Christian Hebrew in England with and Without Jewish Books Damian Fleming
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Hebrew Poetic Manifesto Kotzo Shel Yod (1878) by Y.L. Gordon Translated Into Ladino La Punta De La Yod (1901). on the Oppressed
Hebrew Poetic Manifesto Kotzo shel yod (1878) by Y. L. Gordon translated into Ladino La punta de la yod (1901). On the oppressed state of the Jewish woman (between Ashkenaz and Sefarad) by Shmuel Refael Zusammenfassung Kotzo shel yod von Y. L. Gordon (1832–1892) – einem wichtigen Intellektuellen der jüdi- schen a ufklärung – ist ein bekanntes hebräisches g edicht. d ieses g edicht zeichnet sich durch eine kühne, scharfe Kritik an den traditionellen jüdischen Einrichtungen aus, welche nach meinung des a utors ein unbedingtes ü berdenken erforderten. g ordons literarisches Werk ist von der jüdisch-aschkenasischen Welt inspiriert. Dieses einzigar- tige und innovative Gedicht wurde ins Judenspanische (Ladino) übersetzt. Der Artikel möchte die sephardische Version von Gordons Gedicht vorstellen. Es soll versucht werden, die Hintergründe für die Übersetzung dieses Werks in Ladino zu analysie- ren, die Rezeption der Übersetzung durch die Leserschaft und die Herausforderungen, denen sich der anonyme Übersetzer stellen musste, der das Werk der ladino-lesenden Öffentlichkeit im vollen Bewusstsein zugänglich machen wollte, dass diese Version sich deutlich vom zugrundeliegenden aschkenasischen Original unterscheidet. Abstract Kotzo shel yod by Y. L. Gordon (1832–1892) – one of the prominent intellectuals of the Jewish Enlightenment period – is a well-known Hebrew poem. This poem is characterized by a daring, sharp criticism of the traditional Jewish institutions, which the author felt required a critical shake-up. Gordon’s literary works were inspired by the Jewish a shkenazi world. t his unique and pioneering literary work was translated into Judeo-Spanish (Ladino). The aim of this article is to present the Sephardic version of Gordon’s poem. -
Moses Hayim Luzzatto's Quest for Providence
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 'Like Iron to a Magnet': Moses Hayim Luzzatto's Quest for Providence David Sclar Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/380 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence By David Sclar A Dissertation Submitted to the Graduate Faculty in History in Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy The City University of New York 2014 © 2014 David Sclar All Rights Reserved This Manuscript has been read and accepted by the Graduate Faculty in History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Prof. Jane S. Gerber _______________ ____________________________________ Date Chair of the Examining Committee Prof. Helena Rosenblatt _______________ ____________________________________ Date Executive Officer Prof. Francesca Bregoli _______________________________________ Prof. Elisheva Carlebach ________________________________________ Prof. Robert Seltzer ________________________________________ Prof. David Sorkin ________________________________________ Supervisory Committee iii Abstract “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence by David Sclar Advisor: Prof. Jane S. Gerber This dissertation is a biographical study of Moses Hayim Luzzatto (1707–1746 or 1747). It presents the social and religious context in which Luzzatto was variously celebrated as the leader of a kabbalistic-messianic confraternity in Padua, condemned as a deviant threat by rabbis in Venice and central and eastern Europe, and accepted by the Portuguese Jewish community after relocating to Amsterdam. -
The Role of Hebrew Letters in Making the Divine Visible
"VTSFDIUMJDIFO (SàOEFOTUFIU EJFTF"CCJMEVOH OJDIUJN0QFO "DDFTT[VS 7FSGàHVOH The Role of Hebrew Letters in Making the Divine Visible KATRIN KOGMAN-APPEL hen Jewish figural book art began to develop in central WEurope around the middle of the thirteenth century, the patrons and artists of Hebrew liturgical books easily opened up to the tastes, fashions, and conventions of Latin illu- minated manuscripts and other forms of Christian art. Jewish book designers dealt with the visual culture they encountered in the environment in which they lived with a complex process of transmis- sion, adaptation, and translation. Among the wealth of Christian visual themes, however, there was one that the Jews could not integrate into their religious culture: they were not prepared to create anthropomorphic representations of God. This stand does not imply that Jewish imagery never met the challenge involved in representing the Divine. Among the most lavish medieval Hebrew manu- scripts is a group of prayer books that contain the liturgical hymns that were commonly part of central European prayer rites. Many of these hymns address God by means of lavish golden initial words that refer to the Divine. These initials were integrated into the overall imagery of decorated initial panels, their frames, and entire page layouts in manifold ways to be analyzed in what follows. Jewish artists and patrons developed interesting strategies to cope with the need to avoid anthropomorphism and still to give way to visually powerful manifestations of the divine presence. Among the standard themes in medieval Ashkenazi illuminated Hebrew prayer books (mahzorim)1 we find images of Moses receiving the tablets of the Law on Mount Sinai (Exodus 31:18, 34), commemorated during the holiday of Shavuot, the Feast of Weeks (fig. -
Language of the Old Testament: Biblical Hebrew “The Holy Tongue”
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 1 ISSN 2281-3993 MCSER Publishing, Rome-Italy March 2015 Language of the Old Testament: Biblical Hebrew “The Holy Tongue” Associate Professor Luke Emeka Ugwueye Department of Religion & Human Relations, Faculty of Arts, Nnamdi Azikiwe University, PMB 5025, Awka- Anambra State, Nigeria Email: [email protected] phone - 08067674763 Doi:10.5901/ajis.2015.v4n1p129 Abstract Some kind of familiarity with the structure and thought pattern of biblical Hebrew language enhances translation and improved ways of working with the language needed by students of Old Testament. That what the authors of the Scripture say also has meaning for us today is not in doubt but they did not express themselves primarily for us or in our language, and so it requires training on our part to understand them in their own language. The features of biblical Hebrew as combined in the language’s use of imagery and picturesque description of things are of huge assistance in this training exercise for a better operational knowledge of the language and meaning of Hebrew Scripture. Keywords: Language, Old Testament, Biblical Hebrew, Holy Tongue 1. Introduction Hebrew language is the language of the culture, religion and civilization of the Jewish people since ancient times. It belongs to the northwest ancient Semitic family of languages. The word Semitic, according to Kitchen (1992) is formed from the name Shem, Noah’s eldest son (Genesis 5:32). It is an adjective derived from ‘Shem’ meaning a member of any of the group of people speaking Akkadian, Phoenician, Punic, Aramaic, and especially Hebrew, Modern Hebrew and Arabic language. -
אוסף מרמורשטיין the Marmorstein Collection
אוסף מרמורשטיין The Marmorstein Collection Brad Sabin Hill THE JOHN RYLANDS LIBRARY UNIVERSITY OF MANCHESTER Manchester 2017 1 The Marmorstein Collection CONTENTS Acknowledgements Note on Bibliographic Citations I. Preface: Hebraica and Judaica in the Rylands -Hebrew and Samaritan Manuscripts: Crawford, Gaster -Printed Books: Spencer Incunabula; Abramsky Haskalah Collection; Teltscher Collection; Miscellaneous Collections; Marmorstein Collection II. Dr Arthur Marmorstein and His Library -Life and Writings of a Scholar and Bibliographer -A Rabbinic Literary Family: Antecedents and Relations -Marmorstein’s Library III. Hebraica -Literary Periods and Subjects -History of Hebrew Printing -Hebrew Printed Books in the Marmorstein Collection --16th century --17th century --18th century --19th century --20th century -Art of the Hebrew Book -Jewish Languages (Aramaic, Judeo-Arabic, Yiddish, Others) IV. Non-Hebraica -Greek and Latin -German -Anglo-Judaica -Hungarian -French and Italian -Other Languages 2 V. Genres and Subjects Hebraica and Judaica -Bible, Commentaries, Homiletics -Mishnah, Talmud, Midrash, Rabbinic Literature -Responsa -Law Codes and Custumals -Philosophy and Ethics -Kabbalah and Mysticism -Liturgy and Liturgical Poetry -Sephardic, Oriental, Non-Ashkenazic Literature -Sects, Branches, Movements -Sex, Marital Laws, Women -History and Geography -Belles-Lettres -Sciences, Mathematics, Medicine -Philology and Lexicography -Christian Hebraism -Jewish-Christian and Jewish-Muslim Relations -Jewish and non-Jewish Intercultural Influences -
Twenty-Five Years at the Valmadonna Trust Library
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Twenty-Five Years at the Valmadonna Trust Library by Pauline Malkiel Librarian – Valmadonna Trust Library (London, England) When I first walked into the library in May 1982 I was struck initially by the smell of leather, then by the rows upon rows of fine bindings in burgundies, browns, beiges and creams packed neatly and tastefully on elegant open wooden shelves. Looking more closely I began to identify groupings: 16th century Italian locations with exciting names like Riva di Trento, Sabbionetta and Ferrara; whole areas of early Venetian printers – Bomberg, di Gara, Zanetti, each in its own space; a whole wall devoted to early Mediterranean printing in Salonika, Constantinople, and Prague, Lublin and Cracow. Then there were vast ranges of small liturgies of many different rites – Italian, Spanish, Roman, Ashkenazic, Aleppo, Karaite - sitting chronologically on shelves in beautiful bindings. Another area was devoted to Bibles printed in Venice starting in the year 1517. Placed in their own taller alcoves were stately volumes of Rabbinic Bibles and Maimonides Commentaries, Mishneh Torahs, Alfassi Commentaries in different editions, and, on closer inspection of the spines, many recurring titles such as ‘Semag,’ ‘Mizrachi,’’Rabenu Bechai,’’Perush HaTorah’ and endless Responsa. It was a thrill to see the word ‘unicum’ or ‘unique copy’ on a spine, and there were numerous slipcases containing ‘Variant 1’ and ‘Variant 2’ copies, promising intriguing revelations. Examining the spines one could decipher an exotic array of practically unheard-of place names: Kuru Tschesme, Prostitz, Isny, Constanz, Trino, Dordrecht, Pforzheim, Alcala de Henares and then, tucked away in a corner, all the very early 16th century Latin works printed by the Soncinos in Fano, Ortona, Pesaro, Cesena and so on. -
AE Living Hebrew Bible 2.16.20
The Living, Material Bible: A Module on the History of the Hebrew Bible Jonathan Homrighausen1 This module aims to introduce students in an undergraduate Hebrew Bible survey course to the questions of scribal practices and material scripture.2 This assumes no knowledge of Hebrew. It was designed and taught for a two class sessions of a semester-long course that meets for 75 minutes each class. However, it can easily be adapted for other courses in biblical studies or Jewish studies, or expanded for upper-division or graduate courses. This module also draws inspiration from a forum in Teaching Theology & Religion on “teaching the materiality of scripture” and a module designed by Michael Freeman engaging similar questions regarding ancient Greek papyri.3 The goals of this module: • Relate biblical manuscripts to the complexities of the scribal transmission of the Hebrew Bible in different eras, its relation to textual criticism, and the concept that “the Bible” is not a static, unchanging, or perfectly transmitted entity, but constantly in flux; • Engage biblical manuscripts as windows into the materiality of scripture, or the entire life of a manuscript, often referred to as manuscript culture: their users’ religious and cultural lives, including the uses of manuscripts, the context of region and time period, the scribal practices used to create manuscripts, and the ritual uses of religious codices and scrolls; • Gain familiarity with the collections and archives of the David M. Rubenstein Rare Book & Manuscript library. Before beginning this module, students will already have read essays from The Jewish Study Bible (2nd ed.) which supply a broad background: • Emanuel Tov, “Textual Criticism” (pp. -
Medieval Hebrew Texts and European River Names Ephraim Nissan London [email protected]
ONOMÀSTICA 5 (2019): 187–203 | RECEPCIÓ 8.3.2019 | ACCEPTACIÓ 18.9.2019 Medieval Hebrew texts and European river names Ephraim Nissan London [email protected] Abstract: The first section of theBook of Yosippon (tenth-century Italy) maps the Table of Nations (Genesis 10) onto contemporary peoples and places and this text, replete with tantalizing onomastics, also includes many European river names. An extract can be found in Elijah Capsali’s chronicle of the Ottomans 1517. The Yosippon also includes a myth of Italic antiquities and mentions a mysterious Foce Magna, apparently an estuarine city located in the region of Ostia. The article also examines an onomastically rich passage from the medieval travelogue of Benjamin of Tudela, and the association he makes between the river Gihon (a name otherwise known in relation to the Earthly Paradise or Jerusalem) and the Gurganin or the Georgians, a people from the Caspian Sea. The river Gihon is apparently what Edmund Spenser intended by Guyon in his Faerie Queene. The problems of relating the Hebrew spellings of European river names to their pronunciation are illustrated in the case of the river Rhine. Key words: river names (of the Seine, Loire, Rhine, Danube, Volga, Dnieper, Po, Ticino, Tiber, Arno, Era, Gihon, Guyon), Kiev, medieval Hebrew texts, Book of Yosippon, Table of Nations (Genesis 10), historia gentium, mythical Foce Magna city, Benjamin of Tudela, Elijah Capsali, Edmund Spenser Textos hebreus medievals i noms de rius europeus Resum: L’inici del Llibre de Yossippon (Itàlia, segle X) relaciona la «taula de les nacions» de Gènesi 10 amb pobles i llocs contemporanis, i aquest text, ple de propostes onomàstiques temptadores, també inclou noms fluvials europeus. -
Treasures of the Valmadonna Trust Library
TREASURES OF THE VALMADONNA TRUST LIBRARY A CATALOGUE OF 15TH-CENTURY BOOKS AND FIVE CENTURIES OF DELUXE HEBREW PRINTING EDITED BY DAVID SCLAR WITH BIBLIOGRAPHIC STUDIES BY BRAD SABIN HILL ADRI K. OFFENBERG ISAAC YUDLOV David Sclar, Editor אוצרות יעקב Sharon Liberman Mintz, Project Director Pauline Malkiel, Librarian of the Valmadonna Trust Library CONTRIBUTORS: Brad Sabin Hill, Curator of the I. Edward Kiev Judaica Collection, The George Washington University, Washington, DC Adri K. Offenberg, Emeritus Curator of the Bibliotheca Rosenthaliana, University of Amsterdam Isaac Yudlov, Director of the Institute for Hebrew Bibliography, Jerusalem ACKNOWLEDGMENTS: Shimon Iakerson, Head Researcher, Institute of Oriental Manuscripts of the Russian Academy of Sciences Ari Kinsberg, Independent Scholar David N. Redden, Vice Chairman, Sotheby’s NY, and the Staff of the Sotheby’s NY Book Department Jerry Schwarzbard, Librarian for Special Collections, The Library of The Jewish Theological Seminary David Wachtel, Senior Consultant for Judaica, Sotheby’s NY Design: Jean Wilcox, Wilcox Design Photography: Ardon Bar-Hama Indexes: Warren Klein Printing: Kirkwood Printing © 2011 London & New York Valmadonna Trust Library FOREWORD 6 INTRODUCTION David Sclar 7 Dedicated to the memory of my teacher and friend, THE HONEYCOMB’S FLOW: H E B R E W I N C U N A B L E S IN THE VALMADONNA TRUST LIBRARY Adri K. Offenberg Professor Chimen Abramsky. 10 Jack V. Lunzer I N C U N A B L E S 28 HEBREW BOOKS PRINTED ON VELLUM IN THE VALMADONNA TRUST LIBRARY Isaac Yudlov 52 BOOKS PRINTED ON VELLUM 62 HEBREW PRINTING ON BLUE AND OTHER COLOURED PAPERS Brad Sabin Hill 84 BOOKS PRINTED ON COLOURED PAPER 112 BOOKS PRINTED ON SILK 148 BOOKS PRINTED IN RED INK 150 INDEXES 152 BIBLIOGRAPHY 164 6 7 FOREWORD INTRODUCTION This volume is the tenth in a series of bibliophile editions, facsimiles, and catalogues of early and ‘Make your books your companions. -
A Midrash on Rotulus from Damira, Its Materiality, Scribe, and Date
29 2 Reading in the Provinces: A Midrash on Rotulus from Damira, Its Materiality, Scribe, and Date JUDITH OLSZOWY-SCHLANGER ÉCOLE PRATIQUE DES HAUTES ÉTUDES, SORBONNE, PARIS 30 Judith Olszowy-Schlanger Reading in the Provinces: A Midrash on Rotulus from Damira, Its Materiality, Scribe, and Date 31 ‘A battlefield of books’: this is how Solomon Schechter described the mass of tangled and damaged manuscript debris when he entered the Genizah chamber of the Ben Ezra synagogue in Fustat (Old Cairo) in 1896 (fig. 2.1). This windowless room, together with similar caches in other synagogues and in the cemetery Basatin in Cairo, yielded over 350,000 fragments of manuscripts, kept today in more than seventy collections worldwide.1 Most of the fragments date from the Fatimid and Ayyubid periods: more than ninety-five percent come from books while the rest are fragments of legal documents, letters, and other pragmatic writings. They were preserved thanks to the long-standing Jewish tradition of disposing of old writings with particular respect, founded on the belief that Hebrew texts containing the name of God are sacred: rather than being destroyed or thrown away, worn out books and documents—both holy and trivial—were instead placed in dedicated space, a Genizah, to decay naturally without human intervention. This massive necropolis of discarded writings offers us unprecedented knowledge of Jewish life in Fig. 2.1 medieval Egypt in general and of Jewish book history in particular. Thousands of fragments are Solomon Schechter witnesses to the centrality of Hebrew books in liturgy, in professional activities, and in private at work in the Old University Library, life, as well as offering a mine of information about how these books were made and read: their Cambridge. -
Hebrew (HEBREW) 1
Hebrew (HEBREW) 1 HEBREW 11A Reading and Composition for Hebrew (HEBREW) Hebrew Speaking Students 5 Units Terms offered: Prior to 2007 Courses Designed for heritage students who possess oral skills (speaking/ comprehension, though limited) but need to improve their writing and Expand all course descriptions [+]Collapse all course descriptions [-] reading abilities, and expand their knowledge of Hebrew grammar and HEBREW 1A Elementary Hebrew 5 Units syntax. Completion of 11A-11B will prepare the student to take Hebrew Terms offered: Fall 2021, Fall 2020, Fall 2019 20A, Intermediate Hebrew. Elementary Hebrew: Read More [+] Reading and Composition for Hebrew Speaking Students: Read More [+] Hours & Format Rules & Requirements Fall and/or spring: 15 weeks - 5 hours of recitation per week Prerequisites: Rudimentary knowledge of spoken Hebrew and consent of instructor Additional Details Hours & Format Subject/Course Level: Hebrew/Undergraduate Fall and/or spring: 15 weeks - 5 hours of recitation per week Grading/Final exam status: Letter grade. Final exam required. Additional Details Elementary Hebrew: Read Less [-] Subject/Course Level: Hebrew/Undergraduate HEBREW 1B Elementary Hebrew 5 Units Terms offered: Spring 2022, Spring 2021, Spring 2020 Grading/Final exam status: Letter grade. Final exam required. Elementary Hebrew: Read More [+] Reading and Composition for Hebrew Speaking Students: Read Less [-] Hours & Format Fall and/or spring: 15 weeks - 5 hours of recitation per week HEBREW 11B Reading and Composition for Hebrew-Speaking Students 5 Units Additional Details Terms offered: Prior to 2007 Subject/Course Level: Hebrew/Undergraduate Designed for heritage students who possess oral skills (speaking/ comprehension, though limited) but need to improve their writing and Grading/Final exam status: Letter grade. -
F Ine J Udaica
F INE J UDAICA . PRINTED BOOKS, AUTOGRAPHED LETTERS, MANUSCRIPTS AND CEREMONIAL &GRAPHIC ART K ESTENBAUM & COMPANY TUESDAY, FEBRUARY 8TH, 2005 K ESTENBAUM & COMPANY . Auctioneers of Rare Books, Manuscripts and Fine Art Lot 7 Catalogue of F INE J UDAICA . PRINTED BOOKS, AUTOGRAPHED LETTERS, MANUSCRIPTS AND CEREMONIAL &GRAPHIC ART From the Collection of Daniel M. Friedenberg, Greenwich, Conn. To be Offered for Sale by Auction on Tuesday, 8th February, 2005 at 2:00 pm precisely ——— Viewing Beforehand on Sunday, 6th February: 10:00 am–5:30 pm Monday, 7th February: 10:00 am–6:00 pm Tuesday, 8th February: 10:00 am–1:30 pm Important Notice: A Digital Image of Many Lots Offered in This Sale is Available Upon Request This Sale may be referred to as “Highgate” Sale Number Twenty Seven. Illustrated Catalogues: $35 • $42 (Overseas) KESTENBAUM & COMPANY Auctioneers of Rare Books, Manuscripts and Fine Art . 12 West 27th Street, 13th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K ESTENBAUM & COMPANY . Chairman: Daniel E. Kestenbaum Operations Manager : Margaret M. Williams Client Accounts: S. Rivka Morris Press & Public Relations: Jackie Insel Printed Books: Rabbi Bezalel Naor Manuscripts & Autographed Letters: Rabbi Eliezer Katzman Ceremonial Art: Aviva J. Hoch (Consultant) Catalogue Art Director & Photographer: Anthony Leonardo Auctioneer: Harmer F. Johnson (NYCDCA License no. 0691878) ❧ ❧ ❧ For all inquiries relating to this sale please contact: Daniel E. Kestenbaum ❧ ❧ ❧ ORDER OF SALE Printed Books: Lots 1 – 222 Autographed Letters & Manuscripts: Lots 223 - 363 Ceremonial Arts: Lots 364 - End of Sale A list of prices realized will be posted on our Web site, www.kestenbaum.net, following the sale.