Facultad de Humanidades y CC de la Comunicación

Although in the Hebrew Bible a specific term does not appear to refer to ‘colour’, unlike what happens in its Greek and Latin versions, colour terms are used in the di!erent books that it is composed of to denote the various chromatic spectrum that nature shows. In the Semitic world colour is what is perceived on the objects and human beings through sight due to the presence of light. For this reason, the study of colour in the Bible is intrinsically joined to the study of the entity imbued by colour. In the most of the cases the modern reader can identify the tonality expressed by colour terms precisely through the entity mentioned. Indeed, sometimes, the objects of nature themselves are used to denote colour as occurs with precious stones, metals or cloths. In the Book of Consolation the prophet Jeremiah uses the nominal lexeme yeraqôn to describe the faces of the soldiers terrified before the attack of the enemy (Jer 30.6). It is a peculiar use because yeraqôn appears 5 times in the Hebrew Bible joined to šidapôn, ‘blight’, with the meaning of ‘mildew’ (Deut 28.22; 1 Kings 8.37; Jer 30.6; Amos 4.9; Hag. 2.17; 2 Chr. 6.28). In fact, the main dictionaries and studies about colour propose that yeraqôn has two di!erent meanings: achromatic that is the most frequent (mildew) and the other one chromatic (paleness). Nevertheless, neither Greek neither Latin version, having colour terms that could be equivalents, use them and instead they resort to a term expressing a skin disease characterized by the fact that the person acquires a yellow hue as happens with mold: 􀗔􀕿􀖇􀕺􀖄􀖃􀖅 ‘jaundice’ and aurugo ‘jaundice’. Thus, it is logical asking if yeraqôn denotes e!ectiveness ‘paleness’. As it is mentioned, Jeremiah utilizes yeraqôn to describe the soldiers’ faces (Jer 30.6). As today, in Israel, the face reflects the emotions that the human being experiences, through gestures or a colour change on the face, as it can naturally turn red or pale. As it is known, one of the fear e!ects is the unexpected paleness. So it stands to set out that yeraqôn does indeed mean paleness. However, how can we explain the origin of this new meaning? Jer 30.6 appears in the context of divine punishment as occurs when it has the meaning of mildew. The mildew, attacking the plants, discolours them and they acquired a hue of low saturation between green and yellow. It seems that Jeremiah pays attention in the colour of the plants and, through a cognitive metonymy of kind ENTITY and SALIENT PROPERTY, uses yeraqôn to express only the colour acquired by a person, not ill as the plants, but terrified by fear. This explains that yeraqôn does not denote a plant illness, but the colour of fear.

The Book of Revelation is one of the most cryptic books of the Bible and one that raises many scholarly questions. What is its literary genre? Why is it considered to be both a narrative and a drama? Why does John disregard time-space coordinates? Why does the audience have such an important role in the text? What literary guidelines has the author designed to facilitate the reading of the book? Applying the methods of literary theory to her study, Lourdes Garcia-Urena argues that John wrote Revelation as a book to be read aloud in a liturgical context. In her reading, John chose a literary form, similar to the short story, that allows him to use time-space coordinates flexibly, to dramatize the text, and to take his time in describing his visions. Through these techniques the audience re-lives and is made part of the visual and auditory experience every time the book is read.

The meaning of χλωρός in Rev 6.8 has been given a variety of interpretations (green, yellow, pale, vigorous…) due to its polysemic character; that is, it possesses a chromatic as well as achromatic meaning and, in addition, if it denotes colour, can express a wide spectrum of hues. From this arises the need for a methodology that does not merely offer a translation, but rather a ‘meaning’. This methodology is based on: an analysis of the text; the use of the term; the concept of colour that existed in antiquity and the entity in which the colour was embodied; and the use of various lexicographical tools provided by the field of cognitive linguistics.

Das 21. Jahrhundert erlebt eine 'visuelle Kultur.' Diese ist in den 90er Jabren des 20. Jahrhunderts im akademischen Milieu entstanden. Das Bild hat sich zum vorherrschenden Medium der Übermittlung von Sachwissen, von Ge­fühlen und Emotionen entwickelt. Zwei Elemente sind es, die diese Entwicklung begünstigt haben: die Tendenz, jede Erfahrung zu visualisieren, sowie die im­mense Rolle, die die Farbe in diesem Prozess spielt. Bemerkenswerterweise sind genau dies auch die literarischen Merkmale, die die neutestamentliche Apoka­lypse des Johannes charakterisieren. Dies zeigt sich an der Verwendung des homodiegetischen Erzahlens und der selektiven Verwendung von 􀀓Mnw und ópáw, dem haufigen Gebrauch von Beschreibungsformen, die den Lesenden die Visualisierung der Visionen des Johannes erleichtem (hauptsachlich die mit 1

Joel’s oracle proclaiming the day of the Lord concludes with the announcement of a series of wonders. The event that the prophet announces is not devoid of chromatism, since the language of color emerges in the prophecy through elements of nature that connote color (blood, fire, smoke [Joel 3:3–4; Eng. 2:30– 31]). It is logical, then, to ask if חשך means “darkness” or, on the contrary, “color.” In order to determine if חשך has a chromatic meaning, I will apply a specific methodology based on cognitive linguistics. First, I will discuss the “encyclopedic knowledge” of the native speaker, describing the meaning of the color terms proposed in the main dictionaries and undertaking a comparative study of how the terms have been translated in the early versions of the Bible. I will then study the occurrences of the color terms in context and analyze the entity that describes the color term—the sun. In the light of this semantic analysis, I conclude that חשך expresses color in Joel 3:4, and this fact has great relevance for the interpretation of the prophecy.

The Book of Revelation, although it carries the same symbolism for blood that we find elsewhere in the Bible, examines this more deeply, recasting it with fresh nuances and giving it a unique stamp in continuity with the message of Jesus contained in the New Testament. In this way, colour and meaning become fused together, with blood referring to symbol and colour to theology. It can therefore be affirmed that the Book of Revelation is not only a chromatic story, but a chromatic revelation in which blood plays a vital role.

La autora señala los aspectos de carácter teológico que pueden ser iluminados a raíz del estudio de la metáfora del parto. Indica dos: el misterio de la filiación divina y la imagen de la maternidad de Dios. Respecto al misterio de la filiación divina del rey en el Antiguo Testamento, ésta aparece, en efecto, como una filiación adoptiva, pero no externa, sino interna, que se da hoy, en el hoy de la ascensión al trono del rey. Es una filiación que comporta un cambio en el ser del adoptado. En este sentido, la filiación divina del rey en el Salmo 2 presenta cierta semejanza con la filiación divina del cristiano. Los textos neotestamentarios muestran que la filiación divina del cristiano es también una filiación de carácter adoptivo (cfr. Ga 4,5); interna, que cambia desde dentro al ser del adoptado (cfr. Ga 4,6); y que se da hoy, en el hoy del agua bautismal (Jn 3,5). Respecto a la imagen de la maternidad de Dios, ésta constituye un ejemplo de que Dios se dirige al hombre, como el hombre es, varón y mujer, y habla de sí trascendiendo la distinción de género, pero asumiendo aquellas dimensiones de la persona que permiten expresar mejor la realidad divina.

Los mosaicos de Marko Iván Rupnik logran mostrar la verdad de fe con sencillez, sin embages, pero con toda su hondura. Puede afirmarse que son verdaderos "lugares teológicos". La Sagrada Escritura se convierte en sus teselas "en una especie de inmenso vocabulario de de Atlas iconográfico" (M. Chagall), hasta el punto de que las escenas logran inmortalizar en el instante que reproduce la piedra distintas páginas de la Escritura. La Tradición nutre y suple lo que la letra no es capaz de abarcar. Al mismo la configuración de la obra artística como elemento constitutivo de la Liturgia sugiere e incita al espectador a buscar más allá. Y en esa búsqueda se logra la segunda finalidad de la liturgia: el encuentro personal del hombre con su Dios.