Sepphoris: A Mosaic of Cultures by Zeev Weiss (review)

Yitz Landes
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Abstract

it is conventionally dated and situated in a synagogal rather than a scholastic setting. Atzmon also tackles two questions that have vexed students of Pesikta since its discovery. The first is the name of the work, “Pesikta.” Atzmon contends that this does not mean “verses” but rather “interruptions,” following the Mishnah (M. Megillah 3:4): “They interrupt [the regular reading of the Torah] for everything [םיקִיסִפְמַ לֹכּבַּ]: for the new moon, for Hanukah, for Purim, for fasts, for Ma‘amad [see M. Taanit 4:2] and for the Day of Atonement.” These interruptions (hafsakot) are what gave Pesikta its name: it is the midrash for the interruptions in the regular order of readings. The second question regards the order of the pesikata. Following this same mishnah—and a comparison to the parallel Pesikta Rabbati, which has a similar structure—Atzmon explains that the first pesikta is the one for Hanukah, which appears on pp. 1–15 of ed. Mandelbaum. “My Children, Read This Passage Every Year” is an important resetting of the stage, but it is far from a comprehensive study of PdRK. Some significant areas awaiting renewed study based on Atzmon’s theories are: (1) the relationship between PdRK and synagogue poetry; (2) the Roman context of PdRK, especially based on the numerous Greek loanwords in this midrash but also on descriptions of real life; (3) the relationship between sources in PdRK and their parallels in the Babylonian Talmud. Atzmon’s insistence on the agency of a “redactor” (ךרוע) in assembling homilies from existing materials should be tested in other rabbinic works. This hypothesis could also be examined in comparison to contemporary Christian homilies attributed to single authors. All this is to say that Atzmon’s careful work and bold claims have charted out a path for any future engagement with Pesikta. “My Children, Read This Passage Every Year” is thus a groundbreaking study of PdRK, which shakes up previous scholarship. It will doubtless engender significant debate in the field and should be consulted by anyone attempting to engage with this work.
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《塞弗里斯:文化的马赛克》作者:泽夫·韦斯(书评)
传统上,它的日期是确定的,位于犹太教堂而不是学术场所。阿兹蒙还解决了自佩西克塔发现以来一直困扰着研究它的学生的两个问题。第一个是作品的名字“Pesikta”。阿兹蒙认为,这并不是指“经文”,而是指“中断”,紧随密西拿(米吉拉书3:4):“它们中断了[对律法的常规阅读],包括新月、光明节、普珥节、斋戒、女士节(见塔尼特书4:2)和赎罪日。”这些中断(hafsakot)是Pesikta名字的来源:它是正常阅读顺序中断的midrash。第二个问题是关于pesikata的顺序。遵循同样的密西拿,并与平行的具有相似结构的Pesikta Rabbati进行比较,阿兹蒙解释说,第一个Pesikta是光明节的,出现在曼德尔鲍姆版的第1-15页。“我的孩子们,每年读这篇文章”是一个重要的舞台重置,但它远远不是对朝鲜的全面研究。在Atzmon的理论基础上,有待重新研究的一些重要领域是:(1)PdRK与犹太教堂诗歌的关系;(2) PdRK的罗马语境,特别是基于米德拉什中大量的希腊外来词,但也基于对现实生活的描述;(3)朝鲜文献来源与巴比伦塔木德的平行文献之间的关系。阿兹蒙坚持“编者”的作用,从现有的材料组装讲道应该在其他拉比作品中得到检验。这一假设也可以通过与当代基督教讲道的单一作者进行比较来检验。所有这一切都是说,阿兹蒙的仔细工作和大胆的主张为未来与佩西克塔的接触指明了一条道路。因此,《我的孩子们,每年读这篇文章》是对朝鲜民主主义人民共和国的开创性研究,动摇了以往的学术研究。毫无疑问,这将在该领域引发重大辩论,任何试图从事这项工作的人都应该咨询。
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