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"Pieśń nad Pieśniami" w interpretacji Aponiusza

100%
Strękowski S.
Vox Patrum
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2012
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vol. 57
601-612
EN
This article is the first attempt in Polish to present the main features of Apo­nius interpretation of the Song of Songs. For he was one of many authors who commented this book of the Old Testament, the content of which has always been a problem of interpretation. In ancient Christian times there were two exegetical currents: the literal and allegorical. Aponius falls within this second trend but brings individual and original exegesis off. In love of the bridegroom and the bride seems to see the symbol of love of the divine nature to human nature in the mystery of the Incarnation of the Son of God. By Aponius God himself comes through the Incarnation of the Word of the Father for his vineyard, which is the people of Israel, and through the precious seedlings originating from it and by the apostles, is revealed to the whole world, and through the seed of faith sown in individual peoples, creates a separate vineyards and offers the bride to the lavish use of the specific, unique fruits of welfare, to a shared joy in the vineyards.
2
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Song of Songs and the charism of Mother Theresa of Calcutta (Cant 1:5-2:17)

75%
Bardski K.
Warszawskie Studia Teologiczne
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2019
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vol. 32
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issue 4
106-122
EN
The ancient Christian tradition considered the allegorical interpretation of the Bible as an important mean of spiritual formation in the life of the Church. This approach to the Biblical text has been neglected in modern times due to the use of historical-critical methods in the Biblical exegesis. However, it seems that the intuitions of the Fathers of the Church may still be inspiring, especially for certain spiritual actualizations of the Scripture. In some contexts of the life of the Church, e.g. spiritual retreats, the symbolical and allegorical reading of the Bible can be still fruitful, especially in connection with new spiritualties emerging in modern times. Even more, the access to critical editions of patristic works and the semiotic approach to the Biblical text make possible new understandings that may enrich the living tradition of Biblical interpretation.
3

Implikacje eklezjologiczne Pnp 5,2-8

75%
Bijata M.
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2019
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vol. 66
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issue 2: Teologia dogmatyczna
71-89
EN
Discovering the many meanings of “Song of Songs” allows us to formulate important theological issues: the image of God the Bridegroom (Christ the Bridegroom), the image of the people of God's Bride, the image of man and woman created for spousal relationships. The research of this book inspires to show new images of the Church: sister, friend, dove, heart.
PL
Odkrywanie wielu znaczeń „Pieśni nad Pieśniami” pozwala na formułowanie ważkich zagadnień teologicznych: obraz Boga Oblubieńca (Chrystusa Oblubieńca), obraz ludu Bożego Oblubienicy, obraz mężczyzny i kobiety stworzonych do relacji oblubieńczych. Badania tej księgi inspirują do ukazywania nowych obrazów Kościoła: siostry, przyjaciółki, gołębicy, serca.
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Czy Oblubienica rzeczywiście „znalazła pokój”? Dylematy translacyjne Pnp 8,10b

63%
Bardski K.
Verbum Vitae
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2016
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vol. 30
43-51
PL
W sposób dosłowny tekst Pnp 8,10 powinien zostać przetłumaczony: „I stałam się w jego oczach jako ta, która znajduje pokój”. Główne problemy translatorskie i interpretacyjne dotyczą idiomatycznego wyrażenia hebrajskiego: „znaleźć łaskę w czyichś oczach” oraz znaczenia hebrajskiego terminu shalom. Artykuł analizuje różne sugestie translatorskie w Biblii wydanej w języku angielskim, portugalskim, francuskim, niemieckim i polskim oraz prezentuje własną propozycję: „znalazłam szczęście w jego oczach”.
EN
From a purely literal standpoint, Song 8:10 is properly translated as: „I became in his eyes as one finding peace”. However, the main problems of translation and interpretation here have to do with the similarity between the Hebrew idiomatic formula „to find favor in someones eyes” and the meaning of the Hebrew word „shalom”. We analyze different suggestions for translation of the passage as found in published Bibles in English, Portuguese, French, German and Polish. Finally, we present our own proposal for a truer rendering: „I found happiness in his eyes”.
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Nowe ujęcia translatoryczne w przekładach Księgi Koheleta i Pieśni nad Pieśniami w Biblii Ekumenicznej

63%
Bardski K.
The Biblical Annals
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2014
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vol. 4
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issue 2
451-459
EN
The article presents the new ecumenical polish translation of the Scripture and focuses on its original aspects. The author of the article translated the books of Qohelet and Song of Songs in the Ecumenical Bible. The main newness in the book of Qohelet was a translation of the motto of the book. The traditional “vanity of vanities” was interpreted according to the Hebrew etymology connected with wind and vapor, using at the same time an adjectival form. Literally it could be expressed in English: “evanescent, how evanescent – says Qohelet – everything is so evanescent”. Another newness is the interpretation of the Hebrew re’ut ruach as “similar to the wind” based on the interpretation of the word re’ut in connection with the verbal root resh-ayin-hei. Also we propose, on the base of some semantic and intertextual analyses, a new interpretation of the passage considered misogynic of Qoh 7,27-28: “Behold, I have discovered this, says Qohelet, comparing one women with another to find an explanation. I am not able to understand even the one whom I love with all my heart. I am able to understand one man among a thousand, but I am not able to understand any woman among all these”. In the translation of the Song of Songs, instead of the traditional marginal notes “bride” and “bridegroom” introducing the speeches of different characters, we choose simply “she” and “he”.
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Oblubieniec widziany oczami oblubienicy w Pieśni nad Pieśniami

63%
Drawnel H.
The Biblical Annals
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2008
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vol. 55
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issue 1
17-29
PL
The Canticle seen in its literal, non-alegorical or spiritual, sense recounts the story of a profound love relationship between an anonymous man and an anonymous woman. Their mutual love is expressed by the two fundamental terms dôdîm and ’ahăbāh that are mainly used by the bride, hence the feminist approach to the text. These two terms on the lips of the bride do not refer exclusively to the erotic aspect of love, but, to the contrary, implicate an involvement of the whole person of both the bride and bridegroom. The concept of love rises quite often from the sensual description of the body to the transforming experience of love the purpose of which is to create a full and exclusive communion with the beloved. Thus the experience of love in the Canticle utterances formulated by the bride should be inscribed within the context of the creation account (Gen 2) that stresses the communion between man and woman. Love in the Canticle should also be analyzed in the context of aesthetic categories characteristic to poetic compositions that tend to positively transform the object of love by using the language of metaphor and symbol.
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Polifoniczne opracowania wersetów z Pieśni nad Pieśniami w czasach Johna Dunstaple’a i Leonela Powera

51%
Odoj W.
Liturgia Sacra. Liturgia - Musica - Ars
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2016
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vol. 22
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issue 48
513-523
EN
Marian texts were very popular in England in the fourteenth and the first half of the fifteenth century. This English interest in Marian texts is a reflection of a great adoration and devotion to the Virgin in England and the Roman tradition, and can be traced back to the twelfth and thirteenth century when Marian doctrine gained an increasing popularity. It can be even traced back to the ninth century when the earliest known antiphonary saw the light of day. Among all the antiphons, the most prominent were these based on the Song of Songs. Polyphonic settings of the Song texts, which originated in England in the mid-fourteenth century, belong to the category of the polyphonic votive antiphon. Such works can be found in Dunstaple’s and Power’s output, two the most important and famous English composers of that time. Of all their works, Dunstaple’s motet Quam pulchra es appears to be the most popular and well-known, and is considered to be the excellent example of the so-called English style, la contenance angloise. The goal of this paper is to show that in addition to these two composers, there were many others who also set the texts from the Song of Songs and contributed a lot to the development of the English music at that time, and had an influence on the composers from the continent.
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„Uporządkujcie we mnie miłość” (Pnp 2, 4, LXX) w egzegezie wybranych autorów wschodu i zachodu

51%
Nocoń A.
Vox Patrum
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2017
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vol. 67
477-497
EN
“You set charity in order in me” (Song 2:4, LXX) is one of the most funda­mental biblical texts for the concept of the ordo caritatis. The Author seeks to examine how this text was read in the East and West, analysing the commen­tary of three Greek authors (Origen, Gregory of Nyssa and Theodoret of Cyrus), and three Latin authors (Augustine of Hippo, John Cassian and Apponius). There commentaries, he notes, agree with one another for the most part, and refer more or less to Origen’s exegesis of this verse. However, some differences can be noted. The Eastern Fathers, for example, hold that, in the order of charity, the criterion of merit is more important than the criterion of blood relationship; that is to say, the greater love is to be shown to those who have been born in Christ (cf. 1Cor 4:15) over those born of the flesh. Only the Eastern Fathers explore what the ordo caritatis means also in relation to one’s enemies. The Western Fathers, for their part, tend to underline the moral aspect of the ordo caritatis, insofar as upholding that order is virtue, while infringing it is sin. In this regard, a casuistic approach can occur in their commentary more frequently than in those of the Eastern Fathers. The novelty of the commentaries of the Western Fathers is also found in their reflection on the ordo caritatis within the Holy Tri­nity, as well as the manner in which they expand the embrace of this order to other categories of people: friends, fellow citizens, strangers. Some of the Western Fathers (Apponius) apply the ordo caritatis not only to people but also to works of mercy, while others (Augustine) bring out the aesthetic element in the ordo caritatis, noting that the effect of order of any kind, including the order of charity, is beauty.
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Covenantal Metaphors and Interreligious Reality

45%
Goshen-Gottstein A.
Edukacja Filozoficzna
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2019
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issue 68
19-40
EN
Religious thought does only express abstract truths. It also captures relationships and these are served by means of metaphors. Metaphors condition the religious imagination as well as theological thinking. One of the key concepts of biblical faith is the covenant between God and Israel, itself a crossover between a literal and a metaphorical view of the relationship. The covenant is served by a series of metaphors – husband/wife, king/people, parent/child, shepherd and more. Covenantal metaphors took shape in a context in which Israel alone was considered to have a valid relationship with God. Historically, there has been a decline in covenantal theology for two millennia, since the end of the period represented in the Hebrew Bible. The twentieth century witnessed a revival of Jewish covenantal theology. Proponents of such a theological view happen to also be proponents of religious pluralism in relation to other faiths. This presents an interesting challenge that has not been previously tackled. How does one apply the biblical covenantal metaphors, that came into being during a period of religious exclusivism in an era of religious pluralism? Such application must be deliberate, and may lack some of the spontaneity associated with the uses of metaphor. The present essay considers the metaphors above and how they might be expanded and reinterpreted in the context of interreligious pluralism. It also considers the metaphor of the friend, which in and of itself is not one of the stock biblical covenantal metaphors, and its usefulness for the present theological challenge. The metaphor of the friend allows us to develop a contemporary religious approach that can function both vertically, in relation to God, and horizontally, in relation to other peoples and religions.
PL
Tezy religijne odnoszą się jedynie do prawd abstrakcyjnych. Uchwytują też relacje, które przedstawiają za pomocą metafor. Metafory warunkują wyobraźnię religijną oraz myślenie w kategoriach teologicznych. Jednym z kluczowych aspektów biblijnej wiary jest przymierze zawarte między Bogiem i Izraelem, które rozumiane być może zarówno literalnie, jak i metaforycznie. Wspomniane przymierze opisywane jest przez szereg metafor – mąż/żona, król/poddani, ojciec/dziecko, pasterz i inne. Metafora przymierza ukształtowała się w kontekście, w którym Izrael miał wyłączność na posiadanie istotnej relacji z Bogiem. Od czasu, w którym kończy się historia przedstawiona w hebrajskiej Biblii, czyli przez ostatnie dwa tysiąclecia, daje się zaobserwować zanik teologicznych rozważań o przymierzu. Dwudziesty wiek jest jednak czasem, kiedy żydowska teologia przymierza przeżywa powtórny rozkwit. Akurat tak się zdarzyło, że zwolennicy takiego teologicznego podejścia odznaczają się również przychylnym nastawieniem do pluralizmu religijnego w stosunku do innych wiar. To stawia przed nami interesujące wyzwanie, które nie zostało wcześniej podjęte. Jak można zasadnie posługiwać się biblijną metaforą przymierza, która sformułowana została w czasach ekskluzywizmu religijnego żydów, w czasach religijnego pluralizmu? Używanie tej metafory musi być celowe i może mu brakować czegoś ze spontaniczności, które związane jest z posługiwaniem się metaforami. Niniejszy artykuł skupia się na przytoczonych wyżej metaforach i na tym, jak mogą być one poszerzone i zreinterpretowane w kontekście pluralizmu międzyreligijnego. Kolejną ważną metaforą, na której koncentrują się rozważania prowadzone w artykule, jest metafora przyjaciela – która sama w sobie nie jest częścią biblijnych metafor przymierza – oraz jej przydatność dla współczesnych wyzwań teologicznych. Metafora przyjaciela pozwala nam rozwinąć religijne podejście do relacji z Bogiem (w formie wertykalnej) oraz do relacji z innymi ludźmi i religiami (w formie horyzontalnej).
10
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Wierzchowce i sala tronowa Salomona oraz gwiazdozbiór Panny według Pieśni nad Pieśniami

38%
Lipiński E.
The Biblical Annals
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2011
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vol. 1
|
issue 1
87-101
EN
The Qumran fragments of the Song of Songs witness some versions of the poem which are older than the textus receptus. They also show that independent songs have been combined into one composition. Thus Cant. 3, 6-8, missing in 4QCantb, was a description of Solomon's guards on riding horses or camels, for mttw is the suffixed plural of the Arabic and Aramaic noun matiya, designating a riding animal. This passage has been joined to the following poem, starting in Cant. 3, 9 with a description of king's apadana, a colonnaded hall or palace. Its fi rst word, borrowed from Old Persian, has indeed been misspelled as 'prywn. Another poem, missing in 4QCanta, corresponds to Cant. 4, 8 - 5, 1. It is written entirely in Aramaic in 4QCantb and the Hebrew textus receptus still preserves traces of its original language. The Aramaic poem refers to the zodiacal constellation Virgo, called Kalla in Aramaic and requested to show the New Moon of Elul above the Lebanon range: 't mn lbnwn 'b'y, 'Let the sign enter from Lebanon'. The Song of Songs in its fi nal shape, characterized by its dramatic features and love lyrics, was accepted as Scripture because of its presumed Solomonic authorship, and it was highly valuated by Akiba, as its contents was appearing to him as a qds h-qdsym, a play word meaning 'the sanctification of betrothals'.
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