Cultural unitred in the Old Testament

The paper describes and analyzes the full presence of red in the Old Testament-in Hebrew and translations.The approach is interdisciplinary,which includes:the treatment of color as a cultural unit,according to the idea of Umberto Eco;lexical and contextual semantics;examining Basic Color Terms(BCT-adjective,noun,verb),Prototype Terms(PT blood and fire),Rival Terms of Prototypes(RT),e.g.ruby;Ters for Basic Features of the Prototypes(TBFP burn);translation as a criterion and semiotic value;semiotic osmosis(semio-osmosis)as a process that aims equivalence between Hebrew PT and TBFP;semio-osmosis and accommodation;cultural and linguistic context;the interplay of old information(topic/theme)-new information(focus/rheme);rhizome of Hebrew root Aleph-Dalet-Mem deriving untranslatable set of words;well-structured and always translatable terms for PTs.Some links between the Old and New Testaments based on red color are explicit.

Cultural Unit Green in the Old Testament

The paper describes and analyzes the full presence of green in the Old Testament—in Hebrew and translations. The approach is interdisciplinary, which includes: the treatment of colour as a cultural unit, according to the idea of Umberto Eco; lexical and contextual semantics; examining Basic Colour Terms(BCT—adjective, noun, verb), Prototype Terms(PT—all plants), Rivals Terms of Prototypes(RT), e.g raven, shadow, ebony, etc.; Terms for the Basic Features of the Prototypes(TBFP—fresh, humid, juicy, lush, damp, humid, moist, wet, flowering, blossoming); translation as a criterion and semiotic value; semio-osmosis as a process that aims equivalence of translations, regardless of the different world views of Hebrew and other languages; semio-osmosis and accommodation; cultural and linguistic context; the interplay of old information(topic/theme)—new information(focus/rheme); context meanings and symbolism of grass; translation of PT and TBFP, e.g. fresh tree; grass & herbs; grass & freshness, vegetables, leafy as green; and biblical specialization of PT and TBFP, e.g. fresh tree(Hebrew).

Cultural unitwhite prototypeterms

The article focuses on the Hebrew prototypes terms(PTs)of white in the Old Testament-light,milk,and snow.The aim is to explore the worldview of Hebrew to reveal the original messages of the Bible.The translation is an essential tool that shows which translation elements(the word and its root derivatives)are symmetrical,asymmetric,and dissymmetric to Hebrew due to the different worldviews of languages.The method is interdisciplinary and includes several theories and approaches.Original is Almalech's methodology for tracking all verbal options to signify color:Basic color term(BCT),prototype term(PT),rival terms to prototype(RT),and terms for the basic feature of the prototype(TBFP).Semiotic osmosis is also an original element of Almalech's methodology and has a place in the study of colors in the Bible.The phenomenon is observed when Hebrew PT is translated with the BCT,Hebrew TBFP is translated with BCT in the Indo-European language,e.g.,darkness is translated with black,fresh is translated with green.In the case of light,semiotic osmosis is when a quality of light is perceived as synonymous with light,e.g.,brilliance is synonymous with light in Hebrew,English,Bulgarian,and other languages.The importance of light in religious systems,regional culture,and natural features are taken into account.Almalech's semiotic approach to color,ie.,treating them as a sign communication system,involves the insisting that a distinction must be made between verbal and visual color because of their different potential to have primary and secondary(figurative and cultural)meanings.The substance of the language sign(sound is a mechanical wave)is physically different from the visual sign(electromagnetic wave).Almalech considered prototypes to be the cognitive interface between verbal and visual colors.Therefore,semiotically understood,color is a cultural unit that contains verbal and visual colors,complemented by social,religious,and folkloric use of primary and secondary color meanings.

Cultural unit blue in the Old Testament

The paper describes and analyzes the full presence of blue in the Old Testament-in Hebrew and translations.The interdisciplinary approach in-cludes the treatment of color as a cultural unit according to of Eco's idea,lexical and contextual semantics,distinguishing visual and verbal color languages.The interface between verbal and visual color language is the prototype.Prototypes are universal natural visual objects-sky,sea,fire,blood,the sun at noon,all plants,light,milk,snow,darkness,and coal and have evolved into cultural units(Eco 1996[1985])in all cultures and languages.Basic Color Terms(BCT-blue),Prototype Terms(PT-sky and sea),Rivals Terms of prototypes(RT-sapphire,blue skins),Terms for Basic Features of the Prototypes(TBFP-breadth,infinite,boundless)are examined.Translation is a criterion for semiotic value,cultural and linguistic context.Norm of Test of Free Word-Associations is a source of non-color(secondary)meanings of verbal colors.Test results allow us to flesh out the hidden links‘prototype color-most typical feature of the proto-type-secondary meanings of color'in text and visual culture.The secondary cultural meanings of BCTs and RTs are specified in color compounds.The color blue tehelet is used in most cases in synergy(not in opposition)with the other three colors in a tetrad:purple argaman-scarlet tolaat shani-linen shesh.Analysis on the synergic relations is performed.The same applies to duads blue-linen,blue-purple,blue skins-scarlet,blue skins-red skins.Color compounds are elements of the Priestly Code,therefore a hypothesis on compounds at se-miotic axes is developed.The PT sky is involved in religious heritage.Themes as Hebrew substitute shamaim for the Tetragrammaton,the Hierarchy of heavens complete the areas of cultural unit blue in the Old Testament.