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"Let me sing for my beloved": Trans...
~
Lieber, Laura Suzanne.
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"Let me sing for my beloved": Transformations of the Song of Songs in synogogal poetry.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
"Let me sing for my beloved": Transformations of the Song of Songs in synogogal poetry./
作者:
Lieber, Laura Suzanne.
面頁冊數:
474 p.
附註:
Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2528.
Contained By:
Dissertation Abstracts International64-07A.
標題:
Religion, History of. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3097131
"Let me sing for my beloved": Transformations of the Song of Songs in synogogal poetry.
Lieber, Laura Suzanne.
"Let me sing for my beloved": Transformations of the Song of Songs in synogogal poetry.
- 474 p.
Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2528.
Thesis (Ph.D.)--The University of Chicago, 2003.
"Piyyutim" (synagogal poems), composed for liturgical use, creatively intersect with traditions of interpretation familiar from other aggadic sources. However, as poetry composed for public recitation, these texts reflect unique aesthetic and practical impulses.Subjects--Topical Terms:
1017471
Religion, History of.
"Let me sing for my beloved": Transformations of the Song of Songs in synogogal poetry.
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474 p.
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Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2528.
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Adviser: Michael Fishbane.
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Thesis (Ph.D.)--The University of Chicago, 2003.
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"Piyyutim" (synagogal poems), composed for liturgical use, creatively intersect with traditions of interpretation familiar from other aggadic sources. However, as poetry composed for public recitation, these texts reflect unique aesthetic and practical impulses.
520
$a
This dissertation examines eight piyyutim composed for the holiday of Passover. These poems are structured on the Song of Songs. The earliest text is anonymous and dates to approximately the 5th century (land of Israel); poems by Yannai (5th century, land of Israel), Qillir (6th--7th century, land of Israel), Solomon ha-Bavli (9th century, Rome), Meshullam bar Qalonymos (10th century, Mainz), Simeon bar Isaac (10th century, Mainz), and Benjamin bar Solomon (11th century, Normandy) are also included. These poems reveal patterns of tradition, continuity, and innovation in language, exegesis, and thematic content.
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The poems studied here offer insight into a form of living Hebrew well into the Byzantine period, but also show how matters of poetic form generated linguistic creativity. Vocabulary is often biblical, while meanings depend on rabbinic exegesis. Loan words are relatively rare. The data suggests that it was possible for an audience to possess the 'linguistic competence' necessary to decode the language of these texts.
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The present work also examines how the piyyutim relate to other modes of exegesis. The results reveal that while poets often alluded to motifs preserved in other forms, they also felt free to innovate. Furthermore, the importance of sound-play and punning as interpretive devices is particularly prominent in the piyyutim. There was also a strong element of aesthetic pleasure and playfulness to these texts which were designed to entertain as well as educate.
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With regard to content, this dissertation highlights both thematic continuity among the poems as well as innovations. The dominant nuances of eros, nomos, and what is termed 'esoterica', as well as pathos and polemic, stood out with particular prominence in these texts. These tones reflect the reality of piyyutim, which were prayers and homilies as well as exegesis and art.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3097131
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