scholarly journals Dante's use of the Divine Name in the 'Divina Commedia.'

1895 ◽  
Vol 6 (7) ◽  
pp. 294-297
Author(s):  
Eleanor F. Jourdain
Keyword(s):  
Author(s):  
Scott Ellington

Lamentations uses distinct voices to explore the suffering caused by the destruction of Jerusalem and exile of her people. A dialogical approach to the book emphasizes the theological tension created as the poet considers the fate of Israel’s relationship with Yahweh. This dialogue is carried on at multiple levels, within the text itself, over against the silenced divine voice, between Lamentations and other books in the biblical canon, and between the text and its later interpreters. Utilizing the language of prayer and drawing on the divine name, Lamentations centers on the question of God’s continued presence with the Israel. A faithful rendering and reception of Lamentations attends to the multiple voices of the text, respects and provides place for their varied perspectives and contributions, identifies and engages with the community they address and of which they are a part, maintains space for an unspeaking God, and guards the open-ended question which is at the heart of this troubling exchange.


1944 ◽  
Vol 76 (1-2) ◽  
pp. 74-75
Author(s):  
Henry George Farmer

In October, 1933, I contributed a lengthy article to this Journal entitled “Maimonides on Listening to Music” in which I gave a translation of the Responsum 129 from his Pe'er ha-dor (Lemberg, 1849), in so far as it touched upon listening to music. The latter portion of this responsum dealt with another point, a custom, the “Blessing of Virginity”, which took place at the house of a bridegroom. It might have been intended as a religious ceremony (so far as the Seven Benedictions are concerned, although they should have waited until after the actual wedding), but I have been unable to trace the provenance of the custom. Here is the request together with the response of Maimonides:—Request: “Please instruct us about the so-called ‘Blessing of Virginity’ which runs ‘[Blessed art thou] who in Eden didst plant the Nut-tree’. For [there is a custom for] a company consisting of the wedding party of the bride and bridegroom and their friends to assemble in the bridegroom's house, [when] a celebrant takes a wine-cup, pronounces the customary Benediction over wine, and the Benediction over spices, and then he pronounces this so-called, i.e. new-fangled Benediction— ‘Blessed art thou.…’ And note that this new-fangled Benediction fixed by our Rabbis in the Talmud also contains the Divine Name, i.e. ‘Blessed art Thou, 0 Lord, our God, King of the Universe, who…Blessed art Thou 0 Lord…’. Please tell us whether the recital of the Benediction is merely a custom or actually orthodox and obligatory.


Italica ◽  
1934 ◽  
Vol 11 (2) ◽  
pp. 76
Author(s):  
Angelo Lipari ◽  
Dante Alighieri ◽  
C. H. Grandgent
Keyword(s):  

2015 ◽  
Vol 65 (4) ◽  
pp. 567-587 ◽  
Author(s):  
Mitka R. Golub

In this study, I investigated all personal names with the element שלם in the Land of Israel during the Iron Age ii period. I collected the names from archaeological and biblical sources, analyzed and compared their distribution according to geography, chronology, and political affiliation. The results show that while שלם is a popular element in Judah from the eighth to the early sixth centuries, it is absent from Israel. The element שלם in unvocalized names from archaeological sources is interpreted mostly as ‘replacement, substitute’ (for the deceased child). However, the popularity of the element שלם solely in Judah may indicate that שלם was used more often than we assume as a divine name referring to YHWH, as do all other Judean popular names. In addition, the comparison between the names from archaeological and biblical sources may be interpreted to indicate that the Bible reflects Judean and not Israelite onomastic traditions.


1902 ◽  
Vol 17 (1) ◽  
pp. 19
Author(s):  
Edward Allen Fay ◽  
Luigi Polacco
Keyword(s):  

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