Association for Jewish studies 2002-26(1) by Association for Jewish studies

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Raitt,p. 399. 108. Judith GlatzerWechsler,"A Change in the Iconographyof the Song of Songs in Twelfth and ThirteenthCenturyLatin Bibles" in Textsand Responses:Studies Presented to NahumN. Glatzer (Leiden: E. J. Brill, 1975), pp. 73-93. ) She suggests that the shift from a single woman, depicting ecclesia, or a couple, representingeither Solomon andthe Queenof Shebaor Christandthe Church, to the Virgin and Child, reflects the growth of Mariological interpretationin the lattertwelfth century. On the broadersetting of this change see R.

In C. Olson, ed, TheBook of the Goddess: Past and Present (New York:CrossroadBooks, 1985), p. 80-96. See her TheFlowing Light of the Godhead 1:22 and 3:9. 126. How is it thatthis most masculineof Biblicalheroesis the humanembodimentof the female? The medievalDavid is also morefrequentlythe Psalmist than the warrior,and as Psalmist he is depicted as longing for God, calling out for divine closeness, very much as shekhinahdoes in her exile. 127. The replacementof rahamimby hesed as the "rightside" of God is characteristicof Kabbalah and seems to be in place alreadyin Sefer ha-Bahir#132.

Reproducedin ChristianSpiritualityII, ed. J. Raitt,p. 399. 108. Judith GlatzerWechsler,"A Change in the Iconographyof the Song of Songs in Twelfth and ThirteenthCenturyLatin Bibles" in Textsand Responses:Studies Presented to NahumN. Glatzer (Leiden: E. J. Brill, 1975), pp. 73-93. ) She suggests that the shift from a single woman, depicting ecclesia, or a couple, representingeither Solomon andthe Queenof Shebaor Christandthe Church, to the Virgin and Child, reflects the growth of Mariological interpretationin the lattertwelfth century.

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