[pt] O relacionamento homem-mulher sempre foi estudado por aqueles que se ocupam das ciências bíblicas. Este assunto é intrigante por abordar um aspecto desafiador da vida humana. Esta pesquisa buscou apresentar as relações entre Ct 8,5-7, Qoh 9,7-10 e Mt 19,1-9, no que diz respeito ao relacionamento homem e mulher. A intertextualidade apresentou como contribuição uma visão mais abrangente do texto e a percepção do pano de fundo que ajudou a compreender a origem das tradições. Inicialmente, foram apresentadas algumas questões introdutórias como determinação dos contextos históricos dos textos, reflexões sobre a história da interpretação dos mesmos. Em seguida, realizou-se a análise exegética dos respectivos textos a partir de instrumentos do método histórico-crítico. Por último, procurou-se apresentar as relações entre os referidos textos, dando ênfase particular às influências dessas narrações em seus supostos contextos históricos. Percebeu-se na gênese destes textos uma intencionalidade que pode ser definida como a força incomensurável do amor, sinal do Deus de Israel, manifestado concretamente no Ct 8,5-7, defendido como o melhor na vida de vaidade por Qoh 9,7-10, e, demonstrado como um dos fatores da radicalidade evangélica em Mt 19,1-9. Do ponto de vista sincrônico percebeu-se que o leitor que depara com estes textos foi e é provocado por essa intencionalidade subjacente. Isto é o que se percebe verificando a história da interpretação dos três textos. Esta mensagem foi o grande fundamento teológico que impulsionou e impulsiona a reflexão da teologia sobre o relacionamento homem-mulher. Esta percepção, no entanto, apresenta-se como um caminho a ser seguido e não como ponto de chegada. / [en] The relationship between man and woman has always been a subject of study for bible science researchers. This is an intriguing subject, due to the fact that it discusses a challenging aspect of the human life. This research presents the links between Ct 8,5-7, Qoh 9,7-10 e Mt 19,1-9, in the matter of man-woman relationship. The intertextuality presented, as a contribution, a more broad point-of-view of the text and the perception of the background that helped comprehending the origin of traditions. Initially, some introductory questions were presented as a determination of the historic contexts of the texts, as well as reflections about the history of their interpretations. Then, an exegetic analysis of the texts was carried out, using the instruments of the historic and critic method. For last, is presented the relations among the referred texts, giving particular emphasis to the influences of these narratives in their supposed historical contexts. It was realized in the genesis of these texts an intentionality that can be defined as an immeasurable force of love, of the presence of the God of Israel, manifested in Ct 8,5-7, defended as the best of the vanity life by Qoh 9,7-10, and demonstrated as one of the factors of evangelical radicalism in Mt 19,1-9. Of a synchronic point-of-view, one can realize that the reader of these texts is provoked by this subjacent intentionality. This is observed verifying the history of the interpretation of these three texts. This message was the great theological basis that drove and still drives the reflection of theology about the man-woman relationship. This perception, nevertheless, presents itself as a path to be followed, and not as a finish line.

Up until the Kralice Bible, Old Czech biblical translations, traditionally divided into four translations, were based solely on the Latin Vulgate. This thesis examines all available Old Czech and Early Modern Czech biblical sources created before the Kralice Bible and assesses whether they contain the Song of Songs, one of the sapiental books, and if so, it attempts to identify whether the translation stems from an earlier version, or of it is a new translation. Several versions from the four Old Czech bible translations and later prints of the 16th century were then chosen as sources for representative editions of the Song. Based on those editions, a linguistic analysis of the texts was performed, oriented on phonologic, morphologic, lexical and syntactic features, which eventually yielded several tendencies in selected aspects of the linguistic development of the Czech language.

No description available.

[pt] Dentre as muitas metáforas que expressam o amor de Deus à humanidade a das núpcias é a que merecia maior destaque na opinião de alguns teólogos, tanto os teólogos da antiguidade como os dos tempos modernos, certamente pelo elevado nível de intimidade que a metáfora autoriza imaginar no tocante ao amor incontido de Deus à sua Igreja. Trata-se, então, de um trabalho oportuno, útil à espiritualidade da igreja, e particularmente a cada cristão. Decerto, tem-se ouvido muitas homilias sobre Deus nos moldes da relação Senhor-servo; Pai-filho; Deus-humano; Pastor-ovelha; Santo-pecador. Todas têm correspondência na Escritura, mas enfatiza pouco – ou não a altura – a categoria do amor daquele que ocupa a superioridade nessa relação e, por isso, nenhuma dessas metáforas se comparam à relação Esposo-esposa. Para isso, a focagem deste trabalho recai sobre uma das obras de Orígenes cujo título é: Homilias e Comentário ao Cântico dos Cânticos. Fato é que Orígenes viu nessa relação Esposo-Esposa uma prefiguração do encontro entre Cristo – o Verbo – que se aproxima indo ao encontro da Esposa – a igreja, mas também ao cristão individual, expressando dessa forma o plano da redenção. Em seguida, este trabalho se achega ao livro bíblico atribuído a Salomão, juntamente com a obra de Orígenes sobre o Cântico dos Cânticos, que por sua vez, está dividido em duas homilias e o comentário. Por fim, este trabalho recortou os principais componentes que podem reforçar a construção de uma teologia nupcial como proposta cristológica, visto que Orígenes aplicou sua teologia à alma do fiel propriamente, não somente à igreja enquanto corpo do Cristo. Assim, ver-se-ão os integrantes mais próximos dessa relação de amor, tais como beijos; leito; perfume; peito; abraço; beleza; sombra; entre outros, num estado de progresso, a fim de magnetizar a alma do fiel a esse encontro nupcial com o Cristo-Esposo. / [en] Among the many metaphors that express God s love for humanity, that of the wedding is the one that deserves greater prominence in the opinion of some theologians, both the theologians of antiquity and those of modern times, certainly due to the high level of intimacy that the metaphor allows to imagine in the concerning God s unrestrained love for his Church. It is therefore a matter of timely work, useful to the spirituality of the church, and particularly to every Christian. Certainly, many homilies on God have been heard along the lines of the Lord-servant relationship; Dad son; God-human; Shepherd sheep; saint-sinner. All have correspondence in Scripture, but it emphasizes little - or not enough - the category of love of the one who occupies the superiority in this relationship and, therefore, none of these metaphors compares to the Husband-Wife relationship. For this, the focus of this work falls on one of the works of Origen whose title is: Homilies and Commentary on the Song of Songs. The fact is that Origen saw in this Husband-Wife relationship a prefiguration of the encounter between Christ – the Word – who approaches, going to meet the Bride – the church, but also the individual Christian, thus expressing the plan of redemption. Then, this work approaches the biblical book attributed to Solomon, together with Origen s work on the Song of Songs, which in turn is divided into two homilies and the commentary. Finally, this work cut out the main components that can reinforce the construction of a nuptial theology as a Christological proposal, since Origen applied his theology to the soul of the faithful, not only to the church as the body of Christ. Thus, the closest members of this love relationship will be seen, such as kisses; bed; perfume; chest; hug; beauty; shadow; among others, in a state of progress, in order to magnetize the soul of the faithful to this nuptial encounter with Christ the Spouse.

This dissertation suggests the Song of Songs as a biblical paradigm for Christian spiritual direction based on the poem’s human dynamics, theological poetics and mystical aesthetic. The Song of Songs is paradigmatic as a journey from a state of self-neglect (depletion), through dynamic encounters of love (transformation), to living who I am in union with the divine I AM (deification). Identifying the human beloved as archetypal seeker and positing transformation in love as the raison-d’être for spiritual direction, the research delineates important implications for spiritual praxis, namely: the human subject (locus); human yearning (focus); the human search (journey); dynamics of human transformation and spiritual maturation (process); aspects of life-integration and union with God (purpose); and becoming a living sacrament in the world (epiphany). With its experiential-existential approach, The Canticle of Spiritual Direction serves as an interdisciplinary and intercultural resource on the Song of Songs, Christian spiritual direction, and Christian mysticism. / Christian Spirituality, Church History & Missiology / M. Th. (Christian Spirituality)

Despite its chequered interpretational history, the book of Shîr ha-Shîrîm (Song of Songs) in the Hebrew Bible and Christian Old Testament has still not come to its fullest religious potential. The reason is that it has mainly served relatively closed religious traditions defined by the exclusion of those that have reacted against it. As the text of Song of Songs itself does not explicitly testify to any religiosity, these communities have understood it religiously by projecting their own predetermined needs and beliefs onto it. The text does, however, suggest several layers in the history of its formation, representing different levels of consciousness and stages of religiosity. In the postmodern globalising context where the importance of interfaith understanding is increasingly realised and the nature of human religiosity is constantly redefined in terms of ever-broadening horizons, the religiosity of the book has been stretched as wide as possible by also taking into consideration the ancient contextual influences which could have left their traces on the unconscious mind of its author(s) and redactor(s). To this end, the transpersonal psychological theory of Kenneth Wilber as interpreted by Michael Washburn has been used. Wilber’s inclusive view of religiosity respects all its forms as developmentally appropriate expressions of experiences of the divine which should all be taken seriously. The explicit “absence” of the divine in Song of Songs has been so conspicuous that it has ironically made it more present and led to a greater search for the Ineffable whose whispering and footprints are discernible in relation to the level of consciousness. Exploring the religiosity of Song of Songs in this way then becomes an exercise in being more sensitive to the presence of the divine in all other areas of life as well. Traditional polarities such as sexuality and religiosity are dissolved at the same time and proven to coincide as two aspects of the same experience. Not only does erotic love open one’s eyes to the divine in nature as the body of God, but one also encounters the divine in the body. / Old Testament & Ancient Near Eastern Studies / D. Th. (Old Testament)

Le premier but de cette thèse est d’identifier et de décrire bibliographiquement les traductions en langue française du Cantique des cantiques, publiées sur support imprimé, quels que soient le support éditorial, la date et le lieu de la publication. Une lecture minutieuse de ces traductions, les confrontant aux textes sources essentiellement hébreux et latins, et les situant dans leur contexte historique, éditorial et confessionnel, vise à déterminer, selon la méthode d’Antoine Berman, le « projet de traduction » et l’« horizon du traducteur ». Sur cette base, des études de cas sont réalisées : partant de problèmes théoriques de la traduction, puis d’un choix d’extraits significatifs du texte, l’ensemble du corpus est confronté dans une perspective à la fois diachronique et synchronique. L’ensemble de l’étude illustre la façon dont chaque traduction est l’incarnation d’une lecture spécifique du Cantique des cantiques. / The primary aim of this thesis is to identify and to give a bibliographical description of all the French translations of the Song of Songs that have been published in print since the Renaissance, regardless of their editorial support, date and place of publication. A close reading of these translations will then allow us to determine, following Antoine Berman’s method, the “translation project” and the “translator’s horizon”, by comparing them with their source texts (mostly in Hebrew and Latin) and by situating them in their historical, editorial and religious contexts. Accordingly, a number of case studies have been carried out : first, considering theoretical problems of translation, then by comparing a selection of key excerpts from the text, the entire text corpus has been analyzed from both a diachronic and a synchronic perspective. The entire study illustrates the extent to which each translation is the embodiment of a specific reading of the Song of Songs.

This paper examines Wolfram von Eschenbach’s juxtaposition of contrary things in Parzival as the beginning of the road to spiritual salvation for Parzival. Men’s quest for fame and honor in the material, Arthurian world is compared to the divine Grail kingdom and the godlike women who shed compassionate, Christ-like tears. Wolfram’s message of peace and love for brother is examined through his use of symbolism, particularly through womens’ tears and turtledove imagery. Parzival, Gâwân and Feirefiz are compared in order to show that the love and quest for personal honor in the Arthurian world is a necessary step on the path to God’s divine love and salvation. Compassion and love for one’s neighbor must be learned before Parzival attains his destiny. How marriage teaches Parzival triuwe and how he demonstrates this characteristic are examined. Romantic love, emulation of women and divine love lead Parzival to his destiny.

This dissertation suggests the Song of Songs as a biblical paradigm for Christian spiritual direction based on the poem’s human dynamics, theological poetics and mystical aesthetic. The Song of Songs is paradigmatic as a journey from a state of self-neglect (depletion), through dynamic encounters of love (transformation), to living who I am in union with the divine I AM (deification). Identifying the human beloved as archetypal seeker and positing transformation in love as the raison-d’être for spiritual direction, the research delineates important implications for spiritual praxis, namely: the human subject (locus); human yearning (focus); the human search (journey); dynamics of human transformation and spiritual maturation (process); aspects of life-integration and union with God (purpose); and becoming a living sacrament in the world (epiphany). With its experiential-existential approach, The Canticle of Spiritual Direction serves as an interdisciplinary and intercultural resource on the Song of Songs, Christian spiritual direction, and Christian mysticism. / Christian Spirituality, Church History and Missiology / M. Th. (Christian Spirituality)

The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.