Fragments de textes bibliques et de rituels de prières . Allemagne

Contient : Bible. A.T. Deutéronome (hébreu) (araméen) (extraits) ; Bible. A.T. Deutéronome (hébreu) (araméen) (extraits) ; Bible. A.T. Isaïe (hébreu) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Job (hébreu) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Acte notarié en allemand et notes d'un hébraïsant ; Notes en hébreu et document officiel en allemand ; Notes en hébreu ; Variantes de texte du livre d'Isaïe (chap. 49) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Bible. A.T. (hébreu) (extraits) ; Mahzor (hébreu) (extrait)

Fragments de textes bibliques et de rituels de prières . Allemagne

Contient : Bible. A.T. Deutéronome (hébreu) (araméen) (extraits) ; Bible. A.T. Deutéronome (hébreu) (araméen) (extraits) ; Bible. A.T. Isaïe (hébreu) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Job (hébreu) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Bible. A.T. Nombres (hébreu) (araméen) (extraits) ; Acte notarié en allemand et notes d'un hébraïsant ; Notes en hébreu et document officiel en allemand ; Notes en hébreu ; Variantes de texte du livre d'Isaïe (chap. 49) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Mahzor (rite ashkénaze) (extrait) ; Bible. A.T. (hébreu) (extraits) ; Mahzor (hébreu) (extrait)

Doré et le cinéma

Selon Ray Harryhausen, maître des effets spéciaux cinématographiques, « Gustave Doré aurait été un grand chef opérateur [...] il regardait les choses avec le point de vue de la caméra ». L'oeuvre de Doré a marqué de manière indélébile l'imaginaire filmique depuis ses origines. Et le cinéma, en retour, a « gravé » Doré dans l'imaginaire du XXe siècle. Peu de films sur la Bible, depuis la Vie et Passion de Jésus Christ produit par Pathé en 1902, qui ne se réfèrent à ses illustrations, ni d'adaptation cinématographique de Dante ou encore de Don Quichotte qui ne l'aient pris comme modèle, de Georg Wilhelm Pabst et Orson Welles à Terry Gilliam. Il n'est pas de films sur la vie londonienne et victorienne qui n'empruntent leurs décors aux visions de Londres, un pèlerinage, qu'il s'agisse de David Lean, de Roman Polanski ou de Tim Burton. Nombre de scènes oniriques, fantastiques, fantasmagoriques ont puisé dans l'oeuvre graphique de Doré, depuis le Voyage dans la lune de Georges Méliès en 1902. Si dans le domaine du dessin animé ou de l'animation, la dette de Walt Disney envers Doré est immense, ses forêts « primitives », notamment celles d'Atala, ont aussi servi aux différentes versions de King Kong, de l'original de 1933 au film de 2005 de Peter Jackson qui s'était déjà appuyé sur l'oeuvre de Doré dans Le Seigneur des anneaux. Ce chapitre vise à saisir l'étendue et la signification de cette imprégnation de l'imaginaire de Doré dans la culture de masse, de la dette explicite de Jean Cocteau envers les illustrations des Contes de Perrault dans La Belle et la bête (1945) aux réminiscences doréennes du personnage de Chewbacca dans la Guerre des Etoiles ou de la saga d'Harry Potter.

Histoire et sagesse d'Ahikar l'assyrien (fils d'Anael, neveu de Tobie) / traduction des versions syriaques avec les principales différences des versions arabes, arménienne, grecque, néo-syriaque, slave et roumaine, par François Nau,...

[Sagesse d'Ahikar (français). 1909]

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

Supplément grec 610

BIBLE. Veteris Testamenti partes. Psalmi, cum Canticis

Le Cantique des cantiques / traduit de l'hébreu et commenté par Ernest Renan

[Bible. A.T.. Cantique des Cantiques (français). 1991]

15

The present article examines the final part of the regnal formulas in the Book of Kings, i.e. the epilogue formulary. Most reports of the kings of Israel and Judah end with an epilogue containing formulaic statements about the death of the king and his succession. Typically, the epilogue formula is introduced by the phrase (source reference): 'Now the rest of the acts of PN1, are they not written in the Book of the Chronicles of the Kings of Judah (of the Chronicles of the Kings of Israel)?' and consists of three elements: 1. Dynastic notice ('PN1 slept with his fathers'); 2. Statement of burial; 3. Statement of succession. Sometimes one, two or all three of these elements are altered or lacking. The epilogue formulae of the Judean kings are more consistent than those of the Israelite kings; the latter often lacks a burial notice. Interestingly, the accounts of the deported (arrested) kings (Hoshea: 2 Kgs 17:6, Jehoahaz: 23:34, Zedekiah:25:7 and Jehoiachin: 25:27-30) do not contain an epilogue at all, nor the accounts of the reigns of Ahaziah and Athaliah which mark an episode of disruption in the history of the Davidic kingdom. For all these kings even the phrase 'Now the rest of the acts of PN1, are they not written in the Book of the Chronicles of... ?' is lacking. The absence of an epilogue in these cases is probably due to the fact that the king's succession (cf. element 3) is considered a constitutive and indispensable component of the epilogue. In the first instance, the approach of this study is descriptive and philological; it aims to contribute to the understanding of the notices. Secondly, the study addresses the question how the irregularities and variations within the formulae are to be explained. In particular, the study will pay attention to differences between the epilogue formulae concerning the kings of Israel and those concerning the Judean kings. At the end, questions concerning the epilogues formula's provenance and its formation date and concerning further redactional developments will be considered.

La fureur divine et son détournement en Nb 25

The story Numbers of 25 which reports the incident of Baal Peor is one among several texts in the book of Numbers focusing on divine wrath, its cause and its consequences. The present article offers a detailed analysis of the account which is difficult to understand because of certain jumps in the plot and because of its allusive style. Scholars mostly agree with the idea that the story grew in two or three stages. A lot of commentators believe that the original story contains only the apostasy of Peor caused by the Moabites (vv. 1-5). A subsequent story would focus on Pinchas' action against Zimri and Kospi, and a third layer is linked to the story of the war between Israel and Midian (Numbers 31). The problem of this theory however is that it seems impossible to reconstruct an original story about the matter of Peor; one does not find a satisfying end within vv. 1-5. Furthermore, v. 5, which belongs to the first, "Moabite", section, is already linked to the theme of Midian which dominates the second and the third passage. Moreover, the assemblage of different themes and motifs seem having been done with care: Regarding the two abuses of Israel reported in the story--idolatry and intermarriage--, they often go together in late polemical Deuteronomistic and post-Deuteronomistic layers (Ezra-Nehemiah). The double focus on Midian and Moab could both be polemically directed against certain Moses traditions found in the books of Exodus and Deuteronomy (concerning Moses' marriage with a Midianite women on the one hand and his stay and death and burial in Moab - in the vicinity of Beth Peor - on the other hand). As in several ANE traditions also in the Hebrew Bible the motif of "divine wrath" serves to interpret fatal historical events; in Num 25 as in other Biblical stories however it is doubtful whether the alleged incident (the plague) really have taken place and the story's plot is anchored in ancient Israel's history.

Elaborated Literary Violence: Genre and Ideology of the Two Stories I Sam 22,6-23 and II Sam 21,1-14

The present article focuses on two stories dealing with acts of big blood shed. I Sam 22,6-23 relates the massacre of the priests of Nob; II Sam 21,1-14 is about the execution of seven descendents of Saul, as atonement for Saul's attempt to exterminate the Gibeonites. Most researchers consider both stories or at least certain parts of them old.1 For both stories few verses are regarded as secondary. In this paper I try to reassess the analysis of these stories and will point to indices favoring a late date of origin for both of them. They concern the language in use, intertextual connections and particular motifs. A further indication consists in the fact that the reported events of the stories lack significant resonance in the corpus of the Hebrew Bible. There are only two texts, I Sam 2,33 and Ps 52,2, which allude or refer to I Sam 22,6-23.With regard to the importance of the related events and acts this silence in the Biblical context is astonishing. Interestingly, also in the Book of Chronicles one does not find any allusions to these stories. This raises the question whether the latter were composed after the formation of the book of Chronicles.

La traducció del Càntic dels Càntics de Carles Riba

Carles Riba’s activity as a translator of Greek classics (Xenophon, Plutarch, Homer, Sophocles, Euripides, Aeschylus) and works of important authors who wrote in Latin (Virgil), English (Edgar A. Poe) and German (Rilke, Hölderlin) is well known and has been widely studied. In contrast, the great humanist’s translations of books of the Bible -Song of Songs and the Book of Ruth- from Hebrew to Catalan have never been the subject of a monographic study. This piece of work is an edition and a detailed analysis of his version of the Song of Solomon. The notes in the text point out the translator’s contributions and uncertainties in a work published at a pivotal time in the Catalan language’s history

Les Sentències catòliques del diví poeta Dant (1545) d’en Jaume Ferrer de Blanes: edició crítica del text

Procurador reial i nobiliari, cosmògraf, joier, lapidari, mercader i escriptor, i al capdavall, un ciutadà català honrat, en Ferrer (Vidreres, ~1445 – Blanes, 1529) va marxar de ben jove, primer, a la cort de Nàpols, al servei del rei en Ferran I, i després a la cort de Sicília, al servei de la reina na Joana de Sicília. Acabada aquesta peripècia italiana va tornar a Blanes al servei del vescomte de Cabrera i de Bas fins que va morir a la mateixa vila al 1529. Un seu criat, disset anys més tard, va editar uns papers esparsos que havia trobat a can Ferrer, les (sic) Sentèncias cathòlicas del diví poeta Dant florentí, compilades per lo prudentíssim mossèn Jaume Ferrer de Blanes, incloent-hi tres parts. La primera, Conclusions, és un sumari destinat a mostrar (sic) «Entre totas las cosas necessàries a l’home per aconseguir lo seu fi y beatitut eterna principalment són tres»; la segona, Meditació, és una reflexió a fi d’il•luminar els misteris sobre la passió i mort de Jesucrist a (sic) «lo santíssim loch de Calvari»; la tercera, Letras, és un conjunt de dotze documents, entre cartes i d’altres textos, «fetas a mossèn Jaume Ferrer, respostes e regles per ell ordenades en cosmographia y en art de navegar». En Ferrer, home de grans recursos, fa un recorregut per tots els coneixements que havia acumulat al llarg de la seva vida, de Dant Alighieri a Ptolemeu i del marquès de Santillana a Albert Gran o a Aristòtil, fent servir fragments de la Commedia, dels Proverbios, de la Bíblia i de moltes altres autoritats científiques i filosòfiques, en català, italià, espanyol, llatí i, també, set mots en arameu