Resumen La fortuna de los especialistas del fenómeno del orfismo ha experimentado un giro espectacular con el descubrimiento relativamente reciente realizado por Giulia Rossetto, quien identificó un texto en hexámetros desconocido hasta la fecha en un palimpsesto cuya scriptio superior es un texto en árabe sobre la vida de unos santos. Este texto destaca por su lenguaje literario artificial, propio del género épico, y se distingue por la presencia abundante de discursos directos. Su estilo es arcaizante, ya que se reutilizan fórmulas homéricas, aunque también resuenan expresiones de otros textos (Rossetto 2021), entre los que se destacan las Rapsodias, las Dionisíacas de Nono y los Himnos órficos. La conexión entre los hexámetros de Sinaí y otros textos sigue aun sin definirse, especialmente en cuanto a la dirección de su influencia. En este trabajo, tras presentar las condiciones del códice y las características materiales del texto, así como una introducción a su contenido, se discutirán algunas de las posturas críticas que ha suscitado este hallazgo.

Abstract Orphic studies specialists have recently been fortunate due to Giulia Rossetto's discovery of an unknown hexameter text within a palimpsest, which had Arabic script on its surface. This text stands out for its artificial literary language, typical of the epic tradition, and the presence of direct speech. Its archaic style is characterized by the reuse of Homeric formulas and echoes phrases from various texts, such as the Rhapsodies, Nonnus' Dionysiaca, and the Orphic Hymns (Rossetto, 2021). The intertextual links between the Sinai hexameters and these texts, especially the direction of their influence, are yet to be established. This paper will detail the codex's condition, describe the text's material features, summarize its content, and explore the academic discussion it has ignited.

Resumen Al observar las traducciones del relato anafórico institucional de la tercera edición típica del Misal Romano en las diversas lenguas vernáculas, se advierte que ya no existe un consenso en cuanto a la traducción de la expresión pro multis como hubo en las traducciones de las anteriores ediciones. Esta expresión tiene su origen en el “Cuarto Poema del Siervo” de Isaías y se utiliza en las palabras pronunciadas sobre el cáliz en los relatos institucionales de Marcos y Mateo, estableciendo una relación intertextual. El presente artículo aspira ser una contribución que profundice la comprensión de esta relación para un mejor entendimiento del pro multis; sin embargo, no pretende presentar una solución definitiva a las cuestiones que envuelven su traducción. Para ello, se propone exponer los principales puntos que abarcan el debate en torno a la referida traducción; validar la relación intertextual entre el texto de Isaías y los textos del Nuevo Testamento que son objeto de este estudio a través criterios adecuados; buscar en el contexto antiguo testamentario del término hebreo, que fue traducido por multi, su significado original y, en posesión de estos datos, verificar qué significado adquiere el término y qué efectos de significado produce esta relación intertextual en las palabras pronunciadas sobre el cáliz en Marcos y Mateo y en la liturgia de la Iglesia latina.

Abstract When observing the translations of the institutional anaphoric account of the third typical edition of the Roman Missal in the various vernacular languages, it is noted that there is no longer a consensus regarding the translation of the expression Pro Multis as there was in the translations of previous editions. This expression has its origins in the “Fourth Poem of the Servant” by Isaiah and is used in the words spoken over the chalice in the institutional narrative of Mark and Matthew, establishing an intertextual relationship. This article aims to be a contribution that deepens the comprehension of this relationship for a better understanding of the Pro Multis, with no intention, however, of presenting a definitive solution to the questions that involve its translation. For this, it is proposed to present the main points that encompasses the debate regarding the referred translation; to validate the intertextual relationship between the Isaiah text and the New Testament texts that are the object of this study through appropriate criteria; to search, in the Old Testament context of the Hebrew term, that was translated as Multi, its original meaning and, in possession of these data, to verify what meaning the term acquires and what meaning-effects this intertextual relationship produces in the words pronounced over the chalice in Mark and Matthew and in the liturgy of the Latin Church.

Resumo Ao observar as traduções do relato anafórico institucional da terceira edição típica do Missal Romano nas diversas línguas vernáculas, nota-se que não há mais consenso a respeito da tradução da expressão pro multis como havia nas traduções das edições anteriores. Tal expressão tem sua origem no “Quarto Poema do Servo” de Isaías e vem utilizada nas palavras pronunciadas sobre o cálice nos relatos institucionais de Marcos e Mateus, estabelecendo-se uma relação intertextual. O presente artigo almeja ser uma contribuição que aprofunde o entendimento dessa relação para uma melhor compreensão do pro multis, sem ter, no entanto, a pretensão de apresentar uma solução definitiva para as questões que envolvem a sua tradução. Para isso, propõe-se apresentar os principais pontos que abarcam o debate a respeito da referida tradução; validar a relação intertextual entre o texto isaiano e os textos neotestamentários que são objeto deste estudo através de critérios apropriados; buscar no contexto veterotestamentário do termo hebraico, que se traduziu por multi, o seu sentido original e, em posse desses dados, verificar que sentido o termo adquire e que efeitos de sentido produz essa relação intertextual nas palavras pronunciadas sobre o cálice em Marcos e Mateus e na liturgia da Igreja latina.

The main purpose of this text is the study of the human voice based on its intertextuality in the electroacoustic piece El arco de luz (Macarena Aguiló) and the feature-length documentary El edificio de los chilenos. To do this, specific objectives will be addressed, such as analyzing the electroacoustic use of the voice, from its acoustic parameters and temporalities, analyzing the sound sources present in the documentary from an acousmatic perspective and, finally, relating both sound universes from an analysis of the narrative, in terms of memory construction, investigating the possible connections between both sound objects. In this working context a different regime of visibility between both works is proposed and problematized since, in the documentary, the sound of the voice interacts with visuality and its modes of representation versus the relegated visuality of sound in listening to the electroacoustic work. From here it is possible to project, in any case, a point of intersection between both objects: the absent, acousmatic corporality of the sound of the voice.

El objetivo general de este texto es el estudio de la voz a partir de su intertextualidad en la obra electroacústica El arco de luz (Macarena Aguiló) y el largometraje documental El edificio de los chilenos. Para ello, se abordarán objetivos específicos como analizar del uso electroacústico de la voz, desde sus parámetros acústicos y sus temporalidades, analizar las fuentes sonoras presentes en el documental desde una perspectiva acusmática y, finalmente, relacionar ambos universos sonoros desde un análisis de la narración, en términos de construcción de memoria, indagando sobre las posibles conexiones entre ambos objetos sonoros. En este contexto de trabajo se plantea y problematiza un régimen distinto de visibilidad entre ambas obras, ya que en el documental el sonido de la voz interactúa con la visualidad y sus modos de representación, versus la visualidad relegada del sonido en la escucha de la obra electroacústica. Desde aquí es posible proyectar, de todos modos, un punto de intersección entre ambos objetos: la corporalidad ausente, acusmática, del sonido de la voz.

Resumen En la Estoria de Espanna (capítulo 755) de Alfonso X, se transcribe el villancico “En Cannatannaçor Almançor perdio ell atamor”, el testimonio documentado más antiguo de la lírica popular y el primero que se conserva en lengua española. Partiendo de la premisa de que este poema es un microrrelato (o minificción), este artículo se divide en tres partes: 1) rasgos más característicos que se les atribuyen a estas narraciones: brevedad, narratividad, ficcionalidad, elipsis, prosa vs. verso; 2) contextos en que se inserta el villancico en el pasaje de la oralidad a la escritura: intratextual, metatextual, intertextual y extratextual; 3) problemas de interpretación de los hechos históricos y de los textos que los narran.

Résumé Dans l'Estoria de Espanna (chapitre 755) d'Alfonso X, le villancico « En Cannatannaçor Almançor perdio ell atamor » est transcrit le plus ancien témoignage documenté de poésie lyrique populaire et le premier conservé en espagnol. Partant du principe que ce poème est un micro-récit (ou mini-récit), cet article est divisé en trois parties : 1) les traits les plus caractéristiques attribués à ces récits : brièveté, narrativité, fictionnalité, ellipse, prose vs. vers ; 2) les contextes dans lesquels le chant s'insère dans le passage de l'oralité à l'écriture : intratextuel, métatextuel, intertextuel et extratextuel ; 3) les problèmes d'interprétation des faits historiques et des textes qui les relatent.

Abstract In Alfonso X’s Estoria de Espanna (chapter 755) it is recorded the poem « En Cannatannaçor Almançor perdio ell atamor », the oldest document of the popular lyric poetry and the first one in the Spanish language. Based on the premise that this poem is a microfiction (or minifiction) this article is divided in three parts: 1) the main features attributed to these texts: brevity, narrativity, fictionality, ellipsis, prose vs. verse; 2) the contexts in which this poem is inserted in its passage from the orality into the writing: intratextual, metatextual, intertextual y extratextual; 3) problems of interpretation of the historical facts and of the texts which narrate them.

Abstract: In the 1920s Westernization and modernism characterized the cultural life of big Japanese cities, and the cinema quickly became the main entertainment of the urban masses. In this decade studios began to shoot movies following the cinematic techniques and narrative styles of European and American cinema, and increased production of film adaptations of Western literature works popular at that time. This paper focuses on the adaptations of German literature works, specifically of Gerhart Hauptmann plays, produced in Japan during the 1920s. While those films have been lost, stills and reviews of film magazines published at the time of screening have been archived. The study draws on these materials and examines the intertextual and intercultural relations between the films and the literary works. It provides a brief overview on the reception of German literature in Japan, compares the plays and films analysing the permutations in narratological elements, and offers insights on how cultural, political, and social context influenced the directors’ adaptation process.

Resumen: En los años 1920, la occidentalización y el modernismo caracterizaron la vida cultural de las grandes ciudades japonesas, y el cine rápidamente se convirtió en el principal entretenimiento de las masas urbanas. En esta década, los estudios comenzaron a rodar películas siguiendo las técnicas cinematográficas y los estilos narrativos del cine europeo y americano, y se aumentó la producción de adaptaciones de obras literarias occidentales que eran populares en ese momento. Este artículo se centra en las adaptaciones de obras literarias alemanas, específicamente de las obras de Gerhart Hauptmann, producidas en Japón durante los años 1920. Aunque esas películas se han perdido, se conservan fotogramas y reseñas publicadas en revistas de cine de la época. En este estudio se analizan estos materiales y se examinan las relaciones intertextuales e interculturales entre las películas y las obras literarias. Se proporciona una breve descripción de la recepción de la literatura alemana en Japón, se comparan las obras teatrales y las películas analizando las permutaciones en los elementos narratológicos, y se ofrece una perspectiva sobre cómo el contexto cultural, político y social influyeron en el proceso de adaptación de las obras teatrales.

Resumen En el Libro centroamericano de los muertos (2018), Balam Rodrigo presenta el drama de las comunidades migrantes centroamericanas en su travesía por el territorio mexicano hacia los Estados Unidos. El poeta chiapaneco recurre a procedimientos intertextuales como el palimpsesto para denunciar la sistemática vulneración de los derechos humanos de las comunidades centroamericanas, desde la época de la Conquista hasta nuestros días, de modo que retoma documentos como la Brevísima relación de la destrucción de las Indias de fray Bartolomé de las Casas, para exponer el sufrimiento de las poblaciones migrantes contemporáneas. En el poema se expresan las torturas, secuestros, violaciones, desmembramientos y desapariciones que sufren los y las migrantes en su recorrido sobre La Bestia (nombre popular de la red de trenes de carga que transitan por México), de modo que se presenta el cuerpo violentado y fenecido como espacio de la dominación, el borramiento y la diferencia.

Abstract In Libro centroamericano de los muertos (2018) Balam Rodrigo presents the drama of Central American migrant communities on their journey through Mexican territory towards the United States. The poet from Chiapas resorts to intertextual procedures such as the palimpsest to denounce the systematic violation of human rights in Central American communities, from the time of the conquest to the present day, by taking up documents such as fray Bartolomé de las Casas’ Brevísima relación de la destrucción de las Indias, to expose the suffering of contemporary migrant populations. The poem expresses the torture, kidnapping, rape, dismemberment, and disappearances suffered by migrants on their journey on La Bestia (the popular name for the cargo train network that transits through Mexico), so that the violated and deceased body can be presented as a space of domination, erasure and difference.

Resumo No Libro centroamericano de los muertos (2018) Balam Rodrigo apresenta o drama das comunidades migrantes centro-americanas em sua travessia pelo território mexicano para os Estados Unidos. O poeta chiapaneco recorre a procedimentos intertextuais como o palimpsesto para denunciar a sistemática vulneração dos direitos humanos das comunidades centro-americanas, desde a época da conquista até nossos dias, de forma que retoma documentos como a Brevísima relación de la destrucción de las Indias de Frei Bartolomé de las Casas, para expor o sofrimento das populações migrantes contemporâneas. No poema expressam-se as torturas, sequestros, estupros, desmembramentos e desaparições que sofrem os e as migrantes em seu percurso sobre La Bestia (nome popular da rede de trens de carga de transitam pelo México), de modo que se apresenta o corpo violentado e fenecido como espaço da dominação, o apagamento e a diferença.

Resumen: La novela histórica Madame Gauguin (2022), de Fietta Jarque (Lima, 1956), se centra en una serie de episodios significativos de las vidas de Aline Gauguin (1825-1867) y su hijo Paul Gauguin (1848-1903). En este artículo se reconocen en ella algunos de los rasgos de la llamada nueva novela histórica o novela posmoderna (Ainsa, 1991; Grützmacher, 2006; Menton, 1993) a partir del vínculo entre la historiografía y la ficción; para ello, se emplean los aportes de Hutcheon (1999) y White (1992, 2003). Se adopta, además, una perspectiva de género para analizar la construcción de la identidad de la protagonista en el marco de la sociedad patriarcal de la época. Por último, se analiza la relación intertextual que la novela establece con El Paraíso en la otra esquina (2003), de Mario Vargas Llosa.

Abstract: The historical novel Madame Gauguin (2022), by Fietta Jarque (Lima, 1956), focuses on a series of significant episodes in the lives of Aline Gauguin (1825-1867) and her son Paul Gauguin (1848-1903). This paper identifies some of the features of the so-called new historical novel or postmodern novel (Ainsa, 1991; Grützmacher, 2006; Menton, 1993) based on the link between historiography and fiction; for this purpose, the contributions of Hutcheon (1999) and White (1992, 2003) are used. A gender perspective is also adopted to analyze the construction of the protagonist’s identity within the framework of the patriarchal society of the period. Finally, it analyzes the intertextual relationship established by the novel with El Paraíso en la otra esquina (2003) [The Way to Paradise], by Mario Vargas Llosa.

Résumé: Le roman historique Madame Gauguin (2022), de Fietta Jarque (Lima, 1956), porte sur une série d’épisodes significatifs des vies d’Aline Gauguin (1825-1867) et de son fils Paul Gauguin (1848-1903). Dans cet article nous y reconnaissons certains traits de ce que l’on appelle nueva novela histórica (nouveau roman historique) ou novela posmoderna (roman posmoderne, Ainsa, 1991; Grützmacher, 2006; Menton, 1993) à partir du lien entre l’historiographie et la fiction ; pour ce faire, nous nous appuyons sur les contributions de Hutcheon (1999) et White (1992, 2003). Nous adoptons de plus une perspective de genre pour analyser la construction de l’identité d’Aline Gauguin dans le cadre de la société patriarcale de l’époque. Finalement, nous analysons le rapport intertextuel que ce roman établit avec El Paraíso en la otra esquina (2003), de Mario Vargas Llosa.

ABSTRACT This article presents an intertextual dialogical analysis of the trajectories of life, work and thought of teachers and writers Lindanor Celina and Maria Lúcia Medeiros, from Bragança (PA), Brazil. Both debuted in the literature of the Amazon in Pará with fictional prose highlighting the transgressive and insubmissive female characters. Their books are Estradas do tempo-foi (1971) and the novel Menina que vem de Itaiara (1996), by Lindanor Celina, and the collection of tales Zeus ou a menina e os óculos (1988), by Maria Lúcia Medeiros. In methodological terms, this research has a qualitative, documentary approach. Thus, it is understood that there is an intertextual approach in the writers’ trajectories of education, female training, and childhood. life Medeiros PA, PA , (PA) Brazil characters tempofoi tempo foi 1971 (1971 1996, 1996 (1996) 1988, 1988 (1988) terms qualitative Thus education training childhood (PA 197 (197 199 (1996 198 (1988 19 (19 (199 (198 1 (1 (

RESUMO O presente artigo traz uma análise dialógica intertextual da trajetória de vida, da obra e do pensamento das professoras e escritoras bragantinas Lindanor Celina e Maria Lúcia Medeiros. Ambas estrearam na literatura da Amazônia paraense com prosas ficcionais dando destaque às personagens femininas transgressoras e insubmissas. São seus livros: Estradas do tempo-foi (1971) e o romance Menina que vem de Itaiara (1996), de Lindanor Celina, e a coletânea de contos Zeus ou a menina e os óculos (1988), de Maria Lúcia Medeiros. Em termos metodológicos, esta pesquisa é de abordagem qualitativa, do tipo documental. Assim, entende-se que há aproximação intertextual nas trajetórias de educação, formação feminina e infância das referidas escritoras. vida Medeiros insubmissas livros tempofoi tempo foi 1971 (1971 1996, 1996 , (1996) 1988, 1988 (1988) metodológicos qualitativa documental Assim entendese entende se educação 197 (197 199 (1996 198 (1988 19 (19 (199 (198 1 (1 (

Abstract: The purpose of the article is to study the creative development, the aesthetic and the philosophical searches of Stanislav Shumytskyi’s work within the cultural and historical process of the 60s of the 20th century. The basis of the methodological approach in this research work is a complex systematic study, which is based on a qualitative combination of theoretical research methods. In particular, analysis, synthesis, generalization, interpretation, abstraction, as well as descriptive, comparative, juxtaposition method, comparative-historical method, intertextual method, in particular its intermedial principles, were applied for a detailed consideration of Stanislav Shumytskyi’s work. This research highlights Stanislav Shumytskyi’s unique aesthetic and philosophical pursuits in the 1960s cultural-historical milieu. Emphasis is laid on relevance of Shumytskyi’s creative legacy for contemporary literature. The study enriches understanding of the cultural climate in the period, especially regarding the Ukrainian Sixtiers movement.

Resumo: O objetivo do artigo é estudar o desenvolvimento criativo e as buscas estéticas e filosóficas da obra de Stanislav Shumytskyi dentro do processo cultural e histórico dos anos 60 do século XX. A base da abordagem metodológica deste trabalho de pesquisa é um estudo sistemático complexo, que se baseia em uma combinação qualitativa de métodos teóricos de pesquisa. Em particular, análise, síntese, generalização, interpretação, abstração, bem como método descritivo, comparativo, de justaposição, método histórico-comparativo, método intertextual, em particular, seus princípios intermediários, foram aplicados para uma consideração detalhada da obra de Stanislav Shumytskyi. Os principais resultados obtidos no âmbito desta pesquisa científica devem ser considerados com a comprovação das características das buscas estéticas e filosóficas da obra de Stanislav Shumytskyi dentro do processo histórico-cultural dos anos 60 do século XX e o significado da herança criativa do artista para o processo literário moderno.

In Matthew 26:28, Jesus links his blood to the forgiveness of sins during the Last Supper. Matthew's reference to "the blood of the covenant" in 26:28 is an allusion to Exodus 24:8, symbolising Jesus as a sacrificial offering that renews the covenant with God. References to Zechariah 9:9-13 and Isaiah 53:12 further link Jesus' death to the renewal of the covenant. For Matthew, the forgiveness of sins is a penultimate step for the renewal of the covenant that is the ultimate goal of Jesus' death. This article also contrasts Matthew's intertextual approach in the passion narrative with that of his prologue. It is argued that the shift towards allusions and echoes when explaining Jesus' death aligns with Matthew's strategy that can be described as a kaleidoscopic atonement theory, in which he weaves various Old Testament themes together to construct a comprehensive theory of atonement in Matthew 20:28 and 26:28.

Mark's shorter ending (16:1-8) is understood as a paratext, one that interrupts the existing text by forcing a relecture of the entire Gospel. It compels the intended readers to realign themselves with the provocative narration of Jesus as the atypical Messiah who challenges the physiognomic stereotypes of an honour-shame-based context. From this hermeneutical perspective, the reference text of Mark provokes a second text, the reception text, but does not replace it. Rather, it takes on motifs and themes of the first text as a kind of "interpretive development". This new reception text, which is embedded in Mark's original reference text, pushes the intended readers not only to re-read the Gospel, but also to re-understand it in light of Mark's provocative presentation of the "non-godly" bodily demeanour of Jesus. However, it would appear that the original intertextual relecture, prompted by the ending of Mark 16:1-8, did not wholly succeed. Its open-ended nature, coupled with its provocative interpretation of Jesus, probably created too much dissonance for an unknown author who eventually added the longer ending of 16:9-20 in a different vocabulary and style.

This study conducts a contextual, literary and theological interpretation of the theme of Zion in Isa 62:1-5 that focuses on the rhetorical and intertextual implications of Queen Zion. The method explicates the logical interrelationship and theological meaning of three enigmatic motifs in this passage-crown, renaming and marriage-within the literary and canonical context of the book of Isaiah. The study uses the mirror text theory adopted by Willem A. M. Beuken in Isaianic interpretation to consider the appearance of Queen Zion with these three conspicuous motifs. It is argued that Queen Zion retrospectively reflects the female Zion in Isa 1:7 (a daughter Zion) and 49:14-21 (an abandoned wife and childless mother) and prospectively foreshadows her in Isa 66:7-14 (a glorious mother). Furthermore, this study demonstrates that Isa 62:1-5 functions as a mirror text in the book of Isaiah and demonstrates how we conceive the reading of Isaiah as a unified whole.

This article reviews recent developments in Song of Songs scholarship with a focus on publications within the South African context. The article provides an overview of the interpretation of the Song of Songs and describes the main lines of research. Research on the Song of Songs continues the trends of recent years, with an emphasis on literal interpretation. However, there is renewed interest in patristics, allegorical interpretation as erotic or intertextual allegorisation, and reception history. Interpretation in the context of a myth seemed outdated, but it is also back. Southern African studies have contributed to these fields and to contextual studies.

The genealogy of Jeconiah (1 Chr 3:17-24), as documented in the Book of Chronicles, stands as the last historical passage within the book. This genealogical record encapsulates approximately 11 successive generations, from the destruction and exile to the subsequent Persian period. In this discourse, I undertake a comparative analysis of the Midrashic interpretations of the names delineated in Jeconiah's genealogical list and those articulated in the tables from Àl-Yâhudu. The discernible correlations between these two textual sources significantly contribute to a nuanced comprehension of the challenges and aspirations experienced by those enduring the exile and those who resettled in the State of Judah. Accordingly, I posit that these intertextual connections introduce an additional dimension to the cultural milieu in which the Book of Chronicles was composed and, above all, to the question, which must have occupied the exiles: will the House of David return to its pre-destruction glory?

Just as in the rest of Hebrews, the warning passage in Hebrews 10:26-31 contains numerous references to the Old Testament. The passage has, among others, two explicit quotations from the Song of Moses in Deuteronomy 32 (Dt 32:35a in Heb 10:30a; Dt 32:36a in Heb 10:30b), and one clear allusion to the legislation in Deuteronomy 17 (Dt 17:6 in Heb 10:28). The current article argued that Deuteronomy plays an even bigger role in the passage than has previously been noted. Moving from the clear to the less clear by discussing quotations from, allusions to, echoes and applications of, and conceptual and intertextual parallels with Deuteronomy, the intertextual study found that there are possible traces of Deuteronomy in every verse of Hebrews 10:26-31, and strikingly, that all these traces come from Deuteronomy 17 and 32. The article concluded by reflecting on the correlation between Deuteronomy 17 and 32, and how the author of Hebrews employs words and reminiscences from these chapters in order to warn his addressees against apostasy. INTRADISCIPLINARY AND/OR INTERDISCIPLINARY IMPLICATIONS: The article contributed to the investigation of the Old Testament in the Book of Hebrews, and more specifically, the investigation of the occurrence and use of the Book of Deuteronomy in Hebrews