What Symmetry Can Do That Parallelism Can't: Line Perception and Poetic Effects in the Song of Deborah (Judges 5:2–31).
The concept of parallelism has framed discussions of biblical poetry for more than two centuries, but there is still no consensus on what exactly parallelism is. This study contends that consensus does not exist because the side-by-side correspondence approach of parallelism is not suited to the par...
| Publicado en: | Vetus Testamentum Vol. 71; no. 2; pp. 175 - 205 |
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| Formato: | Artículo |
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Brill Academic Publishers
2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=150087720&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 150087720 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00424935 C6B jtl: Vetus Testamentum issn: 00424935 maglogo: Y pubinfo: dt: 2021 vid: 71 iid: 2 pid: 639 pub: Brill Academic Publishers artinfo: ui: 150087720 10.1163/15685330-12341455 ppf: 175 ppct: 30 formats: fmt: – @attributes: type: T – @attributes: type: P size: 227KB tig: atl: What Symmetry Can Do That Parallelism Can't: Line Perception and Poetic Effects in the Song of Deborah (Judges 5:2–31). aug: au: Grosser, Emmylou J. affil: University of the Free State, Bloemfontein, South Africa su: Symmetry Poetics Songs sug: subj: Symmetry Poetics Songs keyword: Biblical Hebrew poetry cognitive poetics Judges 5 parallelism Reuven Tsur symmetry ab: The concept of parallelism has framed discussions of biblical poetry for more than two centuries, but there is still no consensus on what exactly parallelism is. This study contends that consensus does not exist because the side-by-side correspondence approach of parallelism is not suited to the part-whole free-rhythm nature of biblical poetic lines. Instead, perceptual symmetry better accounts for certain aspects of poetic lines that have been understood as parallelism. Unlike parallelism, symmetry is able to account for how lines emerge in aural, free-rhythm biblical poetry, as well as how the emergence of lines is intertwined with poetic effects, as demonstrated in the Song of Deborah (Judg 5:2–31). The cognitive poetics framework of this paper shifts scholarly focus from line patterns to the perception of these stimulus patterns, taking seriously the features of the text as well as the mental processing of the active listener. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Vetus Testamentum is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Vetus Testamentum holder: Brill Academic Publishers dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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