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Tytuł:
„Pieśń duchowa” św. Jana od Krzyża – przekład,aluzje biblijne i symbolika
St. John’s of the Cross Spiritual Canticle – translation, biblical allusionsand symbolism
Autorzy:
Bardski, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/1008846.pdf
Data publikacji:
2019-01-22
Wydawca:
Akademia Katolicka w Warszawie
Tematy:
Pieśń duchowa
Jan od Krzyża
Pieśń nad pieśniami
symbolika
Spiritual Canticle
John of the Cross
Song of Songs
symbolism
Opis:
The article presents a new translation into Polish of the sixteenth-century poem The Spiritual Canticle of Saint John of the Cross. The translation was made in the form of an eight-syllable verse, without rimes. In the introduction, we presented earlier Polish translations of the work, and in footnotes, we emphasized the issues related to symbolism and biblical allusions.
Źródło:
Warszawskie Studia Teologiczne; 2019, 32, 1; 60-79
0209-3782
2719-7530
Pojawia się w:
Warszawskie Studia Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
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:
“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:
Rendering Trauma Beneficial… for Whom? Gregory of Nyssa’s Homily 12 on the Song of Songs
Autorzy:
Dasios, Maria
Powiązania:
https://bibliotekanauki.pl/articles/43665602.pdf
Data publikacji:
2024
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Gregory of Nyssa
Galatians
Song of Songs
reception
exegesis
allegory
trauma
wounds
blows
violence
benefit
instruction
healing
late antiquity
legacy
Christian
Opis:
Gregory’s Homily 12 on the Song of Songs offers one opportunity to trace the legacies of the compelling claim, in Galatians 6:17, that Paul bears “the marks of Christ” on his body. Gregory appeals to this verse to aid his exegesis of Song 5:7 (a violent passage he calls “repellant in its plain sense”) and develop his claims that “the wound”, after all, is “an admirable thing”. My paper probes social and ethical dimensions of this exegetical and cultural conceptual lineage. It surveys wounds and marks in Homily 12; suggests how other works by Gregory support “striking and wounding” as enacting spiritual healing (ἴασιν); considers contexts for violence in the name of guardianship and instruction in late antiquity; and closes by considering violence enacted in the name of Christianization and “civilization” in Canada’s residential schools. This study embeds Gregory’s treatment of Gal 6:17 in a larger attempt to raise critical questions about the persistence of benevolent understandings of trauma and violence across diverse Christian exegetical contexts and the harms such understandings may perpetuate.
Źródło:
Vox Patrum; 2024, 90; 85-106
0860-9411
2719-3586
Pojawia się w:
Vox Patrum
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
S.Y. Agnon Reads the Song of Songs?
Autorzy:
Davidovitch, Nitza
Powiązania:
https://bibliotekanauki.pl/articles/638494.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Jews
Song of Songs
Jewish Culture
Opis:
This paper describes S.Y. Agnon’s ironic, dual, modern attitude to the Song of Songs, as a traditionalist and as one who identifies himself with the doctor’s statements: “We are enlightened individuals, modern people, we seek freedom for ourselves and for all humanity, and in point of fact we are worse than the most die-hard reactionaries.” Agnon’s attitude to the world of love is the attitude of a young Jewish artist of the late 19th century who lives in a world of revolutionary changes that also affect the Jewish world. Agnon’s work stands as a tombstone of the gradually unraveling Jewish shtetl and its institutions and values, specifically, the declining status of love and its significance for the values of family, society, and the Jewish nation. The young Jewish man experiences the changing seasons of the late 19th century and early 20th century, reflected in the vacillation between the traditional conception of love by the traditional world, and the modern perception that views love as an element in individual self-realization. “They say that love exists in the world” – but what is love in Agnon’s world? What are the sources of the gap that many of Agnon’s protagonists experience – the gap between yearning, dreams, and heart’s desires, and the potential for their realization in practice?
Źródło:
Scripta Judaica Cracoviensia; 2011, 9; 169-187
2084-3925
Pojawia się w:
Scripta Judaica Cracoviensia
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:
“Let me hear Thy voice”: Michèle Roberts’s Refiguring of Mary Magdalene in the Light of The Song of Songs
Autorzy:
Filipczak, Dorota
Powiązania:
https://bibliotekanauki.pl/articles/641433.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Michèle Roberts
The Song of Songs
„The Secret Gospel of Mary Magdalene”
Opis:
The article engages with the protagonist of The Secret Gospel of Mary Magdalene by Michèle Roberts, first published in 1984 as The Wild Girl. Filipczak discusses scholarly publications that analyze the role of Mary Magdalene, and redeem her from the sexist bias which reduced her to a repentant whore despite the lack of evidence for this in the Gospels. The very same analyses demonstrate that the role of Mary Magdalene as Christ’s first apostle silenced by patriarchal tradition was unique. While Roberts draws on the composite character of Mary Magdalene embedded in the traditional association between women, sexuality and sin, she also moves far beyond this, by reclaiming the female imaginary as an important part of human connection to the divine. At the same time, Roberts recovers the conjunction between sexuality and spirituality by framing the relationship of Christ and Mary Magdalene with The Song of Songs, which provides the abject saint from Catholic tradition with an entirely different legacy of autonomy and expression of female desire, be it sexual, maternal or spiritual. The intertext connected with The Song of Songs runs consistently through The Secret Gospel of Mary Magdalene. This, in turn, sensitizes the readers to the traces of the Song in the Gospels, which never quote from it, but they rely heavily on the association between Christ and the Bridegroom, while John 20 shows the encounter between the risen Christ and Mary Magdalene in the garden whose imagery is strongly suggestive of the nuptial meeting in The Song of Songs.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2019, 9; 199-212
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Nazacniejsza Pieśń Salomonowa", czyli Pieśń nad pieśniami w przekładzie Biblii Brzeskiej
Autorzy:
Gołębiowski, Michał
Powiązania:
https://bibliotekanauki.pl/articles/2030542.pdf
Data publikacji:
2021-06-06
Wydawca:
Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
Tematy:
Song of Songs
Brest Bible
allegory
allegoresis
Pieśń nad pieśniami
Biblia Brzeska
alegoria
alegoryczność
Opis:
  “The Noblest Song of Solomon” [“Nazacniejsza Pieśń Salomonowa”], or The Song of Songs [Pieśń nad pieśniami] in the translation of Brest Bible is an attempt to interpret various fragments of the biblical love dialogue with particular focus on the content of margins (comments) written by the editors of the Brest Bible. My analysis leads to the conclusion that for the 16th century Protestant exegetes allegoresis was the dominant method of reading The Song of Songs. Neverthless, in some of their philological intuitions the Brest Bible’s editors surprisingly agree with the findings of the 20th century Biblical Studies, especially in the case of the strictly erotic character of some allusive expressions, or associations with the symbols used in the Pentateuch.
Źródło:
Tematy i Konteksty; 2014, 9, 4; 46-53
2299-8365
Pojawia się w:
Tematy i Konteksty
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Medytacyjny charakter Nabożnych westchnień Mikołaja Mieleszki
The Meditative Character of the Mikołaj Mieleszko’s Nabożne westchnienia (Pious Sighs)
Autorzy:
Kaczor-Scheitler, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1041969.pdf
Data publikacji:
2016-11-17
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
emblem
meditation
St. Ignatius of Loyola
applicatio sensuum
The Song of Songs
topos lux-tenebrae
Mikołaj Mieleszko
Fathers of the Church
Opis:
The article points to a relationship between Mikołaj Mieleszko’s Nabożne westchnienia and meditations, and shows the meditative character of the baroque emblematic works. It also presents the division of the work into three books introduced by Mieleszko, which can be referred to the model of a three-stage mystical way to God (via purgativa, via illuminativa, via unitiva), used by St. Ignatius of Loyola (but knowing by Pseudo-Dionysius The Areopagite and fully expressed by St. Bonaventure). Moreover, it discusses the participation of human faculties in the emblems: memory, intellect, will, imagination, and feelings, which are so important for the act of meditation. Above all, emphasis is put on the goal of the reflections presented by Mieleszko in the subscriptio; they were supposed to touch the soul and convince one to a spiritual transformation. They were, therefore, just like meditations, a way of achieving inner growth.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2016, 27; 325-349
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew
Autorzy:
Kahn, Lily
Powiązania:
https://bibliotekanauki.pl/articles/648030.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hebrew
Elkind
The Taming of the Shrew
Haskalah
Jewish Enlightenment
intertextuality
Eastern Europe
Book of Ruth
Song of Songs
Bible
biblical
Shakespeare
Opis:
This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 13-27
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The allegorical sense of Gregory the Great’s commentary on the Song of Songs
Autorzy:
Kasprzak, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/669529.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Allegory
Gregory the Great
Song of Songs
sense
Opis:
Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.
Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.
Źródło:
Analecta Cracoviensia; 2012, 44
2391-6842
0209-0864
Pojawia się w:
Analecta Cracoviensia
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:
SZIR ha-SZIRIM (pieśń najpiękniejsza). Obrazowanie za pomocą metafory Sacrum i profanum na przykładzie „Pieśni nad pieśniami” – analiza kognitywna
Autorzy:
Łukiewicz-Kostro, Renata
Powiązania:
https://bibliotekanauki.pl/articles/644018.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
Hoheslied
Metapher und Metonymie
Sacrum/Profanum
Veranschaulichung
verkörperte Erfahrung
Song of Songs
Sacrum/profanum metaphor
sacrofanum
image-depicting
embodied experience
cognitive approach
Pieśń nad pieśniami
metafora i metonimia
Sacrum/profanum
obrazowanie
ucieleśnione doświadczenie
Opis:
Das im alttestamentarischen Buch der Weisheit Salomos enthaltene Hohelied ist ein leidenschaftliches erotisches Liebesgedicht, das Prototyp der Liebeslyrik, das uralte, faszinierende, sinnliche Empfindungen und Wünsche von Mensch und ... Gott ausdrückt. Der Text hat zahlreiche Interpretationen in unterschiedlichen Strömungen erfahren, u.a. natürliche, kultisch-mythische, allegorische oder auch theologische Interpretation. Der Artikel verfolgt das Ziel, die einzigartige, multisensorische Veranschaulichung der Liebe zwischen Mann und Frau in körperlich-seelischer Dimension mit Hilfe der Metapher einer verkörperten Erfahrung von Sacrum und Profanum aufzuzeigen und zu beweisen, dass es keinen Dualismus dieser zwei Dimensionen gibt, sondern nur gegenseitige Beeinflussung. Die Verfasserin führt eine Analyse ausgewählter Metaphern und Metonymien des Textes in der Übersetzung von Czesław Miłosz unter Verwendung der kognitiven Methode von G. Lakoff und M. Johnson durch.
Song of Songs, included in the Old Testament Book of Wisdom is a passionate erotic poem, a prototype of love lyrical poetry which expresses perennial, fascinating, sensual sensations and human desires. The text has been the subject of numerous interpretations in various perspectives, among others: natural (pastoral), cult and mystical, allegorical or theological. It also stimulated quite provocative radical interpretations as it is a text one cannot go by indifferently. The aim of this paper is to analyze briefly a selected Sacrum/profanum metaphor via cognitive approach and indicate there is no dualism but rather mutual overlapping of those two spheres.
Pieśń nad Pieśniami zawarta w starotestamentowej księdze mądrościowej Salomona to namiętny erotyk, prototyp liryki miłosnej, który wyraża odwieczne, fascynujące, zmysłowe doznania i pragnienia człowieka i …Boga. Tekst doczekał się licznych interpretacji w różnych nurtach , m.in. interpretacja naturalna, kultowo-mityczna, alegoryczna, czy też teologiczna. Celem artykułu jest pokazanie unikatowego, wielosensorycznego obrazowania miłości pomiędzy mężczyzną a kobietą w wymiarze fizyczno-duchowym  za pomocą metafory ucieleśnionego doświadczenia Sacrum i profanum i wykazanie, że nie istnieje dualizm tych dwóch wymiarów, a jedynie wzajemne przenikanie. Autorka dokonuje analizy wybranych metafor i metonimii tekstu w przekładzie Czesława Miłosza z zastosowaniem metody kognitywnej G. Lakoffa i M. Johnsona. 
Źródło:
Kultura i Wartości; 2016, 20
2299-7806
Pojawia się w:
Kultura i Wartości
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’esegesi di Cant 1,5-6 e il tema dell’epektasis in Gregorio di Nissa, con specifico riferimento al ruolo della grazia e del libero arbitrio
The Exegesis of Ct 1:5-6 and the Theme of Epektasis in Gregory of Nyssa, with Specific Reference to the Role of Grace and Free Will
Autorzy:
Marone, Paola
Powiązania:
https://bibliotekanauki.pl/articles/43547305.pdf
Data publikacji:
2023
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Gregory of Nyssa
Homilies
Exegesis
Homilies on the Song of Songs
Epektasis
Opis:
Come giustamente ha rilevato Moreschini (Gregorio di Nissa, Omelie sul Cantico dei Cantici, a cura di C. Moreschini, Roma 1996, Intr. p. 9), tutto il complesso delle Homiliae in Canticum Canticorum di Gregorio «è costruito sullo schema dell’epektasis» e non è esagerato affermare che «esse vogliono rappresentare una serie di esperienze successive dell’anima la quale, dopo avere avuto un contatto, sia pure parziale, con lo sposo divino, approfondisce sempre di più il suo rapporto spirituale con lui». Ma soprattutto a proposito dell'esegesi di Cant. 1, 5-6 (Sono nera e bella, o figlie di Gerusalemme, come le tende di Kedar, come le pelli di Salomone. Non guardatemi perché sono stata fatta nera, se il sole mi guardò di traverso...) l’epéktasis è inserita in un contesto di ampio respiro e assume un significato compiuto in una prospettiva soteriologica. Dunque, con il nostro intervento, si vuole portare l’attenzione specificatamente sulle Homiliae 2 e 4 che sono dedicate all’interpretazione di Cant. 1, 5-6 e si vogliono mettere a fuoco le varie argomentazioni con le quali il Nisseno, ormai alla fine della vita, attribuì il progresso spirituale dell’anima all’azione salvifica di Dio, in linea con quanto aveva sostenuto molti anni prima nel De virginitate 12,2 («non è opera nostra… divenire simili alla Divinità, ma è il risultato della munificenza di Dio, che fin dalla sua prima origine ha fatto grazia della somiglianza con Lui alla nostra natura»).
As Moreschini rightly pointed out (Gregorio di Nissa, Omelie sul Cantico dei Cantici, a cura di C. Moreschini, Roma 1996, Intr. p. 9), Gregory of Nyssa’s Homilies on the Song of Songs «sono costruite sullo schema dell’epektasis», and it is no exaggeration to say that «esse vogliono rappresentare una serie di esperienze successive dell’anima la quale, dopo avere avuto un contatto, sia pure parziale, con lo sposo divino, approfondisce sempre di più il suo rapporto spirituale con lui». But above all about the exegesis of Ct. 1: 5-6 (I am dark, but lovely, You daughters of Jerusalem, Like Kedar’s tents, Like Solomon’s curtains. Don’t stare at me because I am dark, Because the sun has scorched me…) the epektasis is placed in a wide-ranging context and takes on a new meaning in a soteriological perspective. Hence the purpose of the present study is to analyze specifically the Homilies 2 and 4, concerning the exegesis of Ct. 1: 5-6, and to focus on all the theological topics (the gratuity of grace, the free acceptance of the gift of grace) with which Nyssen, now at the end of life, attributed the spiritual progress of the soul to the saving action of God, in accordance with what he had claimed, many years earlier, in De virginitate 12 («In fact this likeness to the divine is not our work at all…; it is the great gift of God bestowed upon our nature at the very moment of our birth»).
Źródło:
Vox Patrum; 2023, 85; 55-72
0860-9411
2719-3586
Pojawia się w:
Vox Patrum
Dostawca treści:
Biblioteka Nauki
Artykuł
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