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The Ineffable Name of God - Man by Abraham Joshua Heschel Pdf
Written between 1927 and 1933—and never published in English before—this is the intimate spiritual diary of a devout European Jew, loyal to the revelation at Sinai and afflicted with reverence for all human beings.
The Name of God Y.eH.oW.aH Which is pronounced as it is Written I_Eh_oU_Ah by Gerard Gertoux Pdf
The understanding of God's name YHWH is so controversial that it is eventually the controversy of controversies, or the ultimate controversy. Indeed, why most of competent Hebrew scholars propagate patently false explanations about God's name? Why do the Jews refuse to read God's name as it is written and read Adonay "my Lord" (a plural of majesty) instead of it? Why God's name is usually punctuated e, â (shewa, qamats) by the Masoretes what makes its reading impossible, because the 4 consonants of the name YHWH must have at least 3 vowels (long or short) to be read, like the words 'aDoNâY and 'eLoHîM "God" (a plural of majesty), which have 4 consonants and 3 vowels? At last, why the obvious reading "Yehowah", according to theophoric names, which all begin by Yehô-, without exception, is so despised, and why the simple biblical meaning, "He will be" from Exodus 3:14, is rejected.
The God of ancient Israel—universally referred to in the masculine today—was understood by its earliest worshipers to be a dual-gendered, male-female deity. So argues Mark Sameth in The Name. Needless to say, this is no small claim. Half the people on the planet are followers of one of the three Abrahamic religions—Judaism, Christianity, and Islam—each of which has roots in the ancient cult that worshiped this deity. The author’s evidence, however, is compelling and his case meticulously constructed. The Hebrew name of God—YHWH—has not been uttered in public for over two thousand years. Some thought the lost pronunciation was “Jehovah” or “Yahweh.” But Sameth traces the name to the late Bronze Age and argues that it was expressed Hu-Hi—Hebrew for “He-She.” Among Jewish mystics, we learn, this has long been an open secret. What are the implications for us today if “he” was not God?
Codes hidden for 3,000 years unveil the origin of the fifteen Songs of Ascents. Mysterious marks in medieval manuscripts disclose the lost temple song. Rabbinic traditions reveal the place of the ark of the covenant. And the secret message of the Book of Psalms is laid bare. Question: What do you get when you cross a period-performance Director of Music with a specialist on the Psalms? Answer: The ultimate book on the Psalms in Temple worship. In this book, I wear both my hats to show how these Psalms were sung in ancient Israel. Want to know more? It’s all here in the largest book ever written on the Songs of Ascents, with 27 pictures, 14 tables, and 29 musical examples. REVIEWS David Mitchell’s Songs of Ascents is a fresh direction in the study of the Psalms. The Psalms of Ascents, he argues, were composed not only for Solomon’s Temple but actually for its dedication; yet they represent also a coherent collection, with shared themes and a progression of thought. Drawing on his musical knowledge, he also shows how they may have been sung, here adapting and developing the theories of Suzanne Haïk-Vantoura about the meaning of the Masoretic cantillation signs. John Barton, FBA, Oriel & Lang Professor of the Interpretation of Holy Scripture, Oriel College, Oxford The Songs of Ascents establishes a long-overdue link between the worlds of Biblical Studies and Near Eastern Archaeomusicology. Mitchell addresses the issue with great competence and meticulousness. He has combined researches on both church and synagogue musical traditions, and depicts a credible picture of how the psalms would have been sung in ancient Jerusalem. Richard Dumbrill, Professor of Near Eastern Archaeomusicology, University of London David Mitchell takes just one collection of fifteen psalms to recreate a scholarly and engaging account which brings together, in an original but careful way, the disciplines of the Hebrew language, psalmody, and music. For anyone interested in how the psalms functioned as ancient Temple Songs, and how this might apply to our appreciation of them in synagogues and churches today, this book is an absolute gem. Susan Gillingham, Professor of the Hebrew Bible, Worcester College, Oxford Since the publication of Suzanne Haȉk-Vantoura’s La musique de la Bible révélée in 1976 the quest to identify a musical interpretation of the Masoretic cantillation marks in the poetic biblical books has acquired some impetus. David Mitchell, combining musical expertise and biblical scholarship, has made in this monograph a significant contribution to this on-going quest. He identifies a persuasive chain of tradition which could support the view that the cantillations are a genuine representation of a musical tradition known to the Masoretes, but subsequently lost. Building on Haȉk-Vantoura’s work, and using as a test case the Gregorian tonus peregrinus for Psalm 114 (whose melody is echoed in both Sephardic and Ashkenazi melodies for the same Psalm), he provides a musical understanding of the cantillations which transfers into explicit musical directions (which he reproduces) for each of the Psalms of Ascents. This study deserves to be taken very seriously indeed. Dr Alastair Hunter, Glasgow University. Society of Old Testament Studies Book Review 2016 David Mitchell’s book contains a broad range of explorations of these fifteen psalms, which betrays engagement with many pertinent questions about the Psalms, worship in the Jerusalem Temples, and ancient music. Mitchell’s reading is thorough and eclectic, his thinking is imaginative and novel, and his writing engaging and thought-provoking….This is an enjoyable book for a musician and Psalms scholar. Dr Megan Daffern, Chaplain, Jesus College, Oxford. Expository Times Book Review 2017 This study, in a unique combination of psalter exegesis, historical localization, and music-historical observations, reveals the thesis that Psalms 120-134 were redacted between 975 and 959 BC for the consecration of Solomon’s Temple on 15 Ethanim (Tishri) 959 BC, and that one of each of these 15 psalms was sung during the Succoth festival on the 15 steps of the Temple of Jerusalem. The author proposes that the poets of these psalms were David (for Ps. 122, 124, 131, and 133), Solomon (for Psalm 127), and, by virtue of its Aramaic coloring, Jeduthun and the Merarite Levites (Ps. 120, 121, 123, 125, 126, 130, and 132). In these attributions, and in the reconstruction of the original chant, Mitchell draws on the masoretic cantillation, on rabbinic and early Christian sources on psalmody, on ancient oriental representations of musicians and instruments, and also on gematria. Professor Markus Witte, Lehrstuhl für Exegese und Literaturgeschichte des Alten Testaments, Humboldt-Universität, Berlin. Zeitschrift für die alttestamentlichen Wissenschaft Book Review, June 2017
Tetragrammaton: Western Christians and the Hebrew Name of God by Robert J. Wilkinson Pdf
Drawing on a detailed and sustained account of Christian reception of the Hebrew divine name until the Seventeenth Century this book illustrates its vitality in several periods as a stimulus to both orthodox and heterodox theologies and imaginative structures
Human---God's Ineffable Name by Abraham Joshua Heschel Pdf
Although Abraham Joshua Heschel (1907-1972) is well-known today-as a philosopher, a Jewish theologian and a social activist-Heschel the poet is not. Nevertheless, those who have read his writings in English, spiritual classics like The Sabbath and Man is Not Alone, and have been moved by the power of his prose and the subtlety of his expression, will not be surprised to find that in his youth he had actually published a volume of Yiddish poetry in the heyday of Yiddish literature before the Holocaust. The 66 precious poems of Der Shem Ham'forash-Mentch, published by Indsel Verlag in Warsaw in 1933, remained close to Heschel's heart all of his life, though few people knew of their existence. It was more than a decade after his passing before most of his admirers learned of them, being treated to a few tantalizing snippets in Samuel Dresner's anthology, I Asked for Wonder (a line taken from the dedication of Der Shem Ham'forash-Mentch). But what was unknown to most of Heschel's readers was that a complete translation of his poetry in English already existed in his lifetime; and still more amazing, it had been made by his younger contemporary, Zalman Schachter-Shalomi (b. 1924), who would himself become a towering figure in Jewish and world spirituality, but who at the time was just coming into his own and looked to the older Heschel as a mentor. As we learn in the introduction, the first drafts of these translations were given as gifts to Heschel after his heart attack in 1969 to cheer him through his convalescence (sometimes accompanied by recordings of Schachter-Shalomi reading both the Yiddish originals and the English translations!) Schachter-Shalomi notes that Heschel was satisfied with some of these early drafts and unsatisfied with others. The poems were deeply personal to him and the translations would need to be revised. Unfortunately, Heschel died before he and Schachter-Shalomi could come together to discuss a revision and the translations were put on a shelf. But now, in honor of the 40th anniversary of Heschel's passing, Schachter-Shalomi has taken them down again and completed his own revision for the modern reader of sacred poetry. Thus, we have in this volume something truly unique-the combined work and vision of two of the 20th century's greatest Jewish spiritual luminaries and master's of Yiddish!
Exile and Return by Ann Mosely Lesch,Ian Lustick Pdf
The Israeli, Palestinian, and American contributors to this volume consider the catastrophic failure of the Oslo peace process and the years of bloody violence that ensued.
Explore the Jewish and Christian Scriptures with the world renowned Bible scholar and expert on Jewish evangelism, Rabbi Tovia Singer. This new two-volume work, Let's Get Biblical! Why Doesn't Judaism Accept the Christian Messiah?, takes the reader on an eye-opening journey through timeless passages in Tanach, and answers a pressing question: Why doesn't Judaism accept the Christian messiah? Are the teachings conveyed in the New Testament compatible with ageless prophecies in the Jewish Scriptures? Rabbi Singer's fascinating new work clearly illustrates why the core doctrines of the Church are utterly incompatible with the cornerstone principles expressed by the Prophets of Israel, and are opposed by the most cherished tenets conveyed in the Jewish Scriptures. Moreover, this book demonstrates how the Church systematically and deliberately altered the Jewish Scriptures in order to persuade potential converts that Jesus is the promised Jewish messiah. To accomplish this feat, Christian "translators" manipulated, misquoted, mistranslated, and even fabricated verses in the Hebrew Scriptures so that these texts appear to be speaking about Jesus. This exhaustive book probes and illuminates this thought-provoking subject. Tragically, over the past two millennia, the church's faithful have been completely oblivious to this Bible-tampering because virtually no Christian can read or understand the Hebrew Scriptures in its original language. Since time immemorial, earnest parishioners blindly and utterly depended upon manmade Christian "translations" of the "Old Testament" in order to understand the "Word of God." Understandably, churchgoers are deeply puzzled by the Jewish rejection of their religion's claims. They wonder aloud why Jewish people, who are reared since childhood in the Holy Tongue, and are the bearers and protectors of the sacred Oracles of God, do not accept Jesus as their messiah. How can such an extraordinary people dismiss such an extraordinary claim? Are they just plain stubborn? Let's Get Biblical thoroughly answers these nagging, age-old questions.
The Ineffable Name is the Great Mystery of Creation and Salvation by Helena Petrovna Blavatsky Pdf
Unknown and Unknowable is the Supreme Mystery-God. It is the Voice of the Ineffable Name and the Wisdom of the Initiates (Epopteia). It is the Holy of Holies, the Unity of Unities, more ineffable than all Silence, more occult than all Essence. It is Plato’s Unspeakable All, He whom no person has seen, except the Son. It is Pythagoras’ Ineffable God’s Name, and key to the mysteries of the Kabbalah. It is the Holy Word of God that “no man knew but He himself.” The Name is Ineffable because non-existent. It permeates the Moon and Stars, yet It is different from the Moon and Stars. It never differentiates but only emanates. There is no need travelling to distant places to find It. The Name is very nigh unto thee, in thy mouth, and in thy heart. It may rush into infinite worlds in sleepless whirling, yet It remains latent in the deepest recesses of thy heart. The Ineffable Name is Deity Itself, but not God. Nameless, unpronounceable, yet universally diffused Essence, the Ineffable is Kama-Eros-Phanes or noumenon of Fohat, i.e., Divine Will or Eternal Desire of manifesting Itself through visible creation. The Name lies hidden within the Pythagorean Tetrad or Tetractys. It is expressed by the Tau Cross, signet of the Living God. The double motion of the philosophical cross is the great arcanum of life and being. Deity is Nameless, Numberless, No-thing, Absolute Darkness. God is quaternary: Ineffable–Silence–Father–Truth. All powers and great symphonies of physical and spiritual nature lie inscribed within the Perfect Square. That is why the Ineffable Name was replaced by the Sacred Tetrad or Tetractys, the most binding and solemn oath with the ancient mystics. There are three Tetrads: the Unfathomable Father (First Logos), Its creative emanation or Heavenly Man (Second Logos), and the embodied reflection of the latter in humanity at large (Third Logos), or the Tetragrammaton of the Jews. Only the first is the real, Pythagorean Tetractys; the other two are counterfeit. The Ineffable Word is identical with the “Ineffable Name” of the Masons and the Kabbalists. The Word itself is only a substitute for the Masonic “Lost Word,” and a comparatively modern invention. The “Lost Word” is no word at all, as in the case of the “Ineffable Name.” It ought to stand as “lost words” and lost secrets, in general. Nor the “Name” is a name, but Sound or rather Motion. The “Name” is not “ineffable,” it is “unpronounceable” or rather not to be pronounced.
Author : G. H. Box,J. I Landsman,W. O. E. Oesterley Publisher : Wipf and Stock Publishers Page : 169 pages File Size : 44,8 Mb Release : 2023-03-16 Category : Religion ISBN : 9781666766585
"In this work, Andrei A. Orlov examines the apocalyptic profile of the angel Yahoel as the mediator of the divine Name, demonstrating its formative influence not only on rabbinic and Hekhalot beliefs concerning the supreme angel Metatron, but also on the unique aural ideology of early Jewish mystical accounts."--Back of dust jacket.
The Problem of God, Yesterday and Today by John Courtney Murray Pdf
In an urbane and persuasive tract for our time, the distinguished Catholic theologian combines a comprehensive metaphysics with a sensitivity to contemporary existentialist thought. Father Murray traces the “problem of God” from its origins in the Old Testament, through its development in the Christian Fathers and the definitive statement by Aquinas, to its denial by modern materialism. Students and nonspecialist intellectuals may both benefit by the book, which illuminates the problem of development of doctrine that is now, even more than in the days of Newman, a fundamental issue between Roman Catholic and Protestant, theologians and nonspecialst intellectuals alike will find the subject of vital interest. As a challenge to the ecumenical dialogue, the question is raised whether, in the course of its development through different phases, the problem of God has come back to its original position. Father Murray is Ordinary professor of theology at Woodstock College, Woodstock, Maryland. St. Thomas More Lectures, 1. "A gem of a book—lucid, illuminating, brilliantly written. A fine contribution to the current Catholic theological renaissance."—Paul Weiss.