scholarly journals Problematyka związana z tłumaczeniem hebrajskiego terminu כִּנּוֹר

2021 ◽  
Vol 2021(42) (2) ◽  
pp. 39-49
Author(s):  
Hanna Walentyna Górska ◽  
Keyword(s):  
Hebrew Bible ◽  
Musical Instruments ◽  
Archaeological Research ◽  
Bible Translations ◽  
The Bible

The Hebrew Bible abounds in examples of musical instruments and כִּנּוֹר is one of them. Archaeological research does not provide an unambiguous answer to the question of what this instrument looked like, because we do not have any finds that would present an instrument signed as כִּנּוֹר. The problem also refers to biblical translations both in the Septuagint and Vulgate, as well as to translations of the Bible into Polish. We see in them attempts to translate כִּנּוֹר using different instrument names, with no consistency in individual Bible translations.

REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE

2017 ◽  
Vol 25 (1) ◽  
pp. 72-98
Author(s):  
Temba T. Rugwiji
Keyword(s):  
Hebrew Bible ◽  
Land Reform ◽  
Critical Role ◽  
Musical Instruments ◽  
World Music ◽  
Human Existence ◽  
Biblical Text ◽  
Ancient Israel ◽  
Formed Part ◽  
The Church

The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.

scholarly journals History and theory of Scripture translations

2008 ◽  
Vol 64 (1) ◽  
Author(s):  
Jean-Claude Loba-Mkole
Keyword(s):  
Frames Of Reference ◽  
Functional Equivalence ◽  
Historical Overview ◽  
Early Christian ◽  
Christian Communities ◽  
Bible Translation ◽  
Bible Translations ◽  
The Bible ◽  
History And Theory

This article argues for the importance of Bible translations through its historical achievements and theoretical frames of reference. The missionary expansion of Christianity owes its very being to translations. The early Christian communities knew the Bible through the LXX translations while churches today still continue to use various translations. Translations shape Scripture interpretations, especially when a given interpretation depends on a particular translation. A particular interpretation can also influence a given translation. The article shows how translation theories have been developed to clarify and how the transaction source-target is culturally handled. The articles discuss some of these “theoretical frames”, namely the functional equivalence, relevance, literary functional equivalence and intercultural mediation. By means of a historical overview and a reflection on Bible translation theories the article aims to focus on the role of Africa in translation history.

Clio and Canons: in Search of a Cultural Poetics of the Hebrew Bible

1997 ◽  
Vol 5 (4) ◽  
pp. 300-323 ◽  
Author(s):  
Robert P. Carroll
Keyword(s):  
Hebrew Bible ◽  
Biblical Studies ◽  
New Historicism ◽  
The Bible ◽  
Ancient Israel ◽  
Cultural Poetics ◽  
Leading Edges

AbstractThe enterprise of writing "histories" of "ancient Israel" in which biblical historiography is reproduced by old credulists or critiqued by new nihilists represents one of the leading edges of contemporary biblical studies in relation to the Hebrew Bible. This quest for a cultural poetics or cultural materialist accounts of the Bible is virtually equivalent to a New Historicism in the discipline. In this article analyses of three topics from current debates in biblical studies (historiography of "ancient Israel", the empty land topos, canons and context) are used to provide insights into how new historicist approaches to contextualizing literature may contribute to these current debates about the Bible.

scholarly journals “The Might of My Own Hand Has Gotten Me This Wealth”: Reflections on Wealth and Poverty in the Hebrew Bible and Today

2018 ◽  
Vol 73 (1) ◽  
pp. 7-17
Author(s):  
Joel S. Kaminsky
Keyword(s):  
Minimum Wage ◽  
Hebrew Bible ◽  
Safety Net ◽  
Social Concern ◽  
Social Safety Net ◽  
The Bible ◽  
The Social

The growing gap between the wealthiest and poorest members of society is a pressing social concern regularly invoked in discussions surrounding taxation, the minimum wage, and the social safety net. Advocates of particular positions at times reference various biblical passages. This essay examines several relevant themes and passages within the Hebrew Bible in order to explore ways the Bible might be brought into productive conversation with these contemporary issues.

scholarly journals MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE

2019 ◽  
pp. 372-384
Author(s):  
O. Shykyrynska
Keyword(s):  
Significant Influence ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Common Features ◽  
Musical Space ◽  
The Bible ◽  
Musical Theme ◽  
The World ◽  
Musical Sounds ◽  
Artistic Heritage

The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.

Digitization of Bibles in Greater China (1661–1960)

2021 ◽  
Vol 72 (2) ◽  
pp. 241-254
Author(s):  
Simon Wong
Keyword(s):  
Historical Narrative ◽  
Seventh Century ◽  
Indigenous Languages ◽  
Chinese Han ◽  
Greater China ◽  
Bible Translation ◽  
Eastern Christianity ◽  
Bible Translations ◽  
The Bible ◽  
Language Groups

Bible translations in (or for) Greater China may be classified into three categories: Chinese, Han dialects, and indigenous languages. All these language groups witness translation activities by Protestant missionaries. However, in its earliest history, Bible translation was pioneered by missionaries of Eastern Christianity in the seventh century or even earlier, whereas from the Catholic side, clear historical narrative has recorded Bible translation work in the thirteenth century by John of Montecorvino (1247–1328) into a Tatar language. Sadly, this work was not preserved. The earliest extant Bible translation in this vast area was published in 1661 in the Siriya language of Taiwan. This article reports on two major digitization projects: digitization of old Chinese Bibles (1707–1960), including 51 translations in total, and digitization of Bibles in Han dialects/fangyan and indigenous languages (1661–1960)—about 50 languages (including dialects) and 60 translations. These two projects represent the largest and most systematic full-text digitization of the Bible heritage of the area ever undertaken.

Conclusion

2021 ◽  
pp. 411-417
Author(s):  
Michah Gottlieb
Keyword(s):  
Middle Class ◽  
Social Acceptance ◽  
German Society ◽  
Bible Translations ◽  
The Bible ◽  
Final Goal ◽  
Counter Reformation ◽  
Economic Advancement

This chapter assesses the achievement of the Jewish Reformation by exploring Martin Buber’s and Franz Rosenzweig’s Jewish Counter-Reformation critique of it. Buber’s and Rosenzweig’s claim that the Jewish Reformation embodies a spiritually vacuous, craven account of Judaism whose final goal is social acceptance and economic advancement is rejected. It is argued that the Jewish Reformation Bible translations show security in a Judaism continuous with rabbinic tradition while Buber’s and Rosenzweig’s attempt to leap over rabbinic tradition to return to a “naked encounter” with the Bible evinces deep insecurity about their Judaism and their attempt to Germanicize the Bible reflects anxiety about the Jews’ place in German society. The dramatic, emotionally intense “archaic modernism” of Buber’s and Rosenzweig’s radical return to tradition is contrasted with the steady, learned spirituality of Mendelssohn’s, Zunz’s, and Hirsch’s middle-class Judaism.

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