Classical Hebrew undying

Dr Abigail Zammit

Classical Hebrew is the Hebrew of the Tanakh, the Jewish Scriptures, the very source of the Christian Old Testament. Its first appearance in the historical record dates back to the 10th century BCE, and like the other semitic languages from which it emerged, it was written from right to left and comprises only consonants. By the turn of the Common or Current Era, its use as a spoken language was quickly being superseded by Aramaic and Greek. A few centuries later it was a linguistic relic, its use limited to liturgical and literary contexts, not so different from the use of Latin much later in the Christian west.

‘Dead’ languages bring up the question of relevance. They are limited in their vocabulary, especially when compared to their contemporaries; the Classical Hebrew lexicon amounts to just about 10,000 words. Today, they could not be used for communication, on official documents, or for most conventional things. However, there is one function ancient languages fulfill in a far superior manner—interpreting ancient texts.

Modern translations cannot quite capture the nuance of ancient texts. Translators can only convey ideas after making countless choices in the understanding and rendering of words, all while being consciously or unconsciously guided by their own ideological leanings. Translations are essentially interpretative exercises. Armed with knowledge of the original language, a reader can identify the original authors’ ideology, emphasis, word order, and tone. All of these features could easily be lost in translation. For example, should the word ‘meshihu’ in Psalm 2:2 be translated as ‘his Messiah’ or ‘his Christ’ or ‘his Anointed One’? A choice needs to be made, and that choice does make a difference.

Archaeologists use the same concept when studying ancient artefacts, as do epigraphists, the specialists who study inscriptions. Understanding the inscribed language on items leads to a clearer, more colourful picture of its context and origins. The Malta Government Scholarship Scheme supported me in carrying out such an epigraphic study for my doctoral research at the University of Oxford. My project dealt specifically with a group of inscribed pottery sherds discovered at Lachish (modern Tell ed-Duweir) in Israel. Combined with an archaeological and contextual reassessment, these inscriptions provided valuable insight into the socio-political history of early 6th-century BCE Judah, including scribal culture and the mastery of the contemporary Hebrew language, as well as military operations and prophetic activity, all of which strike similarities with the Book of Jeremiah.

Studying Classical Hebrew can be a rigorous mental workout that instills an appreciation for detail: an insight useful across innumerable fields. Not only does it provide a solid foundation for Modern Hebrew, but it offers a fresh perspective for those wishing to read biblical texts in a critical manner. After all, the Bible remains an iconic cultural artefact in the western world, vital when discussing not only ideology but even cinema, literature, music, and art.

Ancient languages give a voice to our history and the people who shaped it, all the while providing food for thought for those in the present.

For more information: The Department of Oriental Studies (Faculty of Arts, University of Malta) offers study-units on Classical Hebrew grammar, syntax, and readings at undergraduate level.

Author: Dr Abigail R. Żammit

History beneath the blue

Many would say that Malta’s rich history is evident for all to see. From Mdina to Mnajdra, much of the island’s past is present and tangible in our everyday lives. But what heritage is still hidden? Dr Timmy Gambin writes about the efforts made to bring to light the history beneath the waves.

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Bridging (through) the performing arts

Theatre, dance, and music are changing at the University of Malta. Recently, three new research groups were launched by the School of Performing Arts (SPA) with the aim of bridging different disciplines through  the development of shared work processes and research areas. Through interdisciplinary research, these groups want to look outwards towards new concepts.

The groups cover three themes. First, ‘Twenty-first-Century Studies in Performance’, which is committed to the locating, reimagining, and development of performance practices in the 21st century. Second, ‘Culture and Performance’, which is guided by the premise that culture and performance refer to complexities that emerge from the multitude of phenomena these terms describe. Third, ‘Performing Arts Histories and Historiographies’, which investigates and archives material related to historical events across the performing arts. These themes are possible thanks to a web of local and international collaborations, ranging from the Digital Arts and Humanities to Cognitive Science and Intelligent Computer Systems.

These new research platforms seek to facilitate dialogue between scholars and practitioners, academics and citizens.

Annual Collective Performance of the School of Performing Arts. White White is a performance about space, or the absence of it. Once upon a time, characters were in search of an author. Today they are in search of a space. The characters, played by the students of the School of Performing Arts at the University of Malta, are lost in a corridor in-between places. Around them all is empty. A void. Like a vault, all they have isÖWhite! Photo: Darrin Zammit Lupi
Annual Collective Performance of the School of Performing Arts.
White
White is a performance about space, or the absence of it.
Once upon a time, characters were in search of an author. Today they are in search of a space. The characters, played by the students of the School of Performing Arts at the University of Malta, are lost in a corridor in-between places. Around them all is empty. A void. Like a vault, all they have is White!
Photo: Darrin Zammit Lupi
inFragments A devised performance created by the students of the School of Performing Arts, University of Malta MITP Photo by Darrin Zammit Lupi
inFragments
A devised performance created by the students of the School of Performing Arts, University of Malta
MITP
Photo by Darrin Zammit Lupi

SPA has an upcoming conference featuring some of the above topics called Interweaving Cultures: Theory and Practice in March 2017. For more information contact Dr Stefan Aquilina (stefan.aquilina@um.edu.mt) or, on the conference, Prof. Vicki Ann Cremona (vicki.cremona@um.edu.mt).

1565 – Was it that great?

A historical discovery does not always equal the unearthing of new documents or artefacts. Sometimes it’s about re-evaluating what we already know. Prof. Victor Mallia-Milanes tells Tuovi Mäkipere more.

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The Hidden History of the Maltese Genome

By reading someone’s DNA one can tell how likely they are to develop a disease or whether they are related to the person sitting next to them. By reading a nation’s DNA one can understand why a population is more likely to develop a disease or how a population came to exist. Scott Wilcockson talks to Prof. Alex Felice, Dr Joseph Borg, and Clint Mizzi (University of Malta) about their latest project that aims to sequence the Maltese genome and what it might reveal about the origins and health of the Maltese people.

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The Science Issue: 100 reasons to love science

Science is everywhere. Understand science and you will see the world differently. The sun becomes a giant nuclear reactor full of beautiful equations keeping us alive, while Facebook can be transformed into maths that describes you and your friends. Whilst the most amazing scientific phenomena are happening inside you right now.

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