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Avodah piyyutim --- Yom Kippur --- Judaism --- Liturgy
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Sephardic rite --- Hymns [Hebrew ] --- Folk songs [Turkish ]
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This volume contains fifteen essays in honor of Professor Joseph Yahalom who served as a lecturer at the Hebrew University from 1974 until he became full professor in 1985. The completion of his Warburg price awarded thesis in 1973 marked the start of a long and successful academic career in both Hebrew and Jewish studies, with much emphasis on poetry and poetics. Yahalom’s continuing interest in and research on ancient Piyyut led to a number of editions of Hebrew and Aramaic texts as well as to studies on the early Palestinian vocalization system and the language of Piyyut based on the Genizah findings. In 1983, Yahalom was elected a member of the Academy of the Hebrew Language. In 2003, he received the Yizhak Ben-Zvi award for his lifetime study of Jewish history and Hebrew literature. Yahalom’s research on Hebrew medieval liturgical poetry focused on a period of roughly one thousand years, from the days of early Byzantium until the final days of Jewish presence on the Iberian Peninsula and the Sephardic diaspora. His bibliography testifies to his expertise of understanding Hebrew verse, laying much emphasis on the interaction between the Jewish and surrounding cultures, which concur with Yahalom’s overall convictions and views about Jewish literature in context.
Hebrew literature --- Jewish literature --- 892.4 --- 296 "04/14" --- 296 <082> --- History and criticism. --- Hebreeuwse literatuur --- Judaïsme. Jodendom--Middeleeuwen --- Judaïsme. Jodendom--Feestbundels. Festschriften --- Festschrift - Libri Amicorum --- 892.4 Hebreeuwse literatuur --- History and criticism --- 892.4 Hebrew literature
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This book follows the origins of the Kedushta, a sequence of poems that leads up to the epitome of Jewish prayer, the Kedusha or Sanctus. It tracks back the earliest forms of prayer in late antiquity and by doing so defines the main characteristics of this genre, both from the standpoint of Rhetoric and poetics. This genre draws from Midrash and Mysticism- adjacent literary forms that influence liturgical poetry. How has such an enigmatic and complex liturgical genre survived the twists and turns of history and is recited to this day, for over 1500 years? The answer to this question pertains to both form and content. When analyzing form, we address rhyme, alphabetical acrostics, and different poetic forms. Those all have a specific rhetorical function in determining the structure of the poem, pushing it forward, and musically aligning the different segments. The form cannot be detached from narratology, referencing early midrash and mysticism. In addition, the emotional approach of the private prayer can express one's existential pain as part of an oppressed community. We can follow the composition of the prayer book for each community over the ages, through the first millennium, starting with Geniza fragments to the European prayer books. Finally, these poems use of sophisticated etymology, correlation by sound, leads to innovative Medieval interpretation of the Torah. It seems that the combination of a public recitation, simulating a divine choir, the musicality of the text and emotional depth all contributed to this eternal poetic genre to penetrate cross cutting traditions of prayer throughout the ages.
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