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1

„Jerozolimo, dla wszysytkich Twoich pieśni jestem harfą”. Pole semantyczne hebrajskiego rzeczownika רוֹנִּכּ (kinnôr)

100%

Grochowski Z.

Studia Elbląskie

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2013

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vol. 14

253-269

EN

What was the instrument played by the king David (cf. 1 Sam 16:16,23)? What kind of musical instrument did the exiles hang upon the willow in Babylon (cf. Ps 137,2)? Such a questions could be multiplied, and the first association which often comes on one’s mind is that very probably it was a “harp”. But the research done on the Hebrew substantive kinnôr (this is the original word expressing the musical instrument being in question) brings to a conclusion that also “zither”, “lyre” and “lute” should be taken in consideration. This substantive (rather frequent in the Old Testament: 42 occurrences in the Masoretic Text) inspired the translators of the Holy Scripture and the authors of the biblical lexicons, dictionaries and encyclopedias to a vast (and, consequently, sometimes quite complicated) interpretation of this word: it is not so easy to decide, which instrument actually represents the noun kinnôr. It seems to be rather sure that “zither” has not too high probability to be a designatum of this Hebrew word (and much more “lute” should be refused). A “lyre” is the most famous interpretation of kinnôr given by modern authors, but a “harp” which is also a very popular opinion is our favourite rendition, regarding kinnôr. That is why the title of this article is as follows: “«Jerusalem, for all your songs I am a harp». The semantic field of the Hebrew כִּנּוֹר (kinnôr).

2

Instrumenty muzyczne w Księdze Amosa

81%

Kubies G.

The Biblical Annals

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2015

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vol. 5

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issue 1

81-94

EN

References to music are common elements of prophetic literature, especially in the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.

PL

References to music are common elements of prophetic literature, especiallyin the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.

3

Aspects of Myth in the Homeric Hymn to Hermes

72%

Jarczyk M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

The article explores the narrative recounted in the Homeric Hymn to Hermes for its aetiological and educational content and message. In particular, it discusses the creation of the lyre, the role of music in paideia and a less explored view of the protagonist’s cattle raid as it relates to war, sports and the education of youth. It then explores the religious context and specific meaning of Hermes slaughtering two of the stolen cows by contrasting his actions with those of Prometheus.

4

Kiedy debiut jest pożegnaniem. Ostatni mój sonet Norwida i Adieux à la poésie Louise Ackermann

58%

Kowalska M.

Studia Norwidiana

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2021

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vol. 39

135-150

EN

This article offers a comparative interpretation of two poems: “Ostatni mój sonet” [My Last Sonnet] by Cyprian Norwid and “Adieux à la poésie” by Louise Ackermann. Although these two authors differ in terms of sex, nationality, artistic style as well as the national and European reception of their work, these two poems are only four years apart. Both prove to be interesting material for study due to their simultaneous “debut” and “late” character: they describe gestures of bidding farewell to poetry in some specific aspect and in general. The lonely existence of the lyrical “I” in Ackermann’s poem and its sombre mood can be juxtaposed with the relation between “I” and “you” and the increasing scale of emotions in the lyric by Norwid, leading to 150 the conclusion that both works elaborate on the theme of human indifference to the feelings of others, and on the misunderstanding of both authors’ poems by their readers. What dominates in the case of Ackermann is the fear of lack of empathy, while Norwid emphasizes the problem of conventions that hinder real communication. What this is proves is that in these “debuts” the two authors bid farewell only to certain properties of poetry characteristic of the period’s lyricism (expression of the feelings of the lyrical subject and the convention of sonnet-like love lyricism), while these two poems themselves open passages to different stages of poetic creation.

PL

W artykule przedstawiono interpretację porównawczą utworów: Ostatni mój sonet Cypriana Norwida i Adieux à la poésie Louise Ackermann. Autorów dzieli płeć i narodowość, a także styl artystyczny oraz krajowa i europejska recepcja, ich wiersze powstały w odstępie czterech lat. Te dwa utwory okazują się interesującym materiałem do badania z powodu ich jednoczesnego debiutanckiego i „późnego” charakteru: opisano w nich gesty pożegnania z poezją w ogóle i w pewnym jej wymiarze. Obecność samotniczej egzystencji „ja” lirycznego w wierszu Ackermann oraz jednostajnie smutnego nastroju w tym utworze, a relacji między „ja” i „ty” lirycznym w utworze Norwida oraz większej skali emocji prowadzi do wniosków, że tym, co łączy omawiane dzieła, jest motyw ludzkiej obojętności wobec uczuć innych i niezrozumienia ich poezji przez odbiorców. U Ackermann dominuje lęk przed tym brakiem współodczuwania, Norwida zaś uwypukla problem konwencji, które uniemożliwiają prawdziwą komunikację. Udowodniono zatem hipotezę, że tym, co w istocie żegnają w swoich debiutach twórcy, są tylko pewne właściwości poezji typowe dla liryki im współczesnej (ekspresja uczuć osoby mówiącej w wierszu, konwencje sonetowej liryki miłosnej), a utwory te stanowią przejście do innego etapu ich poetyckiej kreacji.

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1 Studia Elbląskie

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1 Kowalska M.

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„Jerozolimo, dla wszysytkich Twoich pieśni jestem harfą”. Pole semantyczne hebrajskiego rzeczownika רוֹנִּכּ (kinnôr)

Instrumenty muzyczne w Księdze Amosa

Aspects of Myth in the Homeric Hymn to Hermes

Kiedy debiut jest pożegnaniem. Ostatni mój sonet Norwida i Adieux à la poésie Louise Ackermann