Hymn and Its Philippian Recipients." Religions 14, no. 10 (2023): 1228. http://dx.doi.org/10.3390/rel14101228.

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Religious audiences frequently hear prose hymns as a part of their ceremonies. The “Lord Jesus Christ” hymn in Philippians 2.6–11 is one such example. The Philippian hymn fits an audience’s performance expectations compared to other Greek and Jewish prose hymns and performances. A slave lector likely recited or sang the hymn when delivering the epistle and directly addressed at least four named recipients. This article examines the narrative links between the hymn and the address in 4:1–3. Utilizing performance-critical methods, we explore how this hymn likely functioned for the ancient audien

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2

Neis, Rachel. "Embracing Icons: The Face of Jacob on the Throne of God." IMAGES 1, no. 1 (2007): 36–54. http://dx.doi.org/10.1163/187180007782347548.

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AbstractRachel Neis' article treats Hekhalot Rabbati, a collection of early Jewish mystical traditions, and more specifically §§ 152–169, a series of Qedusha hymns. These hymns are liturgical performances, the highlight of which is God's passionate embrace of the Jacob icon on his throne as triggered by Israel's utterance of the Qedusha. §§ 152–169 also set forth an ocular choreography such that the gazes of Israel and God are exchanged during the recitation of the Qedusha. The article set these traditions within the history of similar Jewish traditions preserved in Rabbinic literature. It wil

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3

Ioniță, Alexandru. "Mapping the Jews in the Byzantine Hymnography: The Triodion." Religions 15, no. 2 (2024): 237. http://dx.doi.org/10.3390/rel15020237.

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The Byzantine hymnography was considered a “stumbling stone” of the Jewish–Orthodox Christian dialogue because of the harsh anti-Jewish elements kept in the modern liturgical texts without any revision. This article analyses the often-mentioned texts of the Triodion—the liturgical period before Pascha—using a quantitative approach. The starting point of this research states that we must keep in mind the broader view on the state of the hymnography without labelling the entire Byzantine hymnography as anti-Jewish by looking at some concrete stanzas from Holy Week services. The results demonstra

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4

Fomicheva, Sofia. "The Jewish literature of the second temple as a possible source of Ephrem the Syrian’s doctrine about the teacher as a scribe, inspired by God (in the 6th hymn "De Crucifixione")." St. Tikhons' University Review. Series III. Philology 73 (December 30, 2022): 103–18. http://dx.doi.org/10.15382/sturiii202273.103-118.

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In his 6th Hymn De crucifixione that is consecrated to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet-theologian Ephrem the Syrian (4th c.) functions as a teacher of astronomical and calendric lore. The article focuses on the probable sources of the construction of Ephrem’s authority as a teacher in this hymn. The author demonstrates that the astronomical discourse in the Syriac hymn is constructed with the specific structural devices, e.g., the first-person discourse, the term “calculation” and metaphorically expressed with the image of the scribe. These elem

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5

NAHON, PETER. "Two Judeo-Spanish ‘Marrano’ hymns in the liturgy of the Jews of Cochin." Journal of Jewish Studies 75, no. 1 (2024): 116–36. http://dx.doi.org/10.3828/jjs.2024.75.1.116.

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The liturgy of the Jews of Cochin, Kerala, is extant in several manuscripts, the oldest dating back to the end of the seventeenth century. Among the Hebrew pieces, we find two compositions in Old Spanish written in Hebrew characters, Alto dio de Abraham and Todos kiriados . Here we provide for the first time an edition of these texts (from MS. Roth 33 of the Brotherton Library, University of Leeds and MS. Or. 2242 of the Cambridge University Library). A philological analysis reveals that these two texts – a supplication paraphrasing Psalm 121 and a translation of a medieval Hebrew pizmon, Kol

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6

Ioniță, Alexandru. "Byzantine Liturgical Hymnography: a Stumbling Stone for the Jewish-Orthodox Christian Dialogue?" Review of Ecumenical Studies Sibiu 11, no. 2 (2019): 253–67. http://dx.doi.org/10.2478/ress-2019-0018.

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Abstract This article discusses the role of Byzantine liturgical hymnography within the Jewish-Orthodox Christian dialogue. It seems that problematic anti-Jewish hymns of the Orthodox liturgy were often put forward by the Jewish side, but Orthodox theologians couldn’t offer a satisfactory answer, so that the dialogue itself profoundly suffered. The author of this study argues that liturgical hymnography cannot be a stumbling stone for the dialogue. Bringing new witnesses from several Orthodox theologians, the author underlines the need for a change of perspective. Then, beyond the intrinsic pl

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7

Fomicheva, Sofia. "The astronomical and calendrical calculations in the 6th Hymn de Crucifixione by Ephrem the Syrian in the old Babylonian, Jewish and Christian context." St. Tikhons' University Review. Series III. Philology 77 (December 25, 2023): 107–24. http://dx.doi.org/10.15382/sturiii202377.107-124.

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The paper is focused on the astronomical and calendrical lore which the Syriac poet-theologian Ephrem the Syrian abundantly uses in his 6th hymn De crucifixione. In this hymn devoted to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet and theologian employs some astronomical data, i.e., the duration of solar and lunar years, the duration of the lunar months, the necessity of the intercalations in the calendars etc. The author analyses this lore in the context of the astronomical knowledge existing to Ephrem’s epoch. On the one hand, the article pays attention to

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8

Smith, J. A. "Concordances for Singing-Terms Common to the Septuagint and the Greek New Testament." Royal Musical Association Research Chronicle 28 (1995): 1–19. http://dx.doi.org/10.1080/14723808.1995.10540969.

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The Greek writings of early Christians and Hellenized Jews have three terms in common to refer to and designate song and singing: humnos, ōdē and psalmos and cognate forms of these. In the literature the terms and their cognates appear frequently, both in isolation and variously together. In the Septuagint (see below), for example, in 3 Maccabees, it is to be found that freed Jewish captives included ōdēn (6: 32), psalmois (6: 35) and humnois (7: 16b) in their celebratory singing. In the Greek New Testament, in Ephesians 5: 19 and Colossians 3: 16, the members of the Christian congregations to

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9

Charry, Ellen T. "Awakening to Judaism and Jews in Christian Preaching." International Journal of Homiletics 4, no. 1 (2020): 41–73. http://dx.doi.org/10.21827/ijh.2020.39505.

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Preaching is a daring undertaking. Whether through music, sermons, reading scripture, or personal conversation, speaking of God is an interpretive act. One never quite knows how what one plays, says, writes, or depicts is received. The distance between minds is vast. And given that every set of eyes may read the same words differently and each set of ears hear each interpretive utterance differently, hoping to communicate meaningfully with those watching and listening is nothing short of audacious. Among these challenges, one of the most delicate is preaching on Judaism and Jews. Yet Christian

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10

Bucur, Bogdan G. "Sinai, Zion, and Tabor: An Entry into the Christian Bible." Journal of Theological Interpretation 4, no. 1 (2010): 33–52. http://dx.doi.org/10.2307/26421327.

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Abstract Building on the insights of Jon Levenson's work, Sinai and Zion: An Entry into the Jewish Bible, this article endeavors to show that a similar approach, which could be labeled "theophanic," has traditionally guided the Christian—perhaps especially the Eastern Orthodox—entry into the Bible. Relating the Sinai theophany and the transfiguration on Tabor was crucially important for early Christian theology. It underlay their appropriation of the Scriptures of Israel as "OT," it lent itself to polemical use against dualism and monarchianism, and it was eventually absorbed into Byzantine fe

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