By Adele Berlin
This quantity makes to be had in English for the 1st time a very vital workforce of medieval and Renaissance texts on biblical poetry. The publication comprises excerpts from seventeen Judaeo-Arabic and Hebrew texts and contains the paintings of famous figures equivalent to Judah Halevi, Moshe ibn Ezra, Don lsaac Abravanel, and Azariah de' Rossi, in addition to lesser-known works that exhibit a wealthy yet overlooked culture of serious debate on biblical poetics. The writings provided the following date from the 9th to the 17th centuries and have been produced in 3 of the most facilities of Jewish tradition: Spain, Provence, and Italy. a few are excerpts from biblical commentaries, whereas others are present in old, philosophical, grammatical, and literary treatises.
The booklet is split into elements. half I involves a longer essay on medieval and Renaissance perspectives of biblical poetry and rhetoric that highlights the most strains of old improvement and indicates appropriate connections with sleek examine on biblical poetry. all of the translated excerpts partially ll is preceded via a quick biographical be aware at the writer, an summary of the paintings from which the excerpt is taken, and a precis of the excerpt. Bibliographical references are given for every textual content, and there's an in depth bibliography and a word list of vital phrases and concepts.
For literary students, this ebook offers a win-
dow onto medieval and Renaissance Jewish literary
theory, and for college kids of the Bible it provides a tremendous bankruptcy within the heritage of biblical interpretation.
ADELE BERLlN is Professor of Hebrew within the division of Hebrew and East Asian Languages and Literatures on the college of Maryland. Her prior books comprise Poetics and Interpretation of Biblical Narrative and The Dynamics of Biblical Parallelism.
Indiana reviews in Biblical Literature
Herbert Marks and Robert Polzin, editors
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This quantity makes to be had in English for the 1st time a very very important staff of medieval and Renaissance texts on biblical poetry. The booklet includes excerpts from seventeen Judaeo-Arabic and Hebrew texts and contains the paintings of famous figures akin to Judah Halevi, Moshe ibn Ezra, Don lsaac Abravanel, and Azariah de' Rossi, in addition to lesser-known works that demonstrate a wealthy yet missed culture of serious debate on biblical poetics.
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Additional info for Biblical Poetry Through Medieval Jewish Eyes (Indiana Studies in Biblical Literature)
12 The results seem to confirm the modern intuition about what is to be labeled poetry. In addition to its formal requirements, much of the world's poetryand, indeed, literary discourse in generalutilizes an array of tropes and figures. The Bible is no exception; it employs imagery, repetition, chiasm, assonance, and the like. These tropes and figures are in the domain of stylistics or rhetoric. They do not define poetry but are often present in poetry. They have been noted at least since medieval times, and have been discussed against the background of Arabic rhetoric (especially by Moshe ibn Ezra) and classical rhetoric (by Judah Messer Leon).
Form Criticism aims to understand a work in relation to its original life setting, and so this approach stimulated studies of the place of the psalms in Israel's worship, along with continued interest in the dating of the psalms and other poetry. 5 In addition, because it was intent on finding generic patterns and formulas, Form Criticism promoted the discovery of recurring phrases and stylistic usages, and the analysis of the structure of poems. It is but a small step from this aspect of Form Criticism to its cousin, the oral-formulaic theory of composition, borrowed from the work of M.
Indeed, Saadia may be seen as the earliest and perhaps most brilliant example of the beneficial effect that 'Arabiyya had on Jewish intellectual development, and on the role that the Bible assumed in that development. The irony of the situation and its outcome is captured by Gerson Cohen: The fascinating feature of Arab influence on the Jews was not in the use of Arabic, in the cultivation of the sciences, or in the rise of religious skepticism. Paradoxically, the profoundest form of Arabization of the Jewish intelligentsia was betrayed in the flowering of Hebrewgrammar, poetry, and, above all, neoclassicism.