The opening sections of some exegetical Midrashim deal with the same type of material that is found in introductions to medieval rabbinic Bible commentaries. The application of Goldberg’s form analysis to these sections reveals the new form “Inner-Midrashic Introduction” (IMI) as a thematic discourse on introductory issues to biblical books. By its very nature the IMI is embedded within the comments on the first biblical verse (1:1). Further analysis of medieval rabbinic Bible commentary introductions in terms of their formal, thematic, and material characteristics, reveals that a high degree of continuity exists between them and the IMIs, including another newly discovered form, the “Inner-Commentary Introduction”. These new discoveries challenge the current view that traces the origin of Bible introduction in Judaism exclusively to non-Jewish models. They also point to another important link between the Midrashim and the commentaries, i.e., the decomposition of the functional form midrash in the new discoursive context of the commentaries. Finally, the form analysis demonstrates how larger discourses are formed in the exegetical Midrashim.
A beautifully illustrated visual and cultural history of the color red throughout the ages The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes. In some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics. In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red's evolution through a diverse selection of captivating images, including the cave paintings of Lascaux, the works of Renaissance masters, and the modern paintings and stained glass of Mark Rothko and Josef Albers.
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