scholarly journals Sacred texts and mystic meaning: An inquiry into Christian spirituality and the interpretive use of the Bible.

2011 ◽  
Vol 31 (2) ◽  
Author(s):  
F England
2019 ◽  
pp. 171-197
Author(s):  
Ekaterina Kuznetsova

The article focuses on the problem of translation of Biblical Hebrew (and some Aramaic) quotes in Sholem Aleichem’s works into Russian.A review of different translations into English and Hebrew is also included to show a broader context. Sholem Aleichem is one of the most frequently translated Yiddish writers and certainly the most translated into Russian, and translators face many peculiar challenges while working on his texts. One of those challenges is the usage of phrases and quotes from various languages (Hebrew, Aramaic, Russian, Ukrainian, German, etc.). Each language has its own semantic function, and its presence is vital for comprehensive understanding of the work. Thus, quotes from the sacred texts of Judaism in Tevye the Dairyman have several functions: first of all, they create a comic effect, second, they reveal the protagonist’s relationships with God, and finally, they allow the author to show Tevye’s perception of events in the book without direct naming.The article describes different ways in which linguistic polyphony could be preserved, by analyzing the translations starting from the 1910s, when Sholem Aleichem himself advised the translators regarding the issue, to the Soviet translations that are still in print today. Inseparable from translation matters is the question of interpretation of Tevye as a character: thus,for instance, in the USSR his constant quoting from the Bible was interpreted as anti-clericalism and rebellion against religion.The article explains how different translation strategies influence the characters and the work in general, often simplifying or distorting the original intention.


2020 ◽  
Vol 27 (3-4) ◽  
pp. 229-249
Author(s):  
Fatima Seedat ◽  
Sarojini Nadar

Abstract This paper theorises the teaching and learning of feminist approaches to the Bible and the Qurʾan in a Master’s course with a historically Christian focus. It draws on a critical review of an assessment task, and our pedagogical experiences as teachers, to consider how students made meaning within this decolonial pedagogical space, which explored feminist approaches to the two sacred texts. Our analysis shows, our work as teachers was to hold onto the tension in the space between two feminist approaches to sacred texts, and to not succumb to the pressure to release, trivialise or exacerbate that tension.


Author(s):  
Robin Jensen ◽  
Lee Jefferson

Most scholars agree that Christian art first appeared around the end of the 2nd century or the beginning of the 3rd century. Among these earliest examples are the wall paintings and epitaphs found in the Roman catacombs. At first the iconography was primarily simple and symbolic (e.g., doves, anchors, boats, and praying figures). More complex images included the Good Shepherd with his sheep and representations from the Hebrew Bible, including Jonah, Noah, Daniel, and the Three Youths in the fiery furnace. By the end of the 3rd century, Christians had begun commissioning sarcophagi with relief carvings that depicted narrative episodes from the Bible, both Old and New Testaments. Following the legalization of Christianity and the imperial support that following the conversion of the Emperor Constantine, Christian art was dramatically transformed in style, technique, context, and motifs. From the mid-4th through the end of the 6th centuries, Christians built and decorated churches and baptisteries; designed and made liturgical vessels; produced private devotional objects in gemstones, pottery, glass, ivory, fabric, and precious metals; painted panel portraits of their holy men and women; and began to illustrate their sacred texts. Older types and motifs, such as the Good Shepherd and Jonah, were gradually replaced by new iconography that emphasized the glory and triumph of Christianity over the traditional Roman gods. Along with the iconographic changes, new media emerged, in particular polychrome glass mosaic for walls, apses, and domes of church buildings.


2003 ◽  
Vol 59 (2) ◽  
Author(s):  
Christo Lombaard

Christian spirituality draws strongly on the Bible. Yet, it is the New Testament that almost without exception features most prominently. Ten possible reasons are offered why the Old Testament takes on such a disproportionately diminutive role in the practice and study of spirituality: Textual complexity/critical scholarship/theological educa-tion; Modern popular pieties; The cultural gaps between the Old Testament worlds and our worlds; Theological difficulties/Christian sensibilities; Fear of “boundary-less” interpretations; The reference to Scripture by writers on spirituality; The notion of progressive revelation; Theological diversity within the Old Testament; OT : NT = law : grace; The long and the short of textual units.


2020 ◽  
Vol 57 (2) ◽  
pp. 26-36
Author(s):  
Richard Oliseyenum Maledo ◽  
Emmanuel Ogheneakpobor Emama

Studies on African drama have shown the influences and the intertextual relations between African drama and European (Classical and Elizabethan) plays. It is also a known fact that African drama exhibits traces of African tradition and instances of textual relations with already existing oral and written texts. However, existing studies on Wole Soyinka’s The Road have tilted towards the usual literary interpretation or as a piece of theatrical performance with little attention paid to the intertextual nature of the text. Based on the challenges of these usual approaches to the study of literature by contemporary literary and cultural theories, this study adopts intertextual theory as a framework to examine Wole Soyinka’s The Road as an intertext showing traces of textual influences from oral and written external sources. The aim is to reveal the source texts from which the playwright draws in the creation of the text and to show how these sources contribute to the overall thematic significance of the play. Findings reveal that Soyinka draws extensively from Yorùbá oral sacred texts, the Bible, and his own earlier texts and that these sources contribute to the eclectic nature of the thematic preoccupation of the play. It is hoped that this has gone a long way to mitigate the obscure claim of structural and thematic incomprehensibility with which the play is associated.


2016 ◽  
Vol 20 (1) ◽  
pp. 73-87
Author(s):  
Simon Moetara

A number of scholars acknowledge the rich resources contained within the wisdom, traditions and knowledge of Indigenous peoples for therapeutic healing. Repositories of collective ancient wisdom may well represent an underutilised resource for coping with challenges and trauma at the levels of both the individual and community. This article argues that the Bible is such a source as it contains a number of trauma narratives which can help in working with clients dealing with trauma. This article explores the Tutu te Puehu model proposed by Ngati Pāoa leader Glen Tupuhi. This Indigenous model that draws on the story of Joseph (Gen. 37–50), a biblical narrative that offers insights in terms of dealing with trauma and reconciliation, centred on the seven occasions that Joseph is said to weep. The model draws on the insights and the convergence of three distinct strands of Glen Tupuhi’s training and experience: his knowledge of te ao Māori, his Christian spirituality and worldview, and his experience in the areas of justice and health. Waitara Tēnā ētahi mātauranga ka tautoko arā noa atu kē ngā rawa kai roto i ngā kōrero i ngā tikanga a ia iwi taketake hai haumanu whakaora. Ko ngā huinga kōputunga mātauranga taketake pea te tauria o te rawa kāre e mahia ana hai whakaora i ngā tumatuma i ngā pēhitanga o te tangata o te hāpori rānei. E whakahau ana tēnei tuhinga ko te paipera tētahi o ēnei rawa, ā, kai konei ngā kōrero whētuki ā, he whainga āwhina haumanu kai ēnei mō ngā kiritaki whētuki. E tūhurahia ana e tēnei tuhinga te tauira Tutū te Puehu i whakaputahia ake e Glen Tupuhi, he rangatira nō Ngāti Pāoa, he tauira māori i huri ki te waitara mō Hōhepa (Kēnehi 37–50), he kōrero tāpaenga titirohanga ki te momo pānga ki te whētuki me te noho tahi, pērā ki ngā wāhanga e whitu i kīia nei i tangi a Hōhepa. Ka whakahahakihia ake ngā mōhiotanga me ngā pūtahitanga o ngā io e toru whakangungu, whēako o Glen Tupuhi: tōna mātauranga o te ao Māori, tōna wairua Karaitiana tirohanga whānui ki te ao, me ngā whēako whaiaro mai i te ture me te hauora.


Author(s):  
Gerald O’Collins, SJ

The inspired books of the Bible should be interpreted integrally. This involves respecting not only the ‘intention’ of the human authors who composed the sacred texts (the intentio auctoris), to the extent that this can be established, but also the ‘intention’ of the readers who take up the texts (the intentio legentis) and the ‘intention’ of the text itself (the intentio textus ipsius). We must respect what the original authors wanted to communicate but also acknowledge the insights of subsequent readers and the multiple meanings that emerge from the texts’ reception history. The historical-critical method, which studies the genesis and authorial meaning of our biblical texts, is necessary but insufficient. Where it lapses into an exegesis that separates itself from the faith community and purports to be impartial and ‘objective’, it may yield some specific results but hardly valuable insights into the inspired Scriptures as a whole.


Sign in / Sign up

Export Citation Format

Share Document