The discovery of the Genizah manuscipt collection is nothing less than a revolution for the knowledge of Hebrew literature and Jewish culture in Late Antiquity and the Middle Ages. One of the main results of one hundred years of Genizah research is the rediscovery of Hebrew liturgical poetry which shed much light on various aspects of Jewish studies. For the last half century it has been almost comonplace to discover new poems, unknown poets, novel uses of poetry and unfamiliar poetic versions of familiar prose texts within liturgical settings being revealed among the manuscripts and manuscript fragments. The products of the composers and reciters of synagogue poetry convincingly demonstrate the importance of poetry in Jewish worship and communal life. The major corpora of Palestinian liturgical poetry bear evidence to the prolific literary activity of a number of famous poets who laid the foundations for the development of Hebrew poetry in later periods: Yossi ben Yossi, Yannai, Simon bar Megas, Elazar birabbi Kilir and Yohanan ha-Kohen. One of these mostly Byzantine-Jewish 'melodists' was Yehudah who composed a cycle of poems in accordance with the reading tradition of the Pentateuch and Prophets on the sabbath. This study presents Yehudah's oeuvre with commentaries and deals with its historical and literary context in four introductory chapters. The edition is complemented by indices and a bibliography.
This text edition of liturgical poems of the synagogue poet Yehudah provides a unique corpus of Hebrew compositions based on manuscript fragments from the Genizah collection. Yehudah's poetry reflects the importance of Hebrew poetry from the liturgy of the synagogue in early Palestinian Judaism. This study highlights the historical and literary context of Yehudah's poetry against the background of Byzantine Jewry.
The aim of this study is a comparative analysis of the role of semantics in the linguistic theory of four grammatical traditions, Sanskrit, Hebrew, Greek, Arabic. If one compares the organization of linguistic theory in various grammatical traditions, it soon turns out that there are marked differences in the way they define the place of 'semantics' within the theory. In some traditions, semantics is formally excluded from linguistic theory, and linguists do not express any opinion as to the relationship between syntactic and semantic analysis. In other traditions, the whole basis of linguistic theory is semantically orientated, and syntactic features are always analysed as correlates of a semantic structure. However, even in those traditions, in which semantics falls explicitly or implicitly outside the scope of linguistics, there may be factors forcing linguists to occupy themselves with the semantic dimension of language. One important factor seems to be the presence of a corpus of revealed/sacred texts: the necessity to formulate hermeneutic rules for the interpretation of this corpus brings semantics in through the back door.
The aim of this study is a comparative analysis of the role of semantics in the linguistic theory of four grammatical traditions, Sanskrit, Hebrew, Greek, Arabic. If one compares the organization of linguistic theory in various grammatical traditions, it soon turns out that there are marked differences in the way they define the place of ‘semantics’ within the theory. In some traditions, semantics is formally excluded from linguistic theory, and linguists do not express any opinion as to the relationship between syntactic and semantic analysis. In other traditions, the whole basis of linguistic theory is semantically orientated, and syntactic features are always analysed as correlates of a semantic structure. However, even in those traditions, in which semantics falls explicitly or implicitly outside the scope of linguistics, there may be factors forcing linguists to occupy themselves with the semantic dimension of language. One important factor seems to be the presence of a corpus of revealed/sacred texts: the necessity to formulate hermeneutic rules for the interpretation of this corpus brings semantics in through the back door.
The collection of Elazar’s poetry is impressive and contains more than four hundred compositions with a striking preponderance of panegyrics, laments, homonymic poems, and epigrams. Elazar was strongly involved in promoting the Baghdadi-Jewish elite, dignified people who held high office in the city, either as government officials or as leaders of the Jewish community. This critical edition of a manuscript offers much literary and historical information about Baghdadi Jewry in the days before and during the Mongol invasion of 1258.
The discovery of the Genizah manuscipt collection is nothing less than a revolution for the knowledge of Hebrew literature and Jewish culture in Late Antiquity and the Middle Ages. One of the main results of one hundred years of Genizah research is the rediscovery of Hebrew liturgical poetry which shed much light on various aspects of Jewish studies. For the last half century it has been almost comonplace to discover new poems, unknown poets, novel uses of poetry and unfamiliar poetic versions of familiar prose texts within liturgical settings being revealed among the manuscripts and manuscript fragments. The products of the composers and reciters of synagogue poetry convincingly demonstrate the importance of poetry in Jewish worship and communal life. The major corpora of Palestinian liturgical poetry bear evidence to the prolific literary activity of a number of famous poets who laid the foundations for the development of Hebrew poetry in later periods: Yossi ben Yossi, Yannai, Simon bar Megas, Elazar birabbi Kilir and Yohanan ha-Kohen. One of these mostly Byzantine-Jewish 'melodists' was Yehudah who composed a cycle of poems in accordance with the reading tradition of the Pentateuch and Prophets on the sabbath. This study presents Yehudah's oeuvre with commentaries and deals with its historical and literary context in four introductory chapters. The edition is complemented by indices and a bibliography.
This is a comprehensive edition of Hebrew hymns composed by Eleazar the Babylonian, a prolific composer and scholar who lived in 13th-century Baghdad. His poetic language and style show much affinity with contemporary Sufism.
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