Semitic Poetic Techniques in the Magnificat: Luke 1:46-47, 55
Two peculiar alternations of grammatical form appear in the Magnificat: a tense shift in verses 46b-47 and an alternation of object constructions in verse 55. Though most studies treat these phenomena as outlying examples of Greek usage, a better explanation is found in the marked language character...
| Autor principal: | |
|---|---|
| Tipo de documento: | Recurso Electrónico Artigo |
| Idioma: | Inglês |
| Verificar disponibilidade: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado em: |
[2016]
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| Em: |
Journal of Biblical literature
Ano: 2016, Volume: 135, Número: 3, Páginas: 557-574 |
| (Cadeias de) Palavra- chave padrão: | B
Magnificat
/ Línguas semíticas
/ Lírica
/ Figura retórica
|
| Classificações IxTheo: | HA Bíblia |
| Outras palavras-chave: | B
Theology
B Bible Theology B BUTH, Randall B Bible B Bible. Luke B Bible Philosophy B MAGNIFICAT (Prayer) B Philosophy |
| Acesso em linha: |
Volltext (lizenzpflichtig) |
MARC
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| 520 | |a Two peculiar alternations of grammatical form appear in the Magnificat: a tense shift in verses 46b-47 and an alternation of object constructions in verse 55. Though most studies treat these phenomena as outlying examples of Greek usage, a better explanation is found in the marked language character of the canticle itself. A previous study by Randall Buth (1984) has argued that the tense shift in verses 46b-47 reflects a common Semitic poetic device. I defend that analysis and extend it to verse 55, identifying the preposition/case shift there as a second stylistic grammatical alternation in the canticle, specifically: an instance of reversed ballast prepositions. The presence of these devices in the Magnificat demonstrates that its poet possessed an interior grasp of the conventions of Semitic poetry and could execute a hymn in that tradition with skill. Furthermore, with the goal of supplementing inventories of the Magnificat's poetic features, I undertake a literary and linguistic analysis of both devices, giving particular attention to the negotiation of likeness and unlikeness in parallelisms, ambiguity as a vehicle of poetic expression, and the impact of these devices in a Greek presentation. | ||
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