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  • 1
    Language: English
    Year of publication: 2023
    Titel der Quelle: Prooftexts; a Journal of Jewish Literary History
    Angaben zur Quelle: 40,1 (2023) 12-58
    Keywords: Kallir, Eleazar Criticism and interpretation ; Moses Death and burial ; Bible. Criticism, interpretation, etc. ; Bible Liturgical use To 1500 ; History ; Piyyutim History and criticism
    Abstract: In this article, I will examine how liturgical poets creatively reworked biblical quotations and allusions in service of their own poetic and liturgical ambitions through analysis of a late antique composition attributed to Eleazar Haqallir (Qallir) (late sixth/early seventh century), “What Man Lives and Does not See Death?” This poem, which takes its opening line from Psalm 89:49, was composed for an occasion when the Torah reading began with Deuteronomy 33:1, Moses’s poetic blessing of the Israelites before his death. Qallir’s composition transforms the biblical episode into a miniature, multivoiced drama, one that draws on an extensive body of postbiblical exegetical tradition. First, it depicts Moses’s vigorous arguments with God and various heavenly intercessors as he seeks to avert his fate; upon conceding that he cannot escape mortality, it describes how Moses is mourned by not only the Israelites but all creation. The final portion of the piyyut transitions from a depiction of funerary ritual (in the biblical past) to the recitation of the Qedushah (in the liturgical present). With its complex, multivocal narrative, this composition illustrates how liturgical poets reworked biblical poetry—in this case, Deuteronomy 32–33 and Psalm 90—by reading it through the lens of postbiblical narrative traditions while also leveraging the performative-ritual context in which the poems were experienced. This poem’s reuse of traditional material reflects the aesthetic conventions of the poetic craft and performative practices of dramatic delivery in late antiquity.
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  • 2
    Language: English
    Year of publication: 2024
    Titel der Quelle: Hebrew Bible and Ancient Israel
    Angaben zur Quelle: 13,1 (2024) 63-104
    Keywords: Job ; Bible. Criticism, interpretation, etc. ; Speech and gesture ; Art History To 333 B.C.
    Abstract: Job's first response to Yhwh includes a reference to a nonverbal gesture: »I lay my hand on my mouth« ( ידי שׂמתי למו־פי ; Job 40:4b). The parallel line, which speaks of Job's smallness and inability to answer Yhwh, coupled with v. 5, which mentions a cessation of Job's speech, has led most scholars to associate the gesture with simple silence – a refraining from speaking any further in God's presence, perhaps out of fear, perhaps out of defiance, or perhaps in some ancient equivalent to »pleading the Fifth Amendment« of the United States Constitution, which offers protection against self-incrimination. Recourse is frequently made to Job 29:9, which depicts other people responding to Job in a similar way, and occasionally also to Job 31:27, which also mentions the hand and the mouth in close connection. The present essay considers Job's gesture in the light of ancient Near Eastern iconography in order to refute, support, and nuance previous studies. It refutes those analyses that think the only valence at work is God's definitive (and oppressive) silencing of Job, but it supports interpretations that understand the gesture as sign of deference, respect, even self-humiliation. The fact that Job's gesture is related to postures of prayer and supplication goes still further, nuancing prior studies insofar as it suggests that Job's posture may, in the end, be quite pious – a point that has direct bearing on what Job says in 42:2–6 and what Yhwh says in 42:7.
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