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Following Levita’s statement, the Masorah transmitted by medieval illuminated manuscripts was generally considered as less significant for the study of the biblical and masoretical knowledge in the Jewish world. The biblical codices produced in Ashkenaz were considerably disregarded compared to Spanish codices. Challenging this assertion, this work engages in a reflection on the link between the standard Eastern tradition and the Ashkenazic biblical text-culture of the 13th century. Élodie Attia provides an edition of thirteen cases taken from MS Vat. Ebr. 14, offering the oldest series of Masoretic notes written inside figurative and ornamental designs. Its critical apparatus offers an unprecedented comparison with the oldest Eastern and Ashkenazic sources to evaluate if the scribe paid more attention to aesthetic details than to the textual contents. In an unexpected way, the Masoretic notes of Elijah ha-Naqdan, even written in figurative forms, show a close philological link with the Masorah of the eastern Tiberian sources and prove that the presence of figurative elements neither represents a loss nor a distortion of Masoretic knowledge, but rather illustrates a development in the Masoretic tradition.
Following Levita’s statement, the Masorah transmitted by medieval illuminated manuscripts was generally considered as less significant for the study of the biblical and masoretical knowledge in the Jewish world. The biblical codices produced in Ashkenaz were considerably disregarded compared to Spanish codices. Challenging this assertion, this work engages in a reflection on the link between the standard Eastern tradition and the Ashkenazic biblical text-culture of the 13th century. Élodie Attia provides an edition of thirteen cases taken from MS Vat. Ebr. 14, offering the oldest series of Masoretic notes written inside figurative and ornamental designs. Its critical apparatus offers an unprecedented comparison with the oldest Eastern and Ashkenazic sources to evaluate if the scribe paid more attention to aesthetic details than to the textual contents. In an unexpected way, the Masoretic notes of Elijah ha-Naqdan, even written in figurative forms, show a close philological link with the Masorah of the eastern Tiberian sources and prove that the presence of figurative elements neither represents a loss nor a distortion of Masoretic knowledge, but rather illustrates a development in the Masoretic tradition.
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This volume brings together the latest scholarship on Jewish literary products and the ways in which they can be interpreted from three different perspectives. In part 1, contributors consider texts as literature, as cultural products, and as historical documents to demonstrate the many ways that early Jewish, rabbinic, and modern secular Jewish literary works make meaning and can be read meaningfully. Part 2 focuses on exegesis of specific biblical and rabbinic texts as well as medieval Jewish poetry. Part 3 examines medieval and early modern Jewish books as material objects and explores the history, functions, and reception of these material objects. Contributors include Javier del Barco, Elisheva Carlebach, Ezra Chwat, Evelyn M. Cohen, Naftali S. Cohn, William Cutter, Yaacob Dweck, Talya Fishman, Steven D. Fraade, Dalia-Ruth Halperin, Martha Himmelfarb, Marc Hirshman, Tamar Kadari, Israel Knohl, Susanne Klingenstein, Katrin Kogman-Appel, Jon D. Levenson, Paul Mandel, Annett Martini, Jordan S. Penkower, Annette Yoshiko Reed, Jeffrey L. Rubenstein, Shalom Sabar, Raymond P. Scheindlin, Seth Schwartz, Sarit Shalev-Eyni, Moshe Simon-Shoshan, Peter Stallybrass, Josef Stern, Barry Scott Wimpfheimer, Elliot R. Wolfson, Azzan Yadin-Israel, and Joseph Yahalom.
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