Prof. Rabbi Laura Lieber is professor of Religious Studies at Duke University, where she directs the Duke Center for Jewish Studies. She holds a Ph.D. in the History of Judaism from the University of Chicago and rabbinic ordination from HUC-JIR in Cincinnati. Her research focuses on Jewish liturgical poetry.
Last Updated
September 26, 2020
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The seventh part of the qedushta for the ancient triennial Torah reading וַיְהִי בַּחֲצִי הַלַּיְלָה, “It Came to Pass at Midnight,” was preserved in the Haggadah. This is the only poem of Yannai’s (ca. 5th/6th cent. C.E.) to be retained in the liturgy.
The seventh part of the qedushta for the ancient triennial Torah reading וַיְהִי בַּחֲצִי הַלַּיְלָה, “It Came to Pass at Midnight,” was preserved in the Haggadah. This is the only poem of Yannai’s (ca. 5th/6th cent. C.E.) to be retained in the liturgy.
Self-affliction and fasting heightens awareness of our bodies; at the same time, it helps us to transcend our immanent selves. This tension was embraced by the 6th century poet Yannai in his qerova, who beseaches God to forgive Israel both out of pity for their wretchedness and on account of their resemblance to angels.
Self-affliction and fasting heightens awareness of our bodies; at the same time, it helps us to transcend our immanent selves. This tension was embraced by the 6th century poet Yannai in his qerova, who beseaches God to forgive Israel both out of pity for their wretchedness and on account of their resemblance to angels.
Yose ben Yose’s 4th century CE piyyut for the shofarot service, and its creative use of the Song of Songs.
Yose ben Yose’s 4th century CE piyyut for the shofarot service, and its creative use of the Song of Songs.
