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This thesis undertakes a systematic examination of the Books of Kings, revealing significant divergences between the Targum and the underlying Hebrew text. These divergences are compared with renderings in other Targums, in the other ancient versions and in the writings of Josephus. In addition, the thesis explores exegetical material in this Targum in the light of relationships with rabbinic texts, particularly from the Tannaitic and Amoraic periods. Many cases of contemporization relating to vocabulary, customs and historical events are uncovered in this Targum. An examination of place names reveals that those that changed over the course of time are often rendered by their 'modern' names, but many are left unaltered and yet others are rendered interpretatively. Frequent instances are observed of modifications to the biblical text made by the Targumist in order to incorporate his own theology. Emphasis on the uniqueness of God and the service of the Lord, and the avoidance of blasphemy are shown to be important concerns for him. The use of divine titles that are not present in the biblical text demonstrates the importance the Targumist places on reverence. His regard for <I>halakic </I>practice is also apparent in some renderings. The thesis highlights the great emphasis on prophecy in this Targum. The biblical 'prophet' is rendered in three ways, as the true prophet, the lying prophet and the scribe. While this last rendering may simply be a case of contemporization, it is nevertheless examined for traces of self-promotion. Did the Targumist hope to emphasize his own pedagogical role in the community? Research undertaken here suggests that the Targumist's treatment of figures of speech demonstrates that his modifications are made not merely in the pursuit of clarity, but to further his own perception of what he considered acceptable language and to address theological concerns, particularly with regard to 'indelicate' language and rhetorical questions. The conclusion is drawn that the Targumist did not see figurative language in itself as a barrier to understanding since some figures of speech are retained and new ones introduced.

This study comprises detailed descriptions of twenty Genizah manuscript editions of eight Hebrew hymns by the medieval Hebrew poet, Solomon Ibn Gabirol. Its aim is to treat these editions as objects of interest in their own right and to uncover fresh insights into how they were copied, disseminated and use. The focus is placed on Hebrew hymns rather than other poetic forms due to their popularity. Indeed, so popular were they that the Spanish poets in the heyday of medieval Hebrew poetry composed thousands and expanded their use in the synagogue services. Hymns by Solomon Ibn Gabirol have been chosen in particular due to the fact that he was one of the greatest and most prolific poets of his day. As a result, manifold copies of his work have survived, all of which are well documented and readily accessible. Particular manuscript editions have been selected on the grounds that they are derived from the Cairo Genizah, vocalised with Tiberian vowel signs, and contain evidence of non-standard vocalization and variations to the text. The Cairo Genizah holds a wealth of material copied in the High Middle Ages close to the time of composition. Vocalized texts have been created with the reader in mind and substantial evidence of non-standard vocalization indicates that the copy was designated for more informal use. More importantly, non-standard vocalization provides evidence of voicing: the copyist’s own pronunciation traits or a recording of the performances he heard or remembered. To date, the Hebrew poetry manuscript as an object of interest in its own right has received little attention. This study seeks to redress that balance by focusing on the method and process of transmission rather than composition. To this end, the physical detail of each manuscript is meticulously recorded and occasional diagrams used to reconstruct the original quires. The result of this method has been to expose a general lack of constraint in the popular rendering of Hebrew hymns and an attitude towards the text that placed demand above faithful transmission.

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