Search

Although motherhood is the female destiny par excellence in the biblical narrative, it is an experience only accessible through a male point of view. In order to reflect on the problems of representation of the maternal body in the Hebrew Bible, I propose an analysis of different maternal characters present in the books of Samuel and Kings. My reading aims, on the one hand, to identify the features that define the maternal in the biblical text and, on the other hand, to offer an approach that allows to point to the implications that the crisis context the texts reflect have on the picture of the actions and the destinies of these female characters. Dentro de la narración bíblica, la maternidad se presenta como el destino por excelencia de las mujeres y, sin embargo, es una experiencia que conocemos únicamente a través de un discurso eminentemente masculino. A partir de una lectura de distintos personajes maternos cuyas historias se encuentran dentro de los libros de Samuel y Reyes, pretendo reflexionar acerca de la problemática de la representación de los cuerpos maternos. Mi propuesta persigue un doble objetivo: por una parte, identificar las características de lo materno que encontramos en el texto bíblico y, por otra, ofrecer un acercamiento que permita señalar las implicaciones que el trasfondo de crisis ideológicas y políticas del texto tiene sobre la presentación de las acciones y el destino de estas mujeres.

The word Hagar (Arabic: هاجر ), in the dictionary as a common meaning to escape, go, migrate, come to the meaning of migration. Hagar is the Arabic name used to identify the wife of Abraham and the mother of Ismael. She is a reverted woman in the Islamic faith. According to Muslim belief, she was the Egyptian handmaiden of Abraham's first wife Sara. Sara and Hagar, whose names are not mentioned in the Qur'an, have been the subject of debate as an important figure in terms of the mission they have undertaken in the history of religion and in the history of Islam. The sorrows of the Sara and Abraham couples who have no children despite their long marriages are reflected in the Quran: “O my Lord! Forgive me a child of the righteous.” (37/100) Finally, Ismael was born from his marriage to Hagar. This marriage between Abraham and Hagar after a while turned into uneasiness and jealousy in Sâra and led him to ask them to send them to another place. Resisting for a while, thanks to the commandment from God, he took his wife and son to Mecca, a deserted and lonely area where the Kaaba was located. B ut the story is traditionally understood to be referred to in a line from Abraham 's prayer in Sura Abraham (14:37): “I have settled some of my family in a barren valley near your Sacred House.” Hagar lived here alone with Ismael for a long time. Hagar worried about his son dying because of starvation, Hagar used to fled to the valley of Makkah desperately seven times between the hills called Safa and Marwa, at which time he saw a water emerge from his son's place. This water is now called “zamzam”. While these are lived, Isaac was born on the other side. In fact, everything starts right here. Because the names of Hagar and Ismael in the later periods for different purposes, it was wanted to be used as a means of discrediting and othering. This situation gave rise to the term of Hagarism. Hagarism was first introduced in 1977 in the of Hagarism: The Making of the Islamic World study published by the Cambridge University Press. Patricia Crone and Micheal Cook, written by the duo of the work on the basis of the name Ibrâhim on the basis of the Prophet Muhammad in particular and different views on the life of Muhammad is to produce a “parallel history of Islam.” This naming, which appears to be the first in the plan and innocent, is the Prophet of the first period of the Syriac sources shown as the ancestor of Muslims and Islamic society. Ismael's mother Hagar was given relative. It would not be wrong to say that this concept, which is conceptually correct, is basically based on its syllabic-Islamic style from the point of view of the sources of Islamic history, which may be considered reasonable in terms of its inclusion of non-Islamic sources. Crone and Cook did not reject Abraham in his own interest. He emphasized that the Jews should be used as a means of racism to give birth to Isaac and that the Jews were more valuable and important, and that Muslims should not be cared for because they came from Hagar. Although we could not step back on these views and find enough findings and we started to work with the excitement of youth, Cook and Crone burned the hagarim torch. Hagarism in the hands of those who later made anti-Islamic discourses had turned into a trump that would set fire. For example, Daniel Pipes, the US historian and founder of the Middle East Forum, was the forerunner of these views as the most fervent advocate. Pipes, which brings this issue to the agenda frequently in every environment and especially on its website, has also managed to influence some people. Just like Islamophobia, just like orientalism, there are some names and concepts in his background. But, the goal was not successful enough due to the use of a very extreme and hard language. Nevertheless, Hagarism, which emerged as a rhetoric of racism, emerged with a completely different name, perhaps with the events of September 11, and in a completely different structure. The aim of showing that Islam is always in a bad and negative situation is still the liveliest form today. In this context, as Muslims we have to be vigilant and conscious of all sorts of adversities that have occurred in the past and in the future, without the prisoner of naming and qualifications.

U ovom članku autor iz perspektive tradicionalnog židovskog tumačenja istražuje pozadinu i unutarnje značenje Psalma 69 i poglavlja 16 u Prvoj knjizi o Samuelu. U radu se najprije navode biblijski tekstovi koji opisuju djetinjstvo i mladenaštvo kralja Davida, a zatim se definiraju zbunjujuća pitanja koja se mogu iščitati iz tih i dodatnih tekstova u psalmima. Tekstovi opisuju neobičnu odbojnost Davidove obitelji prema njemu kao i odbojnost drugih ljudi spram kralja Davida. Središnji dio ovoga članka čini istraživanje koje nastoji doseći korijen takva neobičnog neprijateljstva. Samo istraživanje temelji se na mnoštvu rabinskih izvora, dio kojih je mističan. To su izvori koji istražuju neke skrivene i intimne epizode iz života roditelja i predaka kralja Davida, koji dovode u pitanje njegovo podrijetlo. Zbog tih događaja ljudi su se prema njemu ponašali neprijateljski i tako mu zagorčavali život. U ovom se istraživanju autor služi raznovrsnim izvorima rabinske književnosti, koji su nastajali od vremena Talmuda, preko srednjega vijeka sve do modernih vremena. To su književna djela koja su prvi put objavljena u ovom radu u autorovu prijevodu s hebrejskog i aramejskog jezika na hrvatski jezik., salm 69 and Chapter 16 in the 1st book of Samuel. In his work, the author first brings the biblical texts, describing the early life of King David, and then defines the puzzling questions that arise from those texts and from additional texts in the Psalms that describe a strange hostility toward David by his family and others. The central part of this article is the research that intends to delve into the roots of this mysterious hostility, based on many rabbinical sources, partly mystical. These sources explore some hidden and intimate episodes from the life of King David’s parents and great-grandparents that cast some doubts on the purity of line age of King David and therefore made people treat him with hostility that made his life miserable. In his research, the author uses many sources from rabbinical literature, from the times of Talmud through the Middle Ages until modern times. This literature has been translated from Hebrew and Aramaic to Croatian for the first time by the author.

The following article is the result of an investigation into the use ofspaces in the Masoretic manuscripts of the book of Samuel, led by thequestion: Is there a system in the use of spaces that can explain theabove-mentioned phenomena? And if so, is there reason to assume thatspaces could also indicate silence or missing text? The search for answershas been based on the appearance of these textual markers in CodexLeningradensis (L), Codex Aleppo (A), and Codex Cairensis (C), whichare analysed by Langlamet (1984). To arrive at a certain measure of datingmss 4QSama, 4QSamb and 1QSama are used, which are excellentlydescribed by Herbert.

The following article is the result of an investigation into the use ofspaces in the Masoretic manuscripts of the book of Samuel, led by thequestion: Is there a system in the use of spaces that can explain theabove-mentioned phenomena? And if so, is there reason to assume thatspaces could also indicate silence or missing text? The search for answershas been based on the appearance of these textual markers in CodexLeningradensis (L), Codex Aleppo (A), and Codex Cairensis (C), whichare analysed by Langlamet (1984). To arrive at a certain measure of datingmss 4QSama, 4QSamb and 1QSama are used, which are excellentlydescribed by Herbert.

International audience; È possibile che un'opera d'arte, sia essa un romanzo, un racconto o una pièce teatrale, parli al lettore attraverso il silenzio? Questo saggio si concentra su questo paradosso, indagando il confine tra la parola e il silenzio nelle opere di tre autori del Novecento: Tommaso Landolfi, Samuel Beckett e Georges Perec. Ciò che qui si tenterà di illustrare, attraverso la mediazione teorica della linguistica saussuriana, la teoria del linguaggio di Jacques Lacan e la filosofia del linguaggio di Wittgenstein, è come in questi autori tale confine sia labile e spesso indistinguibile, arrivando a dimostrare come siano, in alcune opere, proprio i silenzi e i vuoti a essere luoghi privilegiati di interpretazione. In questo modo la funzione del lettore sarà quella di riempire i blanks, gli spazi bianchi di cui parla Wolfgang Iser, alla ricerca dell'interpretazione perché, come suggerisce Roland Barthes, "tutta la moneta logica è negli interstizi".

Samuel Morse, l’inventore del telegrafo, compie un viaggio a Parigi dove conosce Jacques Louis Mandé Daguerre. In seguito, al suo ritorno negli Stati Uniti, Morse pubblica un articolo sul giornale Observer il 20 aprile del 1839 nel quale racconta questo incontro e la visione dei primi dagherrotipi. Lo stesso Morse inizia a fare esperimenti fotografici, viene considerato una figura fondamentale nella diffusione della fotografia. Il Mercantile Journal di Boston e il National Intelligencer di Washington pubblicano particolari della scoperta di Daguerre già nel marzo del 1833, il resoconto ufficiale e lo scritto di Daguerre arrivano nello stesso anno con la nave British Queen e a partire da questo momento le copie dell’opuscolo si diffondono negli Stati Uniti. Infine un terzo viaggio porta François Gouraud, agente di Daguerre e Giroux, da Parigi a New York dove, a Broadway, espone trenta dagherrotipi presentando un ciclo di lezioni e dimostrazioni pratiche per realizzare lastre fotografiche. La storia della fotografia negli Stati Uniti inizia con un viaggio verso l’Ovest dal quale ne scaturiscono molti altri destinati a inaugurare la civiltà dell’immagine americana. Samuel Morse, the inventor of the telegraph, went to Paris where he get to know Jacques Louis Mandé Daguerre. After his return to the United States, Morse published an article on the "Observer" on 20 april 1839 where he tells about his encounter with Daguerre and his view of the first daguerrotypes. Morse began to make photographic experiments and is considered an important figure in the diffusion of photography. The Mercantile Journal, Boston and the National Intelligencer of Washington have published details of the discovery of Daguerre as early as March of 1833, the official report written by Daguerre arrives on 20 september 1839 on board with the British Queen and, from this moment, the copies of the book spread on the United States.Finally a third trip, François Gouraud, agent of Daguerre and Giroux, goes from Paris to New York,where he presented in Broadway thirty daguerreotypes and a series of lectures and practical demontrasions to realize photographic plates. The history of photography in the United States began with a trip towards the West from whom many others were born, that will usher the civilization of the american image.

Coetzee’s scholarly interest in Beckett, and his aesthetic interest in the same (which carries a strong measure of readily acknowledged influence), diverge in the case Coetzee presents in a recent mini-biography cum autobiography, “Samuel Beckett in Cape Town – an imaginary history” (Coetzee, 2006:74-77), where both he and Beckett are imagined as having experienced alternative pasts in South Africa. Considering this acknowledged influence, which Coetzee (1992b) mentions in an interview with David Attwell in “Doubling the point”, one might assume that it followed an initial scholarly interest in Beckett(Coetzee’s Ph.D. was on Beckett, and was completed years before he himself became a creative writer). However, in the case at hand this causal sequence is broken, because the doubled Coetzee, though under the spell of Beckett’s prose, does not wish to do scholarly work on the doubled Beckett. What is it about Coetzee’s imagined Beckett that has this effect on him? And why is it that Coetzee engages in such metafictional blurred doubling when it comes to himself and Beckett? This article attempts to shed light on the problems that surround Coetzee’s crafted interaction between authors who are also (in this rather odd context) characters.

資料(Material)

This essay examines the print culture surrounding Samuel Frost, an unpropertied young white man with a possible neurodevelopmental disorder, who murdered his father in 1783 and his employer in 1793. Described in three New England broadsides as “the connecting grade between the human and brutal creation,” Frost is precisely the sort of marginal figure often brought to the fore in recent studies of the eighteenth century Atlantic world. Questioning recuperative methodologies that have tended to reinforce liberal assumptions about the sovereign agency of the knowing individual actor, this study of Frost as a man-media “corpus” identifies a networked, posthuman agency that forges connections across time and space.

Étude narrative du rôle de Samuel dans le récit de l'instauration de la monarchie en Israël. Le sentiment qu'a l'ancien leader d'être rejeté le guide tout au long du processus de mise en place d'une monarchie à la demande du peuple et sur l'ordre de Yhwh. Il s'emploie en effet à conserver le pouvoir en imposant son autorité aussi bien au roi qu'au peuple.

Mitt examensarbete är en video på drygt sex minuter. Videon är animerad i Adobe After Effects. Den har för avsikt att på ett informativt, enkelt och snyggt sätt förklara NASAs Curiosity-uppdrag på Mars, samt summera planetens roll i popkultur genom tiderna. Målgruppen är människor som hellre får information via internet än via papperstidningar, och som gärna vill få en övergripande bild av olika fenomen (i det här fallet Mars och Curiosity). Den är utformad med mobilt tittande i åtanke, vilket också speglas i målgruppsanpassningen. Denna reflektionsrapport är ett komplement till videon, och här har jag för avsikt att berätta om hur (och varför) jag gjort videon. Den kommer även diskutera fenomenet explainer-journalistik. Vad är explainer-journalistik, och varför är det ett viktigt fenomen att förstå för samtida och framtida journalister?

Dans la "Poetique", Aristote nous donne la definition de la tragedie, en nous indiquant 3 points importants : 1) La tragedie, ayant une certaine etendue, forme un tout, c'est-a-dire qu'elle a un commencement, un milieu et une fin. 2) La tragedie est l'imitation ou la representation ("mimesis") d'une action mise en oeuvre par les personnages du drame, c'est-a-dire par les acteurs. 3) En representant la pitie et la frayeur, la tragedie realise une purgation ("catharsis") de ce genre d'emotions chez le spectateur. Ces 3 points correspondent chacun aux 3 elements principaux du theatre : le texte dramatique, l'acteur et le spectateur. A travers les siecles jusqu'aux temps modernes, la definition d'Aristote semble a peu pres valable pour les oeuvres dramatiques. Mais au 20^e siecle, on voit apparaitre des tentatives audacieuses defiant la theorie aristotelicienne. Dans "En attendant Godot" (1953), Samuel Beckett cree 2 personnages qui ne font qu'attendre Godot 2 jours en vain. La piece evoque une repetition eternelle, donnant l'idee que la piece ne finira jamais. Terayama Shuji, qui ne cesse de reprocher l'imitation theatrale, organise une sorte de happening "Nokku" (1975). Dans un quartier de Tokyo, les spectateurs cherchent, plan illustre a la main, les 33 endroits ou ont lieu les evenements simultanes. Les acteurs jouent suivant le scenario global, en y ajoutant quelques improvisations, ce qui prouve qu'ils n'excluent pas l'imitation. Bertold Brecht, hostile a l'illusion theatrale et a l'identification du spectateur avec les personnages puisque la purgation apres cette identification n'aboutit qu'a l'acceptation de l'etat actuel, c'est-a-dire a la resignation, expose dans ses pieces un principe dit "effet de distanciation" pour exciter la reflexion critique du spectateur. Mais la distanciation ne peut pas se faire toute seule, elle presuppose toujours l'identification dans une meme piece. "La Mere courage et ses enfants" (1939) en est un bon exemple. Beckett et Brecht essaient de s'opposer tant bien que mal a la definition de la tragedie d'Aristote, concernant la construction du texte dramatique et l'effet du spectateur. Mais personne ne peut nier qu'au theatre, y compris dans le happening, c'est toujours l'imitation ("mimesis") que fait l'acteur.

Master's thesis in Theology. School of Mission and Theology, Mai 2014 MV 17 Sc

This article examines the phenomenon of incubation. In the ancient world people would go to sacred places, offer sacrifices to God, and fall asleep hoping that God will visit them in a dream. The dream was supposed to give the subject advice and guidance. This type of dream is called an incubation dream. Solomon's dream at Gibeon and Jacob's vision at Beer Sheba are good examples of incubation dreams (1 Kgs 3 : 4-15; Gen 46 : 1-7). However, there are several passages which have been alleged to be incubation dreams (Num 22-24; Isa 65 : 4; Gen 15; 1 Sam 3). Hence, we will see if, indeed, they fit our definition of an incubation dream.

В статье анализируются взгляды некоторых известных в России представителей зарубежной социально-гуманитарной мысли на тему применения антиалкогольных ограничительно-запретительных мер. Отмечается их радикальная позиция по отношению к преодолению пьянства как негативного социального явления. The article analyzes the views of some famous in Russia foreign representatives of social-humanitarian thoughts on the application of restrictive and prohibitive measures against alcohol consumption. Celebrated their radical position towards overcoming alcoholism as of a negative social phenomenon.

International audience; I examine the relationship between mathematics and philosophy by considering a relatively recent project in philosophy of mathematics: Pierre Samuel's and Jules Vuillemin's reflections and contributions dealing with a general concept of structure in line with Nicolas Bourbaki. I finally study the notion of universal problem.; J'examine la relation entre mathématiques et philosophie en considérant un projet relativement récent de philosophie des mathématiques : les contributions et réflexions de Pierre Samuel et Jules Vuillemin portant sur un concept général de structure dans la ligne de Nicolas Bourbaki. J'étudie enfin la notion de problème universel.

My dissertation demonstrates how representations of schizophrenic characters in novels can combat widespread misuses of psychiatric terms and help readers empathize with mentally ill people if we read these novels with some understanding of psychiatry and the psychoanalysis that influenced them. I undertake a critical genealogy of the schizophrenia concept's migration from the mental health professions to fiction, concentrating on the period from the German invasion of Paris in June 1940 to the events of May 1968, with some attention to contemporary uses of the schizophrenia concept by cultural theorists. Experimental novelists writing during the apogee and aftermath of National Socialism from the 1940s to the 1970s represent schizophrenia as they understood it to express the painful emotions produced by World War II's challenge to the value of experimental writing. In the postwar fiction of Samuel Beckett (1906-1989) and Georges Perec (1936-1982), imitating schizophrenia results in careful disclosures of disintegrating life-worlds: in Beckett's case, the dissolution of the James Joyce circle and the communities of modernist exiles it exemplified, which the German invasion of Paris destroyed; in Perec's case, the deaths of his parents in the defense of France and the Holocaust, and the annihilated six million Jews including his mother. Reading Beckett and Perec's novels develops readers' abilities to empathize with both schizophrenic people and the loved ones of Holocaust victims. While those who avoided the concentration camps like Perec did not experience their horrors firsthand, losing relatives and other loved ones transformed their lives, just as losing two thirds of its Jewish population devastated European culture despite reticence to acknowledge the Holocaust's monstrous effects in the postwar years. Late modernist fiction can thus both help readers understand the Holocaust's cultural impact and foster the skills necessary to understand experiences of severe mental disorder. Such empathic understanding is more humane than romanticizing or stigmatizing schizophrenia or other mental illnesses, and it helps us register the Holocaust's degradation of humanity anew rather than walling off this event in the past or regarding it solely as a Jewish issue. Late modernist fiction provides a more precise, caring alternative to the romanticizing/stigmatizing binary perpetuated by postwar cultural theorists because, from the 1930s to the 1970s, the fiction gradually transitions from reinforcing that binary to enabling empathy for traumatized and mentally ill people. Such fiction anticipated recent phenomenologies of schizophrenia - real experiences of distress and impairment rather than socially constructed concepts of madness - and traumatic shame, an emotional experience of oneself or one's community as inadequate in response to failure, especially the Holocaust as a failure of European culture and modernity. Both traumatic shame and severe mental disorder can make the body conspicuous, alienate people from their cultures, and disintegrate structures of salience and belonging that make sustained relationships and projects possible. Recent existential-phenomenological theories of mental disorder enable reintegrating schizophrenia representation in fiction into the history of literary modernism, especially its concern with historical forces disrupting the minds of individuals. These theories explain changes in mentally ill people's sense of possibilities for developing themselves and relating to others, from the way they experience their bodies to the way they use language. Hence I use these theories to demonstrate how knowledge of schizophrenia enabled post-Holocaust novelists to travesty and transform earlier novelists' uses of fictional minds to interrogate cultural change.