{"title":"\"The Song of the Plants\", from Rabbi Nachman from Breslav to Naomi Sherzer","authors":"S. Kaminski","doi":"10.13135/1825-263X/1941","DOIUrl":null,"url":null,"abstract":"In the Jewish tradition, the Tu Bishvat, or “Festivity of the Trees”, at the end of January is the occasion to challenge the harshness of winter, celebrate nature’s vitality and fruitfulness, and to admire the articulate relationship between man and environment. All those aspects, related to the mythical and spiritual concept of the sacredness of the Land of Israel, are rooted in an antique tradition expressed in Deuteronomy: 20, 19 “When thou shalt besiege a city […], thou shalt not destroy the trees”. A similar concept is announced hundreds years later in a mysterious text, called Perek Shira, imbedded as part of the Tu Bishvat synagogue recitation. At the beginning of the 19th century, the famous Hassidic Rebbe, Nachman from Breslav, meditated intensely about the insolvable bonds existing between human being and the plant’s world. In his book Likkutei Moharan he persuades his disciples: “You should know that every plant and plant/ has its own and specific melody”. In the seventies, this Nigun becomes a very popular and beloved song by the talented Israeli chansonniere Naomi Shemer, born in kibbutz Degania, near the Lake of Galilee. The song is sung in public, at the Shabbat table, in religious and secular occasions, embracing biblical memory, spiritual history and a new musical approach.","PeriodicalId":37635,"journal":{"name":"Kervan","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2016-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kervan","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.13135/1825-263X/1941","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
In the Jewish tradition, the Tu Bishvat, or “Festivity of the Trees”, at the end of January is the occasion to challenge the harshness of winter, celebrate nature’s vitality and fruitfulness, and to admire the articulate relationship between man and environment. All those aspects, related to the mythical and spiritual concept of the sacredness of the Land of Israel, are rooted in an antique tradition expressed in Deuteronomy: 20, 19 “When thou shalt besiege a city […], thou shalt not destroy the trees”. A similar concept is announced hundreds years later in a mysterious text, called Perek Shira, imbedded as part of the Tu Bishvat synagogue recitation. At the beginning of the 19th century, the famous Hassidic Rebbe, Nachman from Breslav, meditated intensely about the insolvable bonds existing between human being and the plant’s world. In his book Likkutei Moharan he persuades his disciples: “You should know that every plant and plant/ has its own and specific melody”. In the seventies, this Nigun becomes a very popular and beloved song by the talented Israeli chansonniere Naomi Shemer, born in kibbutz Degania, near the Lake of Galilee. The song is sung in public, at the Shabbat table, in religious and secular occasions, embracing biblical memory, spiritual history and a new musical approach.
KervanArts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
0
审稿时长
18 weeks
期刊介绍:
The journal has three main aims. First of all, it aims at encouraging interdisciplinary research on Asia and Africa, maintaining high research standards. Second, by providing a global forum for Asian and African scholars, it promotes dialogue between the global academic community and civil society, emphasizing patterns and tendencies that go beyond national borders and are globally relevant. The third aim for a specialized academic journal is to widen the opportunities for publishing worthy scholarly studies, to stimulate debate, to create an ideal agora where ideas and research results can be compared and contrasted. Another challenge is to combine a scientific approach and the interest for cultural debate, artistic production, biographic narrative, etcetera. This journal wants to be original (even hybrid) also in its structure, where academic rigor should not hinder access to the vitality of experience and of artistic and cultural production.