Hebrew Bible / Old Testament. I: From the Beginnings to the Middle Ages (Until 1300). Part 2: The Middle Ages

2000 ◽  
Antiquity ◽  
1953 ◽  
Vol 27 (105) ◽  
pp. 15-19 ◽  
Author(s):  
Humphrey Humphreys

Though everyone now agrees that the unicorn never existed, this unanimity is quite recent. All through the 19th century there were periodic reports of its presence in darkest Africa or on the Asiatic steppes, and hopes that it would turn out to be a reality died hard. But if there never was such a creature why did the men of the Middle Ages believe in it so firmly and depict it so often? As Christians it was incumbent on them to do so, for it was mentioned in the Old Testament and, therefore, must be real. Its presence there was due to the authors of the Septuagint, the Hellenised Jews who, at Alexandria, in the centuries between the city's foundation and the Christian era, translated their sacred books from Hebrew into Greek and on seven occasions used the word μονόκερως (Greek for unicorn).


2004 ◽  
pp. 86-95
Author(s):  
Yevgen A. Harkovschenko

The Sophia tradition was formed in European philosophical and religious creativity and was developed in the pre-Christian period by Plato. Then it was reflected in Gnosticism and Neo-Platonism, the writings of prominent theorists of Christianity - fathers and teachers of the church, mystics of the Middle Ages. This tradition was reflected in the temple architecture and iconography of the Orthodox East, and took a systematic form of the doctrine of sophiology in the "philosophy of unity." The doctrine of Sophia the Wisdom of God is set forth in the biblical book of the parables of the Solomons, as well as in the non-canonical books of the Old Testament - the Wisdom of Solomon and the Wisdom of Jesus the son of Sirach. In Ukraine, Sofia teaching has been known since medieval times and was a feature of Kyiv Christianity.


Author(s):  
Brian Murdoch

The term “biblical apocrypha” is imprecise. What is not meant is what is commonly known as the Apocrypha, the (variable) group of books placed separately in some post-Reformation Bibles between the two Testaments. Those are works found in the 3rd-century bce Greek Old Testament (the Septuagint) but not accepted in the Hebrew canon, which was established later. When Jerome translated the Old Testament into Latin for his Vulgate, he included books (such as Judith), for which he had no Hebrew original, as deuterocanonical, a “second list” of nevertheless biblical books. The word apocrypha (Greek: “hidden things”) can imply simply “noncanonical,” but more specifically the term refers to noncanonical texts involving (or ascribed to) biblical personages, or expanding upon biblical books and events. Alternative terms used include pseudepigrapha (“spuriously attributed writings,” though this too is imprecise), midrash (Hebrew: “story”), generic designations such as apocalypse (many Old and New Testament apocrypha are apocalyptic), or blanket terms such as legend (or legend cycle). Recent studies refer to “the re-written Bible,” the “Bible in progress,” or (in the title of an important Festschrift) “the embroidered Bible.” The word apocryphus in medieval Latin means “uncertain,” “unreliable,” or “anonymous” or “pseudonymous.” Old Testament apocrypha may date from the 2nd century bce to the early Middle Ages, New Testament apocrypha continued to be produced well into the medieval period, and some overlap exists between the two. Some Old Testament apocrypha are extant in Hebrew or Aramaic, but frequently the original is fragmentary or only presumed on philological grounds or external evidence. Surviving versions are often in Greek and were themselves often translated into one or more languages, such as Syriac, Coptic, Ethiopic, Armenian, Georgian, or Latin. The earliest New Testament apocrypha are in Greek or Latin. Relatively recent discoveries have confirmed the antiquity of some, other apocrypha not known in the Middle Ages have been identified, and Christian writers refer to now-lost apocrypha. The manuscript tradition of many Old and New Testament apocrypha, however, is medieval, and, unlike biblical texts, they were not subject to standardization. Many enjoyed wide circulation throughout the Middle Ages and were translated or adapted into vernacular languages. Sometimes the sole known text may be a medieval version in a language such as Slavonic or Irish. The often neglected but continued development of Old and New Testament apocrypha in the Middle Ages is important, as is the knowledge of these texts within different Eastern and Western medieval cultures. It is thus appropriate to consider individual apocryphal works, and then the various cultures in which they are located.


AJS Review ◽  
2005 ◽  
Vol 29 (2) ◽  
pp. 361-362
Author(s):  
Benjamin G. Wright III

The purpose of Wright's study is to trace “the evolution of the depictions of Baruch ben Neriah . . . from the biblical materials through the early Jewish and Christian texts and traditions that either mention Baruch or were allegedly written by him” (xi). The book succeeds admirably. In three main chapters, Wright collects and analyzes most of the material about Baruch from the first mention of him in Jeremiah as the prophet's scribal assistant to works as late as 3 Baruch that picture him as a recipient of apocalyptic visions. A fourth chapter contains traditions about Baruch in Jewish, Christian, and Muslim sources into the Middle Ages.


2006 ◽  
Vol 10 (2) ◽  
pp. 161-190
Author(s):  
Matthew Reeve

AbstractThe former painted cycle over the vaults of Salisbury Cathedral represents one of the great losses of thirteenth-century English art. This paper focuses on the imagery over the three-bay choir, which features twentyfour Old Testament kings and prophets each holding scrolls with texts prefiguring the Coming of Christ. The content of the cycle derives from a sermon, well known in the Middle Ages, by Pseudo-Augustine: Contra Judaeos, Paganos et Arianos. Yet the most immediate sources lie in twelfth and thirteenth-century extrapolations of the Pseudo-Augustinian sermon in liturgical drama, the so-called Ordo Prophetarum, or prophet plays. This observation leads to a discussion of the relationship of imagery to its liturgical setting. It is argued that the images on the choir vaults were also to be understood allegorically as types of the cathedral canons, who originally sat in the choir stalls below. A reading of the choir as a place of prophecy is located within traditions of liturgical commentary, which allegorize processions through churches as processions through Christian history. This leads to a discussion of the allegorization of the church interior in the Gothic period.


2020 ◽  
Vol 8 (2-3) ◽  
pp. 233-264
Author(s):  
Geoffrey Khan

Abstract In the Middle Ages the Karaite Jews in the Islamic world used both Arabic and Hebrew script in their writings. They wrote not only Arabic texts in Arabic script but also many of their Hebrew Bibles in Arabic transcription. The Rabbanites, by contrast, used Hebrew script for writing both Arabic and Hebrew. This paper examines the association of the Karaites with the Masoretic transmission of the Hebrew Bible and the motivation for their transcribing the Bible into Arabic script. It is argued that the Arabic transcriptions reflect the polemical stance of the Karaites against the bases of scriptural authority of the Rabbinites and an advanced degree of rapprochement of the Karaites with the Muslim environment. They represent a convergence with the external form of the Muslim Arabic Qurʾān and also with the concepts of authority associated with the transmission of Muslim scripture.


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