This paper analyzes the public speech on the issue of race by Zagreb Archbishop Alojzije Stepinac between 1941 and 1945 as a response to the ideology and practice of the regime of the Independent ...State of Croatia. On the basis of Stepinac publicly available speeches, epistles and sermons, it is shown that he repeatedly explicitly refuted Nazi racial theories and denounced the persecution of Jews and Roma as unethical. In this way, he also entered the political sphere, to which the leaders of the regime reacted publicly. Stepinac regularly shaped his speeches within the ethos of the Catholic Church and for this purpose used biblical images of the Tower of Babel and the Flood, connecting Christian morality with the condemnation of racist theories. He typically uses an antithesis, insisting that all people are equal regardless of race, and that all people stand against God and they are obliged to behave in accordance with his will. Stepinac explicitly and figuratively refutes the biological hierarchy of the human race, insisting that all people are born equal and have the same inalienable rights, thus directly opposing the racist policy and practice of the Independent State of Croatia, and the result of this is his opposition by excluding anyone from society, which extends the ethics of his Church to all people without distinction.
U ovom se radu analizira javni govor zagrebačkog nadbiskupa Alojzija Stepinca o pitanju rase između 1941. i 1945. godine kao odgovor na ideologiju i praksu režima Nezavisne Države Hrvatske. Na temelju Stepinčevih javno dostupnih govora, nagovora, okružnica, poslanica i propovijedi pokazuje se da je on višekratno eksplicitno opovrgavao nacističke rasne teorije te prokazivao progone Židova i Roma kao neetične. Stepinac je svoje istupe redovno oblikovao unutar ethosa Katoličke crkve te se u tu svrhu koristio biblijskim slikama Kule babilonske i potopa, povezujući kršćanski moral s osudom totalitarističkih društava. Kao stilsko sredstvo tipično koristi antitezu kojom s jedne strane izvrće antinomiju nacizma (čisti arijevci nasuprot nečistih Židova), inzistirajući na tome da su svi ljudi jednaki bez obzira na rasu, a s druge uspostavlja novu antitezu u skladu sa svojim svjetonazorom: svi ljudi stoje nasuprot Boga te su se dužni ponašati u skladu s njegovom voljom. Stepinac eksplicitno i figurativno opovrgava biološku hijerarhičnost ljudske rase, inzistirajući na tome da su svi ljudi rođeni jednaki te da imaju ista neotuđiva prava, čime se izravno suprotstavio rasističkoj politici i praksi Nezavisne Države Hrvatske, a rezultat je toga njegovo protivljenje tomu da se ikoga isključuje iz društva, čime etiku svoje Crkve proteže ne sve ljude bez razlike.
U radu se ukazuje na važnost biblijskog leksika povezanog s abdominalnim organima, kako u izvorniku, tako i u hrvatskim prijevodima. Hebrejske riječi za bubrege i jetru u Bibliji na hrvatski se ne ...prevode uvijek doslovno, kao što se to ne čini ni u prijevodima na druge jezike, nego se katkad prevedu figurativno, zbog čega je provedena semantička i traduktološka analiza tih izraza. Abdominalni organi imaju u Bibliji značajnu ulogu, kako u fiziološkoj funkciji, tako i kao sjedište najdubljih osjećaja, pri čemu se s bubrezima, jetrom i žuči povezuju srdžba i gnjev. Bubrezi i jetra tako govore o psihosomatskim aspektima emocionalnih stanja biblijskih pisaca, zbog čega se na raznim mjestima ne prevode doslovno, nego se shvaćaju kao metonimije osjećaja. Budući da se unutar ove teme znakovito javlja par srce/bubreg, uočljiva je tendencija da se taj izraz shvati figurativno, kao merizam koji obuhvaća cjelokupnost čovjekova razmišljanja i osjećanja.
This work emphasizes the importance of human abdominal organs in biblical vocabulary of the source texts, and in Croatian Bible translations. Hebrew words for kidneys and liver as found in the original biblical texts, Croatian translations, and other languages rarely translate literally. Often they would be paraphrased figuratively which may cause semantic and translational debates over these terms. Clearly, abdominal organs play an important role in the biblical texts, whether in their physiological functions, but also as the seat of the deepest emotions. Kidneys, liver and gall-bladder have been frequently linked with the emotions of anger and wrath. Kidneys and liver particularly reflect the psychosomatic emotional states of the biblical author. Therefore, many biblical texts where we find those organs are not translated literally but rather as metonymy for those emotions. The original texts often bring the pair kidneys/liver together and in its figurative translations they become a merism which covers the entire emotional and mental state of a human being.
Temom rada je prijevod Knjige Tobijaša što ga je načinio i u svojem kalendaru Danica zagrebečka 1845. objavio Ignac Kristijanović (1796. – 1884.), kajkavski vjerski pisac i važan pučki prosvjetitelj. ...U radu se argumentira da je priča o Tobijašu izabrana za prvu cjelovitu biblijsku priču objavljenu u Danici zagrebečkoj upravo zato što spaja primjer pobožnosti s dinamičnim i zanimljivim sadržajem. Nadalje se pokazuje koje je traduktološke postupke prevoditelj primijenio ne bi li svoj prijevod približio čitateljima. Zaključuje se da je Kristijanović odabrao upravo tu deuterokanonsku knjigu želeći recipijente svojega prijevoda podučiti i zabaviti te da je uporabom paratekstnih elemenata svoj prijevod oblikovao kao komunikativni.
The Book of Tobias is the first complete Bible book published by Ignac Kristijanović in Danica Zagrebečka in 1845. Kristijanović (1796 – 1884) is a Kajkavian religious writer and an important educator. It is a book that is characterized by considerable moralistic passages and dynamic and interesting content. Since the translation had to be literal, Kristijanović shaped his translation as communicative by using paratextual elements. His detailed footnotes have various functions. In cases where reference is made to the appropriate place from the Bible, Kristijanović expands and deepens the exegesis, and for the purpose of what is primary to him - the spread of the Christian faith. However, there are many footnotes in which one can find information and explanations that bring the recipients closer to the culture in which the story of Tobias was created. For this purpose, it provides onomastic and/or etymological explanations of certain words, and in some cases offers equivalents of words that the translator considers less familiar to the recipient or even a paraphrased text of the translation. Kristijanović provides readers with various geographical and zoological data, informs them about the value of means of payment, and also offers cultural explanations to make the story easier to understand. In other notes, he interprets individual passages from the Bible through the prism of Christian morality, and for more ambitious readers, he compares the Latin and Greek versions of the text. The conclusion is that Kristijanović, no matter how literal his translation was, made a considerable effort to bring the world of the Bible closer to the modern reader, thereby anticipating the spirit of communicative Bible translations that were asserted during the 20th century.
Narativ i dramatika psalma 73 Beck, Boris; Berković, Danijel
Anafora,
01/2019, Letnik:
6, Številka:
1
Journal Article, Paper
Recenzirano
Odprti dostop
Psalam 73 nalazi se u središnjem dijelu biblijskog Psaltira, ne samo po smještaju nego i po temi patnje pravednika, a pitanje koje postavlja – o odsutnom Bogu koji dopušta da zli prosperiraju – ...ponavlja se na mnogim mjestima Svetog pisma (Job, Habakuk), naročito u tzv. mudrosnim psalmima, kao što je Psalam 49 ili Psalam 73. Psalmist u psalmu proživljava unutarnju dramu sumnje i učvršćivanja u vjeri, a dramatska struktura teksta povezana je s etapama njegove religiozne krize. Psalmist od pouzdane orijentacije prema Bogu zapada u dezorijentaciju te se na koncu reorijentira. Svaka od tih faza povezana je s promjenom dramaturške situacije i vremenske vizure, a teologija i naracija Psalma 73 nerazdruživo su povezane i nužno osvjetljavaju jedna drugu. Psalmist na početku psalma ispada iz biblijskog pogleda na uređenost svijeta, zapada u ponor sumnji koje doživljava kao poživotinjenje te se na koncu vraća na vjerom nadahnutu poziciju s koje je i krenuo. Psalmist je u tekstu otkrio svoju ispovijed i prorokovanje za druge, da bi slušateljima ili čitateljima bio uzor i vodič na duhovnom putovanju – da bi kao pojedinac pomogao uspostaviti vjeru u zajednici.
Psalm 73 occupies a central position in the biblical Psalter, not only physically but also with regard to the subject of the suffering of the just, and the question it poses of an absent God who allows the evil to prosper - is repeated in many places of Scripture. The psalmist experiences an inner drama of doubt and reinforcement of faith in the psalm, and the dramatic structure of the text is linked to the stages of the religious crisis of the psalmist. The psalmist goes from a reliable orientation towards God to disorientation and ends in reorientation. Each of these phases is associated with the changing of the dramatic situation and time period, and the theology and narrative of Psalm 73 are inseparably linked and necessarily illuminate one another. At the outset of the psalm, the psalmist departs from the biblical view of the world's order, falls into the abyss of suspicion which he perceives as animalization, and ultimately returns to the inspired position of faith from which he started. In the text, the psalmist has revealed his confession and prophecy for others, to be a model and a guide to the readers or listeners on their own spiritual journey - to help as an individual to establish faith in the community.
The topic of this paper is the analysis of a series of nine texts by Ivo Kalinski dedicated to the Dragutin Domjanić Festivity of Kajkavian Children's Poetry, which is held in Sveti Ivan Zelina. The ...articles were written each year from 1992 to 2003 and published in the book “Anatomija kmice ili Umjetnina teksta – zanos i tjeskoba“ (2004). These are poetological articles in which Kalinski makes various observations about children's poetic texts, from which his starting points will be extracted in order to gain insight into his description and prescription of elementary school children's poetry. As the academic papers predicts, most of the poems thematize the closest environment of children, from family, house and yard, through the landscape, flora and fauna of the homeland, to the opening of themes of work and transience. In this way, nativeness is manifested as the core topos of children's poetry, significant because of the constitution of their identity, and excessively present because of their short and narrow life experience. But while the academic papers do not question children's thematization of the homeland from an aesthetic point of view, Kalinski writes about it and evaluates such works. Although other researchers of children's poetry do not see that there could be any steps beyond the horizon of nativeness, either in terms of content or form, Kalinski challenges the traditional approach here as well. Namely, in a series of examples, he points to the innovation of themes (social, emotional, spiritual) and to original poetic procedures, both in composition and in the lexic that deviates from the traditional props. Kalinski thus argues that in the more successful poems there is a split in both the poetic subject and the art, which leads the poetic creativity of young people in the direction of reflection, and points to a postmodern sensibility. In conclusion, in his texts, Kalinski provides a coherent and consistent poetics of Kajkavian children's poetry, which is based on nativeness, but conscious authors manage to establish an emotional connection between expression and content, which creates authentic texts that move off the beaten and uninteresting paths and affirm the authentic children's voice as a poetic and conceptual novelty.
Tema ovog rada je analiza niza od devet tekstova Ive Kalinskog posvećena Smotri dječjega kajkavskoga pjesništva Dragutin Domjanić koja se održava u Svetom Ivanu Zelini, a članci su pisani susljedno iz godine u godinu od 1992. do 2003. te objavljeni u knjizi „Anatomija kmice ili Umjetnina teksta – zanos i tjeskoba“ (2004.). Riječ je o poetološkim zapisima u kojima Kalinski iznosi razna zapažanja o dječjim pjesničkim tekstovima iz kojih će se izlučiti njegova polazišta kako bi se dobio uvid u njegovu deskripciju i preskripciju poezije osnovnoškolaca. Kao što znanstvena literatura i predviđa, većina pjesama tematizira najužu okolinu djece, od obitelji, kuće i dvorišta, preko krajolika, flore i faune zavičaja, do otvaranja tema rada i prolaznosti. Na taj se način zavičajnost očituje kao sržni topos dječje poezije, značajna zbog konstituiranja njihova identiteta, a pretjerano prisutna zbog njihova kratkog i suženog životnog iskustva. No dok znanstvena literatura dječje tematiziranje zavičaja ne propituje s estetskih stajališta, Kalinski progovara i o neizbježnoj klišejiziranosti i recikliranju ustaljenih pjesničkih oblika u dijelu dječjega korpusa. Nadalje, iako drugi istraživači dječje poezije ne vide da bi izvan obzora zavičajnosti, bilo u sadržajnom, bilo u formalnom pogledu, moglo biti nekih iskoraka, Kalinski i tu izaziva uvriježeni pristup. Naime, na nizu primjera ukazuje na inovativnost tema (socijalnih, emocionalnih, duhovnih) te na originalne pjesničke postupke, kako u kompoziciji, tako i u leksiku koji odstupa od tradicionalnog rekvizitarija. Kalinski tako argumentira da se u uspjelijim pjesmama očituje raskol i u pjesničkom subjektu i u umjetninama, koji odvodi pjesničko stvaralaštvo mladih u smjeru misaonosti, a ukazuje na postmoderni senzibilitet. Zaključno, Kalinski daje u svojim tekstovima koherentnu i dosljednu poetiku kajkavskog dječjeg pjesništva koje je utemeljeno u zavičajnosti, ali se kod osviještenih autora uspijeva uspostaviti emocionalna veza između izraza i sadržaja, čime nastaju autentični tekstovi koji silaze s utabanih putova te afirmiraju autentični dječji glas kao pjesnički i idejni novum.
Tema ovog rada je analiza niza od devet tekstova Ive Kalinskog posvećena Smotri dječjega kajkavskoga pjesništva Dragutin Domjanić koja se održava u Svetom Ivanu Zelini, a članci su pisani susljedno ...iz godine u godinu od 1992. do 2003. te objavljeni u knjizi „Anatomija kmice ili Umjetnina teksta – zanos i tjeskoba“ (2004.). Riječ je o poetološkim zapisima u kojima Kalinski iznosi razna zapažanja o dječjim pjesničkim tekstovima iz kojih će se izlučiti njegova polazišta kako bi se dobio uvid u njegovu deskripciju i preskripciju poezije osnovnoškolaca. Kao što znanstvena literatura i predviđa, većina pjesama tematizira najužu okolinu djece, od obitelji, kuće i dvorišta, preko krajolika, flore i faune zavičaja, do otvaranja tema rada i prolaznosti. Na taj se način zavičajnost očituje kao sržni topos dječje poezije, značajna zbog konstituiranja njihova identiteta, a pretjerano prisutna zbog njihova kratkog i suženog životnog iskustva. No dok znanstvena literatura dječje tematiziranje zavičaja ne propituje s estetskih stajališta, Kalinski progovara i o neizbježnoj klišejiziranosti i recikliranju ustaljenih pjesničkih oblika u dijelu dječjega korpusa. Nadalje, iako drugi istraživači dječje poezije ne vide da bi izvan obzora zavičajnosti, bilo u sadržajnom, bilo u formalnom pogledu, moglo biti nekih iskoraka, Kalinski i tu izaziva uvriježeni pristup. Naime, na nizu primjera ukazuje na inovativnost tema (socijalnih, emocionalnih, duhovnih) te na originalne pjesničke postupke, kako u kompoziciji, tako i u leksiku koji odstupa od tradicionalnog rekvizitarija. Kalinski tako argumentira da se u uspjelijim pjesmama očituje raskol i u pjesničkom subjektu i u umjetninama, koji odvodi pjesničko stvaralaštvo mladih u smjeru misaonosti, a ukazuje na postmoderni senzibilitet. Zaključno, Kalinski daje u svojim tekstovima koherentnu i dosljednu poetiku kajkavskog dječjeg pjesništva koje je utemeljeno u zavičajnosti, ali se kod osviještenih autora uspijeva uspostaviti emocionalna veza između izraza i sadržaja, čime nastaju autentični tekstovi koji silaze s utabanih putova te afirmiraju autentični dječji glas kao pjesnički i idejni novum.
The topic of this paper is the analysis of a series of nine texts by Ivo Kalinski dedicated to the Dragutin Domjanić Festivity of Kajkavian Children's Poetry, which is held in Sveti Ivan Zelina. The articles were written each year from 1992 to 2003 and published in the book “Anatomija kmice ili Umjetnina teksta – zanos i tjeskoba“ (2004). These are poetological articles in which Kalinski makes various observations about children's poetic texts, from which his starting points will be extracted in order to gain insight into his description and prescription of elementary school children's poetry. As the academic papers predicts, most of the poems thematize the closest environment of children, from family, house and yard, through the landscape, flora and fauna of the homeland, to the opening of themes of work and transience. In this way, nativeness is manifested as the core topos of children's poetry, significant because of the constitution of their identity, and excessively present because of their short and narrow life experience. But while the academic papers do not question children's thematization of the homeland from an aesthetic point of view, Kalinski writes about it and evaluates such works. Although other researchers of children's poetry do not see that there could be any steps beyond the horizon of nativeness, either in terms of content or form, Kalinski challenges the traditional approach here as well. Namely, in a series of examples, he points to the innovation of themes (social, emotional, spiritual) and to original poetic procedures, both in composition and in the lexic that deviates from the traditional props. Kalinski thus argues that in the more successful poems there is a split in both the poetic subject and the art, which leads the poetic creativity of young people in the direction of reflection, and points to a postmodern sensibility. In conclusion, in his texts, Kalinski provides a coherent and consistent poetics of Kajkavian children's poetry, which is based on nativeness, but conscious authors manage to establish an emotional connection between expression and content, which creates authentic texts that move off the beaten and uninteresting paths and affirm the authentic children's voice as a poetic and conceptual novelty.
Čedo Antolić, a respected singer-songwriter, born in 1951 in Zagreb, where he died in 2019, moves within the Catholic religious vocabulary, but has a distinctive metaphoric system. He emphasizes the ...frequent mention of water in various forms - such as a stream, river, sea, rain, drop - and within its typical theme of addressing God, and in that discusses issues of existential importance. The imagery of Čedo Antolić related to water is very rich, and some of its aspects are analyzed here, for example the analogy between water and light, as an attribute of God. The experience of water as a medium of purification is very important, which can be presented either as rain that falls, or as a stream or river that is entered, or as the sea through which one travels. Fruitful metaphor of the river develops as a way of life or the flow of time, which can be identified with a road or street. A number of metaphors thus reach allegory, so that life - like a river or a road - has a beginning, which purity we can try to return to, and it also has its end, as estuary or death, when the poet is meeting God at the end of his journey.God is both present and absent, he is both the goal and the companion; God is the touch of the supernatural in the existence, but existence also seeks to transcend life. Since faith is true elsewhere, and not yet realized in the present life, travel can also be understood as wandering, and water has negative connotations of something that consumes man or moves him away from communion with God. The street, which is actually a river, is at the same time a place of wandering for those who do not know God, as well as a place of prayer for one who knows him; it is both night and day - bright for those who are in that street, dark for those who do not know that path. The street - the river - is also the place where the poet sings, so the themes of water, life, religion and art are intertwined.
Čedo Antolić, uvaženi kantautor duhovnih pjesama, rođen 1951. u Zagrebu, gdje je i umro 2019., kreće se unutar katoličkog religioznog vokabulara, ali ima osebujnu metaforiku. U njoj se ističe često spominjanje vode, i to u raznolikim vidovima – kao potok, rijeku, more, kišu, kap – i to unutar svoje tipične teme obraćanja Bogu, i u tom obraćanju razmatranja pitanja od egzistencijalne važnosti. Imaginarij Čede Antolića povezan s vodom veoma je bogat, a ovdje su analizirani neki njegovi vidovi, primjerice analogija između vode i svjetla, kao Božjeg atributa. Veoma je važno iskustvo vode kao medija očišćenja, koja to može biti bilo kao kiša što pada, bilo kao potok/rijeka u koju se ulazi, bilo kao more kojim se putuje. Voda se tako otvara u svojoj konotaciji u raznim smjerovima, pa je tako plodna metafora rijeke kao životnog puta i/ili protoka vremena, koja se može identificirati s cestom/ulicom. Niz metafora doseže na taj način alegorizaciju pa tako život (kao i rijeka ili cesta) ima početak čijoj se čistoći možemo pokušati vratiti, a ima i također i svoj kraj, kao ušće/smrt, odnosno susret s Bogom na kraju putovanja. Bog je istovremeno i prisutan i odsutan, on je i cilj i pratilac, dodir nadnaravnog u postojanju koje se nastoji transcendirati. Budući da je vjera istinita negdje drugdje, a u sadašnjem životu još nije ostvarena, putovanje se može shvatiti i kao lutanje, a voda ima negativne konotacije nečega što troši čovjeka ili ga pak odmiče od zajedništva s Bogom. Ulica, koja je zapravo rijeka, otkriva se dvostrukom ključu – ona je istovremeno mjesto lutanja za one koji ne poznaju Boga, kao i mjesto molitve za onoga koji ga poznaje; ona je i noć i dan – svijetla za one koji su u toj ulici kao u rijeci što ima siguran put, mračna za one koji taj put ne poznaju. Ta je ulica i mjesto u kojem pjesnik pjeva, pa se tako teme vode, života, vjere i umjetnosti povezuju.
Čedo Antolić, uvaženi kantautor duhovnih pjesama, rođen 1951. u Zagrebu, gdje je i umro 2019., kreće se unutar katoličkog religioznog vokabulara, ali ima osebujnu metaforiku. U njoj se ističe često ...spominjanje vode, i to u raznolikim vidovima – kao potok, rijeku, more, kišu, kap – i to unutar svoje tipične teme obraćanja Bogu, i u tom obraćanju razmatranja pitanja od egzistencijalne važnosti. Imaginarij Čede Antolića povezan s vodom veoma je bogat, a ovdje su analizirani neki njegovi vidovi, primjerice analogija između vode i svjetla, kao Božjeg atributa. Veoma je važno iskustvo vode kao medija očišćenja, koja to može biti bilo kao kiša što pada, bilo kao potok/rijeka u koju se ulazi, bilo kao more kojim se putuje. Voda se tako otvara u svojoj konotaciji u raznim smjerovima, pa je tako plodna metafora rijeke kao životnog puta i/ili protoka vremena, koja se može identificirati s cestom/ulicom. Niz metafora doseže na taj način alegorizaciju pa tako život (kao i rijeka ili cesta) ima početak čijoj se čistoći možemo pokušati vratiti, a ima i također i svoj kraj, kao ušće/smrt, odnosno susret s Bogom na kraju putovanja. Bog je istovremeno i prisutan i odsutan, on je i cilj i pratilac, dodir nadnaravnog u postojanju koje se nastoji transcendirati. Budući da je vjera istinita negdje drugdje, a u sadašnjem životu još nije ostvarena, putovanje se može shvatiti i kao lutanje, a voda ima negativne konotacije nečega što troši čovjeka ili ga pak odmiče od zajedništva s Bogom. Ulica, koja je zapravo rijeka, otkriva se dvostrukom ključu – ona je istovremeno mjesto lutanja za one koji ne poznaju Boga, kao i mjesto molitve za onoga koji ga poznaje; ona je i noć i dan – svijetla za one koji su u toj ulici kao u rijeci što ima siguran put, mračna za one koji taj put ne poznaju. Ta je ulica i mjesto u kojem pjesnik pjeva, pa se tako teme vode, života, vjere i umjetnosti povezuju.
Čedo Antolić, a respected singer-songwriter, born in 1951 in Zagreb, where he died in 2019, moves within the Catholic religious vocabulary, but has a distinctive metaphoric system. He emphasizes the frequent mention of water in various forms - such as a stream, river, sea, rain, drop - and within its typical theme of addressing God, and in that discusses issues of existential importance.
The imagery of Čedo Antolić related to water is very rich, and some of its aspects are analyzed here, for example the analogy between water and light, as an attribute of God. The experience of water as a medium of purification is very important, which can be presented either as rain that falls, or as a stream or river that is entered, or as the sea through which one travels. Fruitful metaphor of the river develops as a way of life or the flow of time, which can be identified with a road or street. A number of metaphors thus reach allegory, so that life - like a river or a road - has a beginning, which purity we can try to return to, and it also has its end, as estuary or death, when the poet is meeting God at the end of his journey.
God is both present and absent, he is both the goal and the companion; God is the touch of the supernatural in the existence, but existence also seeks to transcend life. Since faith is true elsewhere, and not yet realized in the present life, travel can also be understood as wandering, and water has negative connotations of something that consumes man or moves him away from communion with God. The street, which is actually a river, is at the same time a place of wandering for those who do not know God, as well as a place of prayer for one who knows him; it is both night and day - bright for those who are in that street, dark for those who do not know that path. The street - the river - is also the place where the poet sings, so the themes of water, life, religion and art are intertwined.
This work examines conceptual metaphors of space in biblical Psalms and in relation to the psalmist’s personal emotive and theological message which the psalmodic text intends to convey. Language of ...space and motion is in so many ways crucial for human existential as well as a religious experience. The psalmist reveals and presents his complex existential as well as his theological challenges through a set of conceptual metaphors of space. Orientational metaphors form a specific mental space where the antipodes of up/down and left/right enable the psalmist to express himself in spiritual terms as well. For the biblical psalmist situations of his disorientation are fairly frequent, whether caused by feelings of his sins or social injustices. After all, he yearns for a moral and spiritual re-orientation. While the Euclidean space is homogeneous, in that space biblical psalmist experiences discontinuity for certain parts of this imaginary space is qualitatively different. Namely, the divisions of such non-Euclidean space rest qualitatively on the division between the sacred and the profane. For the psalmist, such division of space rests on some key terms, such as Temple, Heaven, and Underworld. This is followed by the orientational metaphors as up/down. God is up (heavens), man is down below (earth). In eschatological terms, it is the sovereign heavenly judge who will act upon the dividing between the good and the evil ones, between the left and the right, on the horizontal plane. Since that which is above is better than that which is below and underneath, so is the right side better than that which is on the left.
This work examines conceptual metaphors of space in biblical Psalms and in relation to the psalmist’s personal emotive and theological message which the psalmodic text intends to convey. Language of ...space and motion is in so many ways crucial for human existential as well as a religious experience. The psalmist reveals and presents his complex existential as well as his theological challenges through a set of conceptual metaphors of space. Orientational metaphors form a specific mental space where the antipodes of up/down and left/right enable the psalmist to express himself in spiritual terms as well. For the biblical psalmist situations of his disorientation are fairly frequent, whether caused by feelings of his sins or social injustices. After all, he yearns for a moral and spiritual re-orientation. While the Euclidean space is homogeneous, in that space biblical psalmist experiences discontinuity for certain parts of this imaginary space is qualitatively different. Namely, the divisions of such non-Euclidean space rest qualitatively on the division between the sacred and the profane. For the psalmist, such division of space rests on some key terms, such as Temple, Heaven, and Underworld. This is followed by the orientational metaphors as up/down. God is up (heavens), man is down below (earth). In eschatological terms, it is the sovereign heavenly judge who will act upon the dividing between the good and the evil ones, between the left and the right, on the horizontal plane. Since that which is above is better than that which is below and underneath, so is the right side better than that which is on the left.
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