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    Wyświetlanie 1-9 z 9
    Tytuł:
    Czy Oblubienica rzeczywiście „znalazła pokój”? Dylematy translacyjne Pnp 8,10b
    Did the Bride Really „Find Peace”? Translation Problems in Song 8:10b
    Autorzy:
    Bardski, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1621493.pdf
    Data publikacji:
    2016-12-01
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Pieśń nad Pieśniami
    tłumaczenie
    pokój
    szczęście
    Pnp 8:10
    Song of Songs
    translation
    peace
    happiness
    Song 8:10
    Opis:
    W sposób dosłowny tekst Pnp 8,10 powinien zostać przetłumaczony: „I stałam się w jego oczach jako ta, która znajduje pokój”. Główne problemy translatorskie i interpretacyjne dotyczą idiomatycznego wyrażenia hebrajskiego: „znaleźć łaskę w czyichś oczach” oraz znaczenia hebrajskiego terminu shalom. Artykuł analizuje różne sugestie translatorskie w Biblii wydanej w języku angielskim, portugalskim, francuskim, niemieckim i polskim oraz prezentuje własną propozycję: „znalazłam szczęście w jego oczach”.
    From a purely literal standpoint, Song 8:10 is properly translated as: „I became in his eyes as one finding peace”. However, the main problems of translation and interpretation here have to do with the similarity between the Hebrew idiomatic formula „to find favor in someones eyes” and the meaning of the Hebrew word „shalom”. We analyze different suggestions for translation of the passage as found in published Bibles in English, Portuguese, French, German and Polish. Finally, we present our own proposal for a truer rendering: „I found happiness in his eyes”.
    Źródło:
    Verbum Vitae; 2016, 30; 43-51
    1644-8561
    2451-280X
    Pojawia się w:
    Verbum Vitae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pieśń nad Pieśniami w interpretacji Aponiusza
    Song of Songs in the Aponius interpretation
    Autorzy:
    Strękowski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/612266.pdf
    Data publikacji:
    2012
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Aponiusz
    Pieśń nad Pieśniami
    Aponius
    Song of Songs
    Opis:
    This article is the first attempt in Polish to present the main features of Aponius interpretation of the Song of Songs. For he was one of many authors who commented this book of the Old Testament, the content of which has always been a problem of interpretation. In ancient Christian times there were two exegetical currents: the literal and allegorical. Aponius falls within this second trend but brings individual and original exegesis off. In love of the bridegroom and the bride seems to see the symbol of love of the divine nature to human nature in the mystery of the Incarnation of the Son of God. By Aponius God himself comes through the Incarnation of the Word of the Father for his vineyard, which is the people of Israel, and through the precious seedlings originating from it and by the apostles, is revealed to the whole world, and through the seed of faith sown in individual peoples, creates a separate vineyards and offers the bride to the lavish use of the specific, unique fruits of welfare, to a shared joy in the vineyards.
    Źródło:
    Vox Patrum; 2012, 57; 601-612
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Implikacje eklezjologiczne Pnp 5,2-8
    Ecclesiological Implications Pnp 5:2-8
    Autorzy:
    Bijata, Milena
    Powiązania:
    https://bibliotekanauki.pl/articles/2035244.pdf
    Data publikacji:
    2019-12-10
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Bóg-Oblubieniec
    Kościół-oblubienica
    Pieśń nad Pieśniami
    God-Bridegroom
    Church-bride
    “Song of Solomon”
    Opis:
    Odkrywanie wielu znaczeń „Pieśni nad Pieśniami” pozwala na formułowanie ważkich zagadnień teologicznych: obraz Boga Oblubieńca (Chrystusa Oblubieńca), obraz ludu Bożego Oblubienicy, obraz mężczyzny i kobiety stworzonych do relacji oblubieńczych. Badania tej księgi inspirują do ukazywania nowych obrazów Kościoła: siostry, przyjaciółki, gołębicy, serca.
    Discovering the many meanings of “Song of Songs” allows us to formulate important theological issues: the image of God the Bridegroom (Christ the Bridegroom), the image of the people of God's Bride, the image of man and woman created for spousal relationships. The research of this book inspires to show new images of the Church: sister, friend, dove, heart.
    Źródło:
    Roczniki Teologiczne; 2019, 66, 2; 71-89
    2353-7272
    Pojawia się w:
    Roczniki Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Oblubieniec widziany oczami oblubienicy w Pieśni nad Pieśniami
    Autorzy:
    Drawnel, Henryk
    Powiązania:
    https://bibliotekanauki.pl/articles/1053372.pdf
    Data publikacji:
    2017-05-30
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Stary Testament
    księgi mądrościowe
    Pieśń nad Pieśniami
    miłość
    stworzenie
    Old Testament
    Wisdom books
    Song of Songs
    love
    creation
    Opis:
    The Canticle seen in its literal, non-alegorical or spiritual, sense recounts the story of a profound love relationship between an anonymous man and an anonymous woman. Their mutual love is expressed by the two fundamental terms dôdîm and ’ahăbāh that are mainly used by the bride, hence the feminist approach to the text. These two terms on the lips of the bride do not refer exclusively to the erotic aspect of love, but, to the contrary, implicate an involvement of the whole person of both the bride and bridegroom. The concept of love rises quite often from the sensual description of the body to the transforming experience of love the purpose of which is to create a full and exclusive communion with the beloved. Thus the experience of love in the Canticle utterances formulated by the bride should be inscribed within the context of the creation account (Gen 2) that stresses the communion between man and woman. Love in the Canticle should also be analyzed in the context of aesthetic categories characteristic to poetic compositions that tend to positively transform the object of love by using the language of metaphor and symbol.
    Źródło:
    The Biblical Annals; 2008, 55, 1; 17-29
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nowe ujęcia translatoryczne w przekładach Księgi Koheleta i Pieśni nad Pieśniami w Biblii Ekumenicznej
    New Options in the Translation of Qohelet and Song of Songs in the Polish Ecumenical Bible
    Autorzy:
    Bardski, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1051504.pdf
    Data publikacji:
    2015-11-14
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Biblia ekumeniczna
    polskie tłumaczenia Biblii
    Księga Koheleta
    Pieśń nad Pieśniami
    Ecumenical Bible
    Bible translations in Polish
    Qohelet
    Song of Songs
    Opis:
    The article presents the new ecumenical polish translation of the Scripture and focuses on its original aspects. The author of the article translated the books of Qohelet and Song of Songs in the Ecumenical Bible. The main newness in the book of Qohelet was a translation of the motto of the book. The traditional “vanity of vanities” was interpreted according to the Hebrew etymology connected with wind and vapor, using at the same time an adjectival form. Literally it could be expressed in English: “evanescent, how evanescent – says Qohelet – everything is so evanescent”. Another newness is the interpretation of the Hebrew re’ut ruach as “similar to the wind” based on the interpretation of the word re’ut in connection with the verbal root resh-ayin-hei. Also we propose, on the base of some semantic and intertextual analyses, a new interpretation of the passage considered misogynic of Qoh 7,27-28: “Behold, I have discovered this, says Qohelet, comparing one women with another to find an explanation. I am not able to understand even the one whom I love with all my heart. I am able to understand one man among a thousand, but I am not able to understand any woman among all these”. In the translation of the Song of Songs, instead of the traditional marginal notes “bride” and “bridegroom” introducing the speeches of different characters, we choose simply “she” and “he”.
    Źródło:
    The Biblical Annals; 2014, 4, 2; 451-459
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Polifoniczne opracowania wersetów z Pieśni nad Pieśniami w czasach Johna Dunstaple’a i Leonela Powera
    Polyphonic Settings of Song of Songs Texts in John Dunstaple’s and Leonel Power’s Times
    Autorzy:
    Odoj, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/1038023.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego
    Tematy:
    Song of Songs
    John Dunstaple
    Leonel Power
    antiphon
    la angloise contenance
    English polyphony of the fifteenth century
    Pieśń nad Pieśniami
    antyfona
    polifonia angielska XV w.
    Opis:
    Marian texts were very popular in England in the fourteenth and the first half of the fifteenth century. This English interest in Marian texts is a reflection of a great adoration and devotion to the Virgin in England and the Roman tradition, and can be traced back to the twelfth and thirteenth century when Marian doctrine gained an increasing popularity. It can be even traced back to the ninth century when the earliest known antiphonary saw the light of day. Among all the antiphons, the most prominent were these based on the Song of Songs. Polyphonic settings of the Song texts, which originated in England in the mid-fourteenth century, belong to the category of the polyphonic votive antiphon. Such works can be found in Dunstaple’s and Power’s output, two the most important and famous English composers of that time. Of all their works, Dunstaple’s motet Quam pulchra es appears to be the most popular and well-known, and is considered to be the excellent example of the so-called English style, la contenance angloise. The goal of this paper is to show that in addition to these two composers, there were many others who also set the texts from the Song of Songs and contributed a lot to the development of the English music at that time, and had an influence on the composers from the continent.
    Źródło:
    Liturgia Sacra. Liturgia - Musica - Ars; 2016, 22, 48; 513-523
    1234-4214
    Pojawia się w:
    Liturgia Sacra. Liturgia - Musica - Ars
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “A garden enclosed, a fountain sealed”: The Song of Songs and its Ecclesiastical Significance in Seventeenth-century Ukraine
    „Ogród zamknięty, źródło zapieczętowane”: Pieśń nad Pieśniami i jej znaczenie eklezjastyczne w siedemnastowiecznej Ukrainie
    Autorzy:
    Bartolini, Maria Grazia
    Powiązania:
    https://bibliotekanauki.pl/articles/2130746.pdf
    Data publikacji:
    2022-09-29
    Wydawca:
    Akademia Ignatianum w Krakowie
    Tematy:
    Pieśń nad Pieśniami
    XVII-wieczna Ukraina
    egzegeza eklezjologiczna
    Łazarz Baranowicz
    Joannicjusz Galatowski
    Stefan Jaworski
    The Song of Songs
    seventeenth-century Ukraine
    ecclesiological exegesis
    Lazar Baranovych
    Ioanykii Galiatovs’kyi
    Stefan Iavors’kyi
    Opis:
    This article addresses an aspect of the seventeenth-century milieu that has not received the scholarly attention it deserves: how Ukrainian Orthodox literati received, adapted, and transformed the Song of Songs and its bridal imagery. At the crossroads between the Catholic West and the Byzantine East, seventeenth-century Ukraine is a fascinating case study of the shifts of meaning and intended audience of the particular biblical book and its exegetical tradition. In particular, I examine how some of the most influential early modern Ukrainian writers (Lazar Baranovych, Ioanikii Galiatovs’kyi, Stefan Iavors’kyi, and Dymytrii Tuptalo) used the Song as a template for meditating on the nature of the Church as they envisioned it – as an instrument for thinking about a “collective” institution. I argue that these authors brought their involvement with ecclesiastical politics and pastoral responsibility to the exegesis of this book, using the Song, often in combination with imagery from the Apocalypse, to articulate and define the boundaries of the Kyiv Church during a time of crisis.
    Artykuł dotyczy XVII-wiecznych adaptacji i przekształceń Pieśni nad Pieśniami i obecności w ówczesnej ukraińskiej literaturze obrazu zaślubin, któremu dotąd nie poświęcono należytej naukowej uwagi. Na skrzyżowaniu dróg między katolickim Zachodem a bizantyńskim Wschodem XVII-wieczna Ukraina jest fascynującym studium przypadku w odniesieniu do zmian znaczeń, tradycji egzegetycznej oraz odbiorców konkretnej biblijnej księgi. Szczególna uwaga została poświęcona badaniom sposobu, w jaki najsłynniejsi ówcześni pisarze ukraińscy (Łazarz Baranowycz, Joannicjusz Galatowski, Stefan Jaworski i Dmytro Tuptało) wykorzystali Pieśń jako szablon w refleksji nad naturą Kościoła. Twierdzę, że wymienieni autorzy wnieśli swoje duszpasterskie i polityczne zaangażowanie do egzegezy tej księgi, odwołując się do Pieśni nad Pieśniami; często w połączeniu z obrazami z Apokalipsy wytyczali i definiowali granice Kościoła kijowskiego w czasach religijnego i politycznego kryzysu.
    Źródło:
    Perspektywy Kultury; 2022, 38, 3; 123-136
    2081-1446
    2719-8014
    Pojawia się w:
    Perspektywy Kultury
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wierzchowce i sala tronowa Salomona oraz gwiazdozbiór Panny według Pieśni nad Pieśniami
    Solomon’s Riding Horses, Throne Hall, and Virgo Constellation according to the Song of Songs
    Autorzy:
    Lipiński, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/1053558.pdf
    Data publikacji:
    2015-11-04
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Stary Testament
    Pieśń nad Pieśniami
    interpretacja
    terminologia
    Akiba
    Apadana
    Dura-Europos
    stela
    Ezechiel Tragik
    gwiazdozbiór Panny
    sala tronowa
    Salomon
    wierzchowce
    Old Testament
    Song of Songs
    interpretation
    terminology
    stele
    Ezekiel the Poet
    Virgo Constellation
    throne Hall
    Solomon
    riding horses
    Opis:
    The Qumran fragments of the Song of Songs witness some versions of the poem which are older than the textus receptus. They also show that independent songs have been combined into one composition. Thus Cant. 3, 6-8, missing in 4QCantb, was a description of Solomon's guards on riding horses or camels, for mttw is the suffixed plural of the Arabic and Aramaic noun matiya, designating a riding animal. This passage has been joined to the following poem, starting in Cant. 3, 9 with a description of king's apadana, a colonnaded hall or palace. Its fi rst word, borrowed from Old Persian, has indeed been misspelled as 'prywn. Another poem, missing in 4QCanta, corresponds to Cant. 4, 8 - 5, 1. It is written entirely in Aramaic in 4QCantb and the Hebrew textus receptus still preserves traces of its original language. The Aramaic poem refers to the zodiacal constellation Virgo, called Kalla in Aramaic and requested to show the New Moon of Elul above the Lebanon range: 't mn lbnwn 'b'y, 'Let the sign enter from Lebanon'. The Song of Songs in its fi nal shape, characterized by its dramatic features and love lyrics, was accepted as Scripture because of its presumed Solomonic authorship, and it was highly valuated by Akiba, as its contents was appearing to him as a qds h-qdsym, a play word meaning 'the sanctification of betrothals'.
    Źródło:
    The Biblical Annals; 2011, 1, 1; 87-101
    2083-2222
    2451-2168
    Pojawia się w:
    The Biblical Annals
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Uporządkujcie we mnie miłość” (Pnp 2, 4, LXX) w egzegezie wybranych autorów wschodu i zachodu
    “You set charity in order in me” (Song 2:4, LXX) in the exegesis of selected authors of the east and west
    Autorzy:
    Nocoń, Arkadiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/612891.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Pieśń nad Pieśniami
    porządek miłości (ordo caritatis)
    Orygenes
    Grzegorz z Nyssy
    Teodoret z Cyru
    Augustyn
    Jan Kasjan
    Apponiusz
    Song of Songs
    the order of charity (ordo caritatis)
    Origen
    Gregory of Nyssa
    Theodoret of Cyrus
    Augustine of Hippo
    John Cassian
    Apponius
    Opis:
    “You set charity in order in me” (Song 2:4, LXX) is one of the most fundamental biblical texts for the concept of the ordo caritatis. The Author seeks to examine how this text was read in the East and West, analysing the commentary of three Greek authors (Origen, Gregory of Nyssa and Theodoret of Cyrus), and three Latin authors (Augustine of Hippo, John Cassian and Apponius). There commentaries, he notes, agree with one another for the most part, and refer more or less to Origen’s exegesis of this verse. However, some differences can be noted. The Eastern Fathers, for example, hold that, in the order of charity, the criterion of merit is more important than the criterion of blood relationship; that is to say, the greater love is to be shown to those who have been born in Christ (cf. 1Cor 4:15) over those born of the flesh. Only the Eastern Fathers explore what the ordo caritatis means also in relation to one’s enemies. The Western Fathers, for their part, tend to underline the moral aspect of the ordo caritatis, insofar as upholding that order is virtue, while infringing it is sin. In this regard, a casuistic approach can occur in their commentary more frequently than in those of the Eastern Fathers. The novelty of the commentaries of the Western Fathers is also found in their reflection on the ordo caritatis within the Holy Trinity, as well as the manner in which they expand the embrace of this order to other categories of people: friends, fellow citizens, strangers. Some of the Western Fathers (Apponius) apply the ordo caritatis not only to people but also to works of mercy, while others (Augustine) bring out the aesthetic element in the ordo caritatis, noting that the effect of order of any kind, including the order of charity, is beauty.
    Źródło:
    Vox Patrum; 2017, 67; 477-497
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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