Eulogies Research Papers - Academia.edu (original) (raw)

This concise but superb bibliographical study by Shaykh Abd’l-Qaadir ibn al-Mustafa ibn Muhammad at-Turuudi called Salwat’l-Ahzaan (The Easing of Sorrow by Mentioning Some of the Spiritually Elite from the People of this Age) is a timely... more

L’article met en évidence le lien qui s’établit entre les détournements railleurs (ludiques, grivois, satiriques, libertins) dont fait l’objet l’oraison funèbre du XVIe au XVIIIe siècle, et la littérarisation de ce genre, qui viendra par... more

L’article met en évidence le lien qui s’établit entre les détournements railleurs (ludiques, grivois, satiriques, libertins) dont fait l’objet l’oraison funèbre du XVIe au XVIIIe siècle, et la littérarisation de ce genre, qui viendra par excellence représenter le vaste massif de l’éloquence de la chaire dans le panthéon littéraire naissant. Si les oraisons funèbres parodiques de Louis XIV ou de la « monarchie universelle » donnent à lire une « mythistoire à l’envers », d’autres pastiches peuvent produire, au travers du détournement ludique, un véritable éloge du sujet : c’est le cas de l’oraison funèbre de Molière publiée dans Le Mercure galant. Un dernier exemple, celui d’une oraison funèbre manuscrite consacrée au Cardinal Fleury et parodiant le véritable discours dont il fit l’objet, accomplit en quelque sorte au carré la vocation épidictique du genre : le discours s’y montre en train de « se montrer montrant », portant ainsi à incandescence, dans le geste subversif lui-même, le malaise métadiscursif que trahit constamment l’oraison funèbre « sérieuse », tout en l’associant à une vive conscience de sa proche péremption.

This paper offers an interpretation of the epigraphic poem signed by Avienus, where the politician that blooms as a writer in the mid-fourth century chooses the very local goddess Nortia, the goddess of fortune in Etruria, in a text in... more

This paper offers an interpretation of the epigraphic poem signed by Avienus, where the politician that blooms as a writer in the mid-fourth century chooses the very local goddess Nortia, the goddess of fortune in Etruria, in a text in which the author pretends his own and his descendants’ encomium. With this homage to the past he presents himself as a renovator of the Etruscan "antiqua fides".

The formulas אשׁרי and ברוך appear in the Psalter often in conspicuous places. All these significant places are listed in tables in the article and the incidence and function of each of these instances are discussed. The main focus of the... more

The formulas אשׁרי and ברוך appear in the Psalter often in conspicuous places. All these significant places are listed in tables in the article and the incidence and function of each of these instances are discussed. The main focus of the investigation is, however, on the analysis of those psalms in which both formulas occur together. Such instances of simultaneous occurrence of macarism and eulogy are not only found in the closing psalms of Parts I–IV of the Psalter (Pss 41; 72 [verbal form]; 89; and 106), but also at the end of Part V (Pss 144[–145]) before the final Hallel (Ps 146–150), and also in the mammoth Ps 119 (located in the centre of Book V). This state of affairs can hardly be accidental; it is much more probable that the double address in these psalms in a horizontal (macarism) and vertical (eulogy) direction is indicative of a compositional and theological intention. Since they are located in contexts of teaching and praise, these terms point toward the basic dimensions and functions of the Psalter as a composition. On top of that, they bring – against the background of Deut 33 and 1Kgs 10 – Davidic-Salomonic perspectives to the Psalter and enhance the fivefold structure of the Psalter, creating a clearer analogy between
the Psalter and the Pentateuch.

Contribution to a special issue in honour of Prof. Claudio Ciborra.

My 67-year "big brother" brother, Rabbi Moshe Ehrenstein, OB”M, was Mashpia Roshi [literally: the "head influencer"] in the Tzfas Yeshiva of Chabad. He passed away on Shabbat, 11 Adar Alef, 2019. Moishe was not very healthy even before... more

My 67-year "big brother" brother, Rabbi Moshe Ehrenstein, OB”M, was Mashpia Roshi [literally: the "head influencer"] in the Tzfas Yeshiva of Chabad. He passed away on Shabbat, 11 Adar Alef, 2019.
Moishe was not very healthy even before his heart finally failed him, but nevertheless he always made sure his own life matched the criteria he set for his many thousands students. He was very kind to everybody, but set an example of total commitment both to his various teaching assignments and his 7-child family. He dies after completing his last Mitzvah: helping to save the building the Yeshiva building which was at-risk for being sold and as a consequence – to watch his life-work vanish.

Sophia Elisabeth Brenner (1659-1730) was Sweden's first great female poet, writing and publishing her poems over a period of fifty years. She was also, however, a prolific letter writer. The dissertation is based on an inventory of... more

Sophia Elisabeth Brenner (1659-1730) was Sweden's first great female poet, writing and publishing her poems over a period of fifty years. She was also, however, a prolific letter writer. The dissertation is based on an inventory of all the preserved letters to and from her written in Latin, ...

L’article met en évidence le lien qui s’établit entre les détournements railleurs (ludiques, grivois, satiriques, libertins) dont fait l’objet l’oraison funèbre du XVIe au XVIIIe siècle, et la littérarisation de ce genre, qui viendra par... more

L’article met en évidence le lien qui s’établit entre les détournements railleurs (ludiques, grivois, satiriques, libertins) dont fait l’objet l’oraison funèbre du XVIe au XVIIIe siècle, et la littérarisation de ce genre, qui viendra par excellence représenter le vaste massif de l’éloquence de la chaire dans le panthéon littéraire naissant. Si les oraisons funèbres parodiques de Louis XIV ou de la « monarchie universelle » donnent à lire une « mythistoire à l’envers », d’autres pastiches peuvent produire, au travers du détournement ludique, un véritable éloge du sujet : c’est le cas de l’oraison funèbre de Molière publiée dans Le Mercure galant. Un dernier exemple, celui d’une oraison funèbre manuscrite consacrée au Cardinal Fleury et parodiant le véritable discours dont il fit l’objet, accomplit en quelque sorte au carré la vocation épidictique du genre : le discours s’y montre en train de « se montrer montrant », portant ainsi à incandescence, dans le geste subversif lui-même, le malaise métadiscursif que trahit constamment l’oraison funèbre « sérieuse », tout en l’associant à une vive conscience de sa proche péremption.

Eulogy for the late Jaime O. Perez, who was a political Maverick.

A eulogy for Allen Ginsberg and recollection of my time as his apprentice.

While anthropological studies in non-Western societies show how funerals protect the community from the threat of death, sociological studies of British funerals have so far focused on meanings for the private family. The article reports... more

While anthropological studies in non-Western societies show how funerals protect the community from the threat of death, sociological studies of British funerals have so far focused on meanings for the private family. The article reports on results from a Mass Observation directive - the first British study to focus specifically on the entire funeral congregation – and shows how attendees experience the contemporary life-centred funeral as a symbolic conquest of death. While the eulogy’s accuracy is important, even more so – at least for some - is its authenticity, namely that the speaker has personal knowledge of the deceased. Whereas Davies analyses the power of professionally delivered ritual words against death, our data reveals how admired is the courage exercised by non-professionals in speaking against death, however faltering their words. Further, the very presence of a congregation whose members have known the deceased in diverse ways embodies a configurational eulogy, which we term relationships against death. We thus argue that funerals symbolically conquer death not only through words delivered by ritual specialists, but also through those who knew the deceased congregating and speaking.