A Comparative Study of the Synoptic Parallels in I Paraleipomena and I–II Reigns

1969 ◽  
Vol 62 (1) ◽  
pp. 63-85 ◽  
Author(s):  
James Donald Shenkel
Keyword(s):  
Comparative Study ◽  
Hebrew Text ◽  
Greek Translation ◽  
History Of ◽  
Books Of Samuel

In composing his history of the monarchy the Chronicler incorporated material from the canonical Books of Samuel and Kings into his text. Although the Hebrew text of Chronicles in these parallel passages is not identical in every respect with the Hebrew text of Samuel and Kings, the correspondence of the two Hebrew texts is very close. Since the Greek translation of Samuel and Kings undoubtedly preceded that of Chronicles, the question arises whether the translator of Chronicles into Greek made use of the Greek translation of Samuel and Kings, and if so, in which text form or recension. The present investigation is confined to a comparative study of the synoptic parallels in the Greek texts of I Paraleipomena and I–II Reigns.

The Books of Samuel

2021 ◽  
pp. 215-224
Author(s):  
Anneli Aejmelaeus
Keyword(s):  
Hebrew Text ◽  
Greek Text ◽  
Masoretic Text ◽  
Textual History ◽  
History Of ◽  
Books Of Samuel ◽  
Textual Research

The textual history of the books of Samuel, both in Greek and in Hebrew, is laden with problems that the researcher needs to be acquainted with, whatever the focus of textual research. The Septuagint translation shows a close word-for-word correspondence to its Hebrew Vorlage, however, not without occasional freedom of translation, especially in lexical choices and grammatical forms, as well as erroneous translation due to defective knowledge of Hebrew. The Hebrew Vorlage used by the translator differed at times substantially from the later Masoretic Text, used for comparison during the early textual history of the Septuagint text as well as in research today. Not only is the Masoretic Text corrupted but it underwent editorial changes until the turn of the era. Textual differences caused by both the translator and the editors of the Hebrew text must have occasioned the repeated revisions of the Greek text by Jewish and Christian scribes.

Haggai and Zechariah in Greek Psalm Superscriptions

Textus ◽  
2019 ◽  
Vol 28 (1) ◽  
pp. 125-144
Author(s):  
Michael Shepherd
Keyword(s):  
Present Article ◽  
Hebrew Text ◽  
Greek Text ◽  
Main Body ◽  
Greek Translation ◽  
History Of Interpretation ◽  
Greek Tradition ◽  
History Of ◽  
Do So

Abstract The multiplication of psalm superscriptions in the Greek Psalter vis-à-vis the MT raises a question about whether such additions were prompted by the Hebrew or by the Greek text. The present article attempts to answer this question specifically regarding the addition of the names of the prophets Haggai and Zechariah in LXX-Pss 110; 111; 137; 138; 145–150 (= MT 111; 112; 138; 139; 146–150). The thesis is that these names were added secondarily and exclusively within Greek tradition, but the basis for the decision to do so in each case can be traced back to the main body of the Hebrew psalm behind the Greek translation in one of three ways. Thus, the superscriptions are not only part of the history of interpretation of the Greek Psalter but also part of the history of interpretation of the Hebrew text behind it.

Ancient Revolutions in the Literature of Polish Romanticism

2018 ◽  
Vol 15 (2) ◽  
pp. 207-226
Author(s):  
Maciej Junkiert
Keyword(s):  
Comparative Study ◽  
Classical Tradition ◽  
French Revolution ◽  
European Context ◽  
History Of ◽  
Classical Traditions ◽  
The French Revolution ◽  
Literary Reception

This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.

Introduction

2018 ◽  
Author(s):  
Marko Geslani
Keyword(s):  
Comparative Study ◽  
Royal Power ◽  
History Of ◽  
Historical Developments ◽  
The Comparative Study ◽  
The Relationship ◽  
Over Time ◽  
Indian Religion

The introduction reviews the historiographic problem of the relation between fire sacrifice (yajña) and image worship (pūjā), which have traditionally been seen as opposing ritual structures serving to undergird the distinction of “Vedic” and “Hindu.” Against such an icono- and theocentric approach, it proposes a history of the priesthood in relation to royal power, centering on the relationship between the royal chaplain (purohita) and astrologer (sāṃvatsara) as a crucial, unexplored development in early Indian religion. In order to capture these historical developments, it outlines a method for the comparative study of ritual forms over time.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

L'histoire des nombres amiables: le témoignage des textes hébreux médiévaux

1996 ◽  
Vol 6 (1) ◽  
pp. 63-87 ◽  
Author(s):  
Tony Lévy
Keyword(s):  
Strong Support ◽  
Hebrew Text ◽  
17Th Century ◽  
Medieval Europe ◽  
History Of ◽  
New Material ◽  
Made In

This article analyzes new material on the history of the amicable numbers. It discusses Hebrew texts which throw new light on the diffusion in Medieval Europe of Ṯābit ibn Qurra's (9th century) work. We find Ṯābit's theorem on amicable numbers in a Hebrew translation, made in Saragossa in 1395, of an arithmetical commentary written by Abū al-Ṣalt al-Andalusī (ca. 1068–1134), and also in an original Hebrew text probably written by the Jewish Provençal scholar Qalonymos ben Qalonymos (1287 – after 1329). These texts lend strong support to the surmise that the Arabic tradition concerning amicable numbers could not have remained unknown to European mathematicians before the work of Descartes and Fermat in the 17th century.

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