Forever Let it Be Said
In this article, an exploration of the performative phenomenon labeled here as multiauthorial vocality will serve to highlight both the richness of the Samaritan poetic tradition on its own terms and to suggest significant future directions for comparative study that can integrate Samaritan hymnog...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
[2016]
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| In: |
Journal of ancient Judaism
Year: 2016, Volume: 7, Issue: 2, Pages: 249-268 |
| IxTheo Classification: | AG Religious life; material religion HD Early Judaism |
| Online Access: |
Volltext (Verlag) Volltext (doi) |
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| 520 | |a In this article, an exploration of the performative phenomenon labeled here as multiauthorial vocality will serve to highlight both the richness of the Samaritan poetic tradition on its own terms and to suggest significant future directions for comparative study that can integrate Samaritan hymnography and the Samaritan liturgy into their works. This analysis primarily underscores how scholars need to address the essential complexity of liturgical poetry as a performed genre. Multi-authorial vocality refers to the process by which multiple authors shape the received experience and significance of the composition as a whole. A single Samaritan hymn by Marqa, This is His Great Writing, provides a subject for the analysis, and a translation of the hymn is provided as an appendix. The rhetorical-performative dynamic examined here is not in any way unique to this poem, nor is it distinctive to Samaritans; it is precisely this more universal element of liturgical poetry that enables comparative (beyond noting parallel or divergent motifs, themes, and intertextual allusions) to be done. In Marqa's poem, some figures are explicitly identified as authors or tradents, while others assume that role implicitly. The approach to liturgical texts modeled here does not deny the importance of the author to our text but raises our awareness of how complicated his role is. The poet is, to use an analogy, as much a conductor as a composer; he orchestrates the liturgical experience, but relies on other participants to complete it. Subsequent performers create their own arrangements of the existing words on the page but likewise need the involvement - physical, conceptual, and psychological - of the other participants for the liturgy to work. At the same time, it also argues for the importance of integrating Samaritan liturgical traditions into the larger comparative hymnography discussions now underway. | ||
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