thegoodfellas/blogset-br huggingface dataset:
in Song of Songs, is always used by the male or female to address the other as beloved.If the man and the woman are the addressed, it follows that they cannot at the same time be the speakers. Fox (1985:139) suggests that the daughters of Jerusalem are speaking. Although in other intimate situations the daughters of Jerusalem are present and even adjured, but they are never called friends. Their function is to support the lovers (2:7; 3:5; 5:8) by ensuring their intimacy.Also, the identification of this voice with a chorus (Garrett 2004:201; Hess 2005:156) is based on the assumption of an unknown group. Hess points to similar imperatives but does not take into account that in the closest parallels the assumed vineyard-workers (2:15) and daughters of Jerusalem (2:5) have a passive function: they are addressed but not addressing. The identification as a chorus would be plausible on the supposition that Song of Songs is a drama.It should be emphasized that this third voice cannot be assigned to another figure appearing within Song of Songs. Gerleman (1965:162) suggests that the poet himself is speaking. Thus he adds another literal level, because the voice of the poet is external to the story. His suggestion can be further refined: this is the voice of the narrator who interprets the scene. As such, he is an omniscient interpreter. 4. THEOLOGICAL IMPLICATIONSIn a theological interpretation the omniscient voice of 5.1b is the voice of God. God is present to the intimacy of the garden. At the centre of Song of Songs, it is He who supports and shelters the lovers. This claim can only be made if the paradisiacal situation of the entire scene is appreciated. Several parallels between this garden and the Garden of Eden have been claimed: the plants, the fruits, the spices, the rivers and the flowing water. Landy (1983:189-265), for example, presents a detailed analysis. He comes to the conclusion that this garden is in close correspondence to the imagery of the Garden of Eden. The garden is, essentially private ... man's first organisation of the world ... a contained world ... cultivated aesthetically ... a metaphor for poetry ... secluded and universal, primordial and inaccessible (Landy 1983:190). Since the garden is a metaphor for the woman, the beauty of the garden corresponds to her beauty. The Garden of Eden is locked and mankind has been expelled (Gen 3:22-24) but metaphorically, in Song of Songs, the woman herself is a locked garden (4:12). She does not restrain herself from her lover but opens up to him (4:16). The union of the two lovers takes place in the garden. She is a fruitful orchard (4:13.14), like a paradise or the Greek Elysium. She is a fountain, a well of living waters, a stream, and she alone allows him to drink (4:15). He experiences the intimacy of two lovers, which is also the ideal within the wisdom tradition (Prov 5:15-19). Her fragrance and voluptuous appearance give a sensual pleasure like the choicest food and drink. The intimacy of lovemaking is the place of recreation.This passage
can be read as if the lovers are placed into paradise and resemble Adam and Eve as prototypes of man and woman. They are the ideal lovers. Barbiero suggests that love is the way back to paradise (Barbiero 2002:189). The immediacy of the third voice recalls the voice of God in the Garden of Eden. When taking into account that God is implicated in this scene and summons the lovers to become intoxicated with lovemaking, love becomes the remedy for regaining paradise. It is these two who meet for lovemaking. In this manner the paradisiacal ideal of one man and one woman is praised.In an allegorical interpretation, Gregory of Nyssa (1984:43) identifies another garden with paradise, namely, the vineyard (1:5). It is plausible that the vineyard as well as this garden might resemble the woman, but the situation is nevertheless different as she did not keep her vineyard as the first men did not keep paradise. In contradistinction to this, no lapse has taken place yet. It is the pre-fall world which is recalled and paradise that is regained in love. This timeless situation, without age and aging of the lovers, stresses the paradisiacal condition.The imperatives of the third voice affirm man and woman to continue and to intensify their love. The two lovers unite as the primordial couple was one (Genesis 2.18.20). They are called to eat, drink and get drunk. Eating and drinking here point to the natural enjoyment but the call to become drunk expresses that love intoxicates. People who are drunk are busy with themselves. They have no other business to attend to. If God therefore calls the lovers to focus all attention on themselves, He acts to safeguard them. If this was originally part of a drinking song (Loretz 1971:32) it would therefore be even more offensive to put it into the mouth of God. This is the climax of love.The external voice is also raised in 8:6b-7, the final words before the epilogue in a linear reading of the text. These words can also not be assigned to one of the figures in the text and sound like the comment of the interpreter. They are shaped as a wisdom-saying and might even be a quotation of one: Love is strong as death; jealousy is fierce as the grave. Its flashes are flashes of fire, the very flame of Yah. Many waters cannot quench love, neither can floods drown it. If a man offered for love all the wealth of his house, he would be utterly despised. Verses 4:16 and 8:6b-7 are prominent on a structural level and have distinct theological statements to make, the latter emphasizing love as the highest gift of Yahweh. This is in form and content singular in Song of Songs but not uncommon to a proverbial wisdom saying.Thus we have two structural focuses with theological significance, namely, a wisdom teaching on the strength of love as a gift of Yahweh (8:6b.7) and an intimate scene of lovers (4:16-5:1) guaranteed by God. These two passages correlate by their structural position and by the
Wisdom and Psalms). [ Links ]Krichbaumer, M. 1994. Die Stellung von Sermo super Cantica Canticorum 14 im Gesamtwerk Bernhards von Clairvaux. MThZ 45/3:289-300. [ Links ]Landy, F. 1983. Paradoxes of Paradise: Identity and Difference in the Song of Songs. Sheffield: Almond Press (BiLiSe 7). [ Links ]Loretz, O. 1971. Das althebraische Liebeslied: Untersuchungen zur Stichometrie und Redaktionsgeschichte des Hohenliedes und des 45. Psalms. Kevelaer: Butzon & Bercker. Neukirchen-Vluyn: Neukirchener (AOAT 12,1). [ Links ]Murphy, R.E. 1990. The Song of songs: a commentary on the Book of Canticles or the Song of Songs. Minneapolis: Fortress (Hermeneia). [ Links ]Myers, J.M. 1974. I and II Esdras. Garden City / New York: Doubleday & Company. (AncB 42). [ Links ]Phillips, J. 2003. Exploring the love song of Solomon. An expository commentary. Grand Rapids: Kregel. (John Phillips Commentary Series). [ Links ]Pope, M.H. 1977. Song of Songs. Garden City / New York: Doubleday & Company. (AncB 7). [ Links ]Rockmann, H. 1998. Sexualverhalten ultraorthodoxer Juden und Judinnen. In: S.-H. Lee-Linke (ed.). Das Hohelied der Liebe: weibliche Sexualitat in den Weltreligionen. (Neukirchen-Vluyn: Neukirchener), pp.65-79. [ Links ]Salomonsen, B. 1976. Die Tosefta. Seder Nezikin. Sanhedrin-Makkot. Stuttgart: Kohlhammer. (RT 4,3). [ Links ]Steinberg, J. 2006. Die Ketuvim - ihr Aufbau und ihre Botschaft. Hamburg: Philo (BBB 152). [ Links ]Von Bunau, C. 1635. Kurtze und einfaltige Betrachtungen und Auslegungen uber das Hohe Lied Salomonis. Basel: Johann Jacob Genath. [ Links ]Wagner, A. 1997. Sprechakte und Sprechaktanalyse im Alten Testament. Untersuchungen im biblischen Hebraisch an der Nahtstelle zwischen Handlungsebene und Grammatik. Berlin: Walter de Gruyter. (BZAW 253). [ Links ]Winton Thomas, D. 1953. A Consideration of Some Unusual Ways of Expressing the Superlative in Hebrew. VT 3/3:209-224. [ Links ] This article is base on a lecture held at the UFS on March 6, 2009.1 "When God created mankind in paradise, love became his second paradise."All the contents of this journal, except where otherwise noted, is licensed under a Creative Commons Attribution License University of the Free StateFaculty of TheologyUniversity of the Free StateBloemfonteinSouth Africahoffmanl@ufs.ac.za
reread the bible through women's eyes if there is to be gender justice in the church.5 I list some of them, which aptly illustrate the imaginative, transforming power of (biblical) narrative as extended metaphor (cf Dube 2001:3-13): Storytelling in Africa, very much like singing and dancing, is largely a participatory and performative activity. Listeners are invited to comment and add their interpretations through which fixed stories are opened up for continuous and fresh retelling. As such it is a familiar genre to literate as well as illiterate audiences; In Africa, storytelling is a traditional source of theology. Narrative provides space for alternative visions, perspectives and values in the struggle for economic, ecological, gender and racial justice; Various characteristics of African stories make them useful for developing biblical and cultural hermeneutics that empower women. Many African stories (including proverbs and idiomatic sayings) represent philosophies and strategies for survival. Stories are often gender-neutral and can be used subversively to counteract patriarchal and colonising interpretations of life. As such they provide a lens for social analysis and critique, as well as role models for resistance against, and survival amidst oppressive systems and institutions; Stories have the potential of re-imagining, re-telling and re-enacting the experiences of biblical women from the perspectives of later audiences. Biblical narratives are retold and re-imagined through the biographies of women living in patriarchal societies. They identify with the point of view of those narratives as if they were insiders in the stories. In this way the dynamic nature of ancient texts may be unlocked in fresh and surprising ways, even beyond the intentions and capabilities of their patriarchal authors.All the contents of this journal, except where otherwise noted, is licensed under a Creative Commons Attribution License Reformed Theological CollegeFaculty of TheologyUniversity of PretoriaPretoria, 0002South Africa+27 (0)12 420 2669+27 (0)12 420 4016editor@hts.org.za
holds that the 'debate within and amongst the churches is no longer over whether religion should be politically relevant. The debate is about the terms on which that involvement takes place. Which policies should be supported and why?' (Neuhaus 1987, cited in Simmons 1989:517).All the contents of this journal, except where otherwise noted, is licensed under a Creative Commons Attribution License Reformed Theological CollegeFaculty of TheologyUniversity of PretoriaPretoria, 0002South Africa+27 (0)12 420 2669+27 (0)12 420 4016editor@hts.org.za
other side. On the one hand the corporative story provides the safety and space for the individual story to be embedded into a bigger context; on the other hand there is the danger of a discourse becoming so dominant that it leaves no space for the development of personal stories. When the narrative integrity of a given single life is not accepted and respected the space can become more fragile than safe. The problem, as seen by Jacobs, is that church theologians can be more concerned with 'the narrative coherence (or incoherence) of whole traditions', than with 'what makes a human life coherent' (Jacobs 2003:25).A theology that allows for personal stories and takes them seriously, has the potential to be relevant and authentic, and therefore to be public theology. In the words of Adeney (2009:169): 'studying biographies helps to create a shift in consciousness that allows more complex theories to become conscious and useful.'The narrative theological paradigm therefore makes it possible to regard the human life as a work of art that is constantly created in the in-between of different worlds. The human life is a storying artwork that takes shape within the network of stories. The words of Ellis and Bochner (1996) about ethnography are also applicable to this new understanding of practical theology and the practical theologian: It is interested in depth of quality and approaches the lives of people as 'works of art'. It is therefore interested in real persons -people with smells, tastes, desires, and thoughts. The implication is that the metaphor best suited for the researcher is that of an artist. (p. 18)The emphasis is on the uniqueness of each researcher, and therefore on the surprising possibilities of a specific research story.To pursue practical theology within this line of thought, requires intellectual and emotional flexibility, which includes the assumption that practical theologians are in touch with their own stories and aware of the autobiographical embeddedness of their theological convictions. Such awareness goes hand in hand with finding oneself, and inventing oneself in the safe, but fragile public space. This finding of oneself can even be described as constructing oneself. You cannot know your theology, unless you first narrate the tales of its becoming, 'the stories of its genesis' (cf. Kearney [1988] 1994:17).6 The task of the autobiography is in this sense not a luxury for the theologian, but a necessity not only for the understanding of one's own theology, but mainly for the construction of it.This safe, but fragile public space can also be described with the metaphor of the ecotone. The ecotone - which is a transition area between adjacent, but different plant communities - can be used as a metaphor for the description of the nature of practical theology. The following quotation explains this unique and challenging territory: The ecotone represents a shift in dominance. Ecotones are particularly significant for mobile animals, as they can exploit more than one set of habitats within a short distance. The ecotone contains not only species common to communities on both sides; it may also include a number of
Huyssteen views dissensus as a positive and constructive part of pluralism in the dialogue between theology and science (2006a:33).6.Kearney writes about 'imagination', but the same is true of the knowing of any concept or idea.7.The role of researcher is here in question as it relates to Ellis and Bochner writing about research but it can also be said of the facilitator.8.See as examples Muller (2009, 2011a).9.To borrow from Wentzel van Huyssteen's work (1998), Duet or duel? Theology and science in a postmodern world. Reformed Theological CollegeFaculty of TheologyUniversity of PretoriaPretoria, 0002South Africa+27 (0)12 420 2669+27 (0)12 420 4016editor@hts.org.za
SILVAPresidente da Federacao Pernambucana de Xadrez FPEX para 2011-2015MARCO ANTONIO HAZIN ASFORAVice- Presidente da Confederacao Brasileira de Xadrez - CBXLUIS SEBASTIAO DE FIGUEIREDO LIMA JUNIORSecretario da AssembleiaALBERTO MANOEL COLARES DE MOURA SOARESLEONARDO COLARES DE MOURA SOARES.
muito parecida com a original. Digamos que e como assistir uma aula sobre historia do Japao, mas ao inves de simplesmente ter generais em seus cavalos e exercitos, temos estes mesmo generais em seus cavalos, mas com golpes e super poderes inacreditavelmente APELOES.Dados do ArquivoNome: Segoku Basara 2Audio: JaponesLegenda: PortuguesFormato: MKVTamanho: 250MB a 441MBDownloadEpisodio 1MegauploadEpisodio 2MegauploadEpisodio 3MegauploadEpisodio 4MegauploadEpisodio 5MegauploadEpisodio 6MegauploadEpisodio 7MegauploadEpisodio 8MegauploadEpisodio 9MegauploadEpisodio 10MegauploadEpisodio 11MegauploadEpisodio 12Megaupload
para o final de semana.Final de semana que precisa ser usado para trabalhar um pouquinho, estudar e curtir a familia.Na minha profissao (analista de sistemas) passo por inumeras situacoes das quais outras pessoas, com outras profissoes nao passam. Da mesma forma, como inumeras situacoes ocorrem para pessoas de outras profissoes, das quais eu nao tenho nem ideia.Algumas coisas sao peculiares a profissao de analista de sistemas. De um modo geral, para quem trabalha com informatica, muitas situacoes sao similares.Na semana que passou, uma amiga me mostrou um texto que ela recebeu por e-mail. Achei o texto divertido e ao mesmo tempo um retrato de algumas dessas situacoes.Eis o texto:1) O CARA DA INFORMATICA dorme. Pode parecer mentira, mas o CARA DA NFORMATICA precisa dormir como qualquer outra pessoa. Esqueca que ele tem celular e telefone em casa, ligue so para o escritorio;2) O CARA DA INFORMATICA come. Parece inacreditavel, mas e verdade. O CARA DA INFORMATICA tambem precisa se alimentar e tem hora para isso;3) CARA DA INFORMATICA pode ter familia. Essa e a mais incrivel de todas: Mesmo sendo um CARA DA INFORMATICA, a pessoa precisa descansar no final de semana para poder dar atencao a familia, aos amigos e a si proprio, sem pensar ou falar em informatica, impostos, formularios, consertos e demonstracoes, manutencao, virus e etc.;4) CARA DA INFORMATICA, como qualquer cidadao, precisa de dinheiro. Por essa voce nao esperava, ne? E surpreendente, mas o CARA DA INFORMATICA tambem paga impostos, compra comida, precisa de combustivel, roupas e sapatos, e ainda consome Lexotan para conseguir relaxar... Nao peca aquilo pelo que nao pode pagar ao CARA DA INFORMATICA;5) Ler, estudar tambem e trabalho. E trabalho serio. Pode parar de rir. Nao e piada. Quando um CARA DA INFORMATICA esta concentrado num livro ou publicacao especializada ele esta se aprimorando como profissional, logo trabalhando;6) De uma vez por todas, vale reforcar: O CARA DA INFORMATICA nao e vidente, nao joga taro e nem tem bola de cristal, pois se voce achou isto demita-o e contrate um PARANORMAL OU DETETIVE. Ele precisa planejar, se organizar e assim ter condicoes de fazer um bom trabalho, seja de que tamanho for. Prazos sao essenciais e nao um luxo... Se voce quer um milagre, ore bastante, faca jejum, e deixe o pobre do CARA DA INFORMATICA em paz;7) Em reunioes de amigos ou festas de familia, o CARA DA INFORMATICA deixa de ser o CARA DA INFORMATICA e reassume seu posto de amigo ou parente, exatamente como era antes dele ingressar nesta profissao. Nao peca conselhos, dicas... ele tem direito de se divertir;8) Nao existe apenas um "levantamentozinho" , uma "pesquisazinha" , nem um "resuminho", um "programinha pra controlar minha loja", um "probleminha que a maquina nao liga", um "sisteminha" , uma "passadinha rapida (ALIAS CONTA-SE DE ONDE SAIMOS E ATE CHEGARMOS)", pois esqueca os "inha e os inho (programinha, sisteminha, olhadinha, )" pois OS CARAS DA INFORMATICA nao resolvem este tipo de problema. Levantamentos, pesquisas e resumos sao frutos de analises cuidadosas e requerem atencao, dedicacao. Esses topicos podem parecer inconcebiveis a uma
boa parte da populacao, mas servem para tornar a vida do CARA DA INFORMATICA mais suportavel;9) Quanto ao uso do celular: celular e ferramenta de trabalho. Por favor, ligue, apenas, quando necessario. Fora do horario de expediente, mesmo que voce ainda duvide, o CARA DA INFORMATICA pode estar fazendo algumas coisas que voce nem pensou que ele fazia, como dormir ou namorar, por exemplo;10) Pedir a mesma coisa varias vezes nao faz o CARA DA INFORMATICA trabalhar mais rapido. Solicite, depois aguarde o prazo dado pelo CARA DA INFORMATICA;11) Quando o horario de trabalho do periodo da manha vai ate 12h, nao significa que voce pode ligar as 11:58 horas. Se voce pretendia cometer essa gafe, va e ligue apos o horario do almoco (relembre o item 2). O mesmo vale para a parte da tarde: ligue no dia seguinte;12) Quando CARA DA INFORMATICA estiver apresentando um projeto, por favor, nao fique bombardeando com milhares de perguntas durante o atendimento. Isso tira a concentracao, alem de torrar a paciencia. ATENCAO: Evite perguntas que nao tenham relacao com o projeto, tipo como.... voces entendem e claro....;13) O CARA DA INFORMATICA nao inventa problemas, nao muda versao de WINDOWS, nao tem relacao com virus, NAO E CULPADO PELO MAL USO DE EQUIPAMENTOS, INTERNET E AFINS. Nao reclame! O CARA DA INFORMATICA com certeza fez o possivel para voce pagar menos. Se quer EMENDAR, EMENDE, mas antes demita o CARA DA INFORMATICA e contrate um QUEBRA GALHO;14) Os CARAS DA INFORMATICA nao sao os criadores dos ditados "o barato sai caro" e "quem paga mal paga em dobro". Mas eles concordam... ;15) E, finalmente, o CARA DA INFORMATICA tambem e filho de DEUS e naofilho disso que voce pensou...O CARA DA INFORMATICA agradece.
Ola... depois de muito tempo sem postar nada.... segue uma pequena historia que recebi por e-mail.A historia fala sobre aprender nas adversidades.Nao havia no povoado pior oficio do que 'porteiro do puteiro'. Mas que outra coisa poderia fazer aquele homem?O fato e que nunca tinha aprendido a ler nem escrever, nao tinha nenhuma outra atividade ou oficio.Um dia, entrou como gerente do puteiro um jovem cheio de ideias criativo e empreendedor, que decidiu modernizar o estabelecimento.Fez mudancas e chamou os funcionarios para as novas instrucoes.Ao porteiro disse:- A partir de hoje, o Senhor, alem de ficar na portaria, vai preparar um relatorio semanal onde registrara a quantidade de pessoas que entram e seus comentarios e reclamacoes sobre os servicos.- Eu adoraria fazer isso, Senhor - balbuciou - mas eu nao sei ler nem escrever!- Ah! Quanto eu sinto! Mas se e assim, ja nao podera seguir trabalhando aqui.- Mas Senhor, nao pode me despedir, eu trabalhei nisto a minha vida inteira, nao sei fazer outra coisa.- Olhe, eu compreendo, mas nao posso fazer nada pelo Senhor. Vamos dar-lhe uma boa indenizacao e espero que encontre algo que fazer. Eu sinto muito e que tenha sorte.Sem mais nem menos, deu meia volta e foi embora.O porteiro sentiu como se o mundo desmoronasse.Que fazer?Lembrou que no prostibulo, quando quebrava alguma cadeira ou mesa, ele a arrumava, com cuidado e carinho. Pensou que esta poderia ser uma boa ocupacao ate conseguir um emprego.Mas so contava com alguns pregos enferrujados e um alicate mal conservado. Usaria o dinheiro da indenizacao para comprar uma caixa de ferramentas completa.Como o povoado nao tinha casa de ferragens, deveria viajar dois dias em uma mula para ir ao povoado mais proximo para realizar a compra.E assim o fez.No seu regresso, um vizinho bateu a sua porta:- Venho perguntar se voce tem um martelo para me emprestar.- Sim, acabo de compra-lo, mas eu preciso dele para trabalhar, ja que...- Bom, mas eu o devolverei amanha bem cedo.- Se e assim, esta bom.Na manha seguinte, como havia prometido, o vizinho bateu a porta e disse:- Olha, eu ainda preciso do martelo. Porque voce nao o vende para mim?- Nao, eu preciso dele para trabalhar e alem do mais, a casa de ferragens mais proxima esta a dois dias de viagem.- Facamos um trato - disse o vizinho. Eu pagarei os dias de ida e volta mais o preco do martelo, ja que voce esta sem trabalho no momento. Que lhe parece?Realmente, isto lhe daria trabalho por mais dois dias. Aceitou.Voltou a montar na sua mula e viajou.No seu regresso, outro vizinho o esperava na porta de sua casa.- Ola, vizinho. Voce vendeu um martelo a nosso amigo. Eu necessito de algumas ferramentas, estou disposto a pagar-lhe seus dias de viagem, mais um pequeno lucro para que voce as compre para mim, pois nao disponho de tempo para viajar para fazer compras. Que lhe parece?O ex-porteiro abriu sua caixa de ferramentas e seu vizinho escolheu um alicate, uma chave de fenda, um martelo e uma talhadeira. Pagou e foi embora.E nosso amigo guardou