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EnglishA previous analysis on colour terms in Papyri and the Greek Bible is the source of the present investigation. The description of women’s clothing in Jerusalem as occurring in Is 3,16-24 of the Septuagint Version is compared to literary, documentary (papyri, ostraka), artistic (mummy portraits) and handmade (dresses, fabrics) testimonies. The aim is to realise the reasons for some translating choices according to the culture and habits of that time, to the influence of the Greek Scriptures, to the Hellenistic literature and finally to the dowry lists in marriage contracts. The chromatic sensibility, typical of the Egyptian documentation, will be emphasised as well. Although in its Greek “edition” the passage does not correspond verbum de verbo to the Masoretic Text, it derives from this one: yet, the interpretation of some rare, if not hapax, Hebrew terms still remains doubtful. Apart from notes on colours, which do not occur in the Masoretic Text, transparent and elegant dresses are already listed in the original and attested in the Dead Sea Scrolls without any variation. What the translation innovates does not depend on a different Vorlage, but rather on the way the translator updates the fashion trends as to jewels and the haute couture, by taking inspiration from the ladies in Ptolemaic Alexandria. The message the original text conveys becomes more lively and effective when condemning the vacuity and pride of these women who adorn themselves with precious fabrics like the ones used for the furnishings and priests’ vestments in Jerusalem Temple.
| Autori: | |
| Titolo: | Colori e trasparenze nella haute couture dell'Egitto tolemaico |
| Digital Object Identifier (DOI): | http://dx.doi.org/10.1484/J.SEC.1.100249 |
| Data di pubblicazione: | 2009 |
| Abstract: | A previous analysis on colour terms in Papyri and the Greek Bible is the source of the present investigation. The description of women’s clothing in Jerusalem as occurring in Is 3,16-24 of the Septuagint Version is compared to literary, documentary (papyri, ostraka), artistic (mummy portraits) and handmade (dresses, fabrics) testimonies. The aim is to realise the reasons for some translating choices according to the culture and habits of that time, to the influence of the Greek Scriptures, to the Hellenistic literature and finally to the dowry lists in marriage contracts. The chromatic sensibility, typical of the Egyptian documentation, will be emphasised as well. Although in its Greek “edition” the passage does not correspond verbum de verbo to the Masoretic Text, it derives from this one: yet, the interpretation of some rare, if not hapax, Hebrew terms still remains doubtful. Apart from notes on colours, which do not occur in the Masoretic Text, transparent and elegant dresses are already listed in the original and attested in the Dead Sea Scrolls without any variation. What the translation innovates does not depend on a different Vorlage, but rather on the way the translator updates the fashion trends as to jewels and the haute couture, by taking inspiration from the ladies in Ptolemaic Alexandria. The message the original text conveys becomes more lively and effective when condemning the vacuity and pride of these women who adorn themselves with precious fabrics like the ones used for the furnishings and priests’ vestments in Jerusalem Temple. |
| Abstract: | Cet article part d’une étude précédemment effectuée sur le lexique des couleurs dans les papyrus et dans la Bible en grec. Il se propose de confronter la description des vêtements des femmes de Jérusalem de Is 3,18-24 dans la Septante avec les témoignages littéraires, docu-mentaires (papyrus, ostraka), artistiques (portraits des momies), artisanales (robes, tissus). Le but est de comprendre les choix du traducteur sur la base de la culture et des moeurs contem-poraines, de l’influence de l’Écriture grecque, de la littérature hellénistique et des livres des biens apportés en dot dans les contrats de mariage, en soulignant également la sensibilité chromatique de la documentation du provenence égyptienne. Si ce passage dans son édition grecque ne correspond pas verbum de verbo au Texte Mas-sorétique, toutefois il s’en inspire toutefois, même si des doutes demeurent à propos de l’interprétation de quelques lexèmes hébraïques rares sinon hapax. A part les annotations des couleurs, absentes dans le texte hébreu, les robes transparentes et élégantes, sont déjà énumérées dans l’original que les manuscrits de Qumran attestent sans aucune variante. Les innovations de la traduction ne dépendent donc pas d’un Vorlage diffé-rente, mais de la mise à jour dans la mode des bijoux et de la haute couture réalisée par le tra-ducteur qui s’inspire des dames de l’Alexandrie des Ptolemées. Ainsi le message du texte ori-ginaire acquiert une nouvelle vigueur et plus de vivacité dans la condannation de la vacuité de ces dames qui se parent avec des étoffes précieuses comme celles utilisées pour le Sanctuaire et pour les vêtements des prêtres. |
| Lingua: | Italiano |
| Rivista: | |
| Citazione: | Passoni Dell'acqua, A., Colori e trasparenze nella haute couture dell'Egitto tolemaico, <<SEMITICA ET CLASSICA>>, 2008; 1 (1): 113-138. [doi:10.1484/J.SEC.1.100249] [http://hdl.handle.net/10807/1361] |
| Appare nelle tipologie: | Articolo in rivista, Nota a sentenza |
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