Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Mary in the Psalms.
Zeitschriftenartikel zum Thema „Mary in the Psalms“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Mary in the Psalms" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Osherow, Michele. „Mary Sidney's embroidered psalms“. Renaissance Studies 29, Nr. 4 (23.07.2015): 650–70. http://dx.doi.org/10.1111/rest.12166.
Der volle Inhalt der Quelle
2
Swaim, Kathleen M. „Contextualizing Mary Sidney's Psalms“. Christianity & Literature 48, Nr. 3 (Juni 1999): 253–73. http://dx.doi.org/10.1177/014833319904800302.
Der volle Inhalt der Quelle
3
Hutahaean, Hasahatan, Elirani Gea und Adarsan Simarmata. „Membaca Dan Memaknai Mazmur Ratapan 12 Dengan Metode Baca Gali Alkitab“. Manna Rafflesia 7, Nr. 1 (31.10.2020): 135–57. http://dx.doi.org/10.38091/man_raf.v7i1.132.
Der volle Inhalt der QuelleAnnotation:
One type of psalm is Lament. Psalms of Lament sung with weeping, weeping driven by the psalmist's sorrow. David wrote many psalms where one of them is lamentation in Psalm 12. In this article the psalmist experienced a change of mood (feeling) from lamenting, joyful hope then again lamenting. The research in this paper used a qualitative approach to library research methods. Literature research requires a study of related literature to guide researchers to achieve the research objectives of the data taken based on selected books. While the interpretation to find the meaning of the text of the Research Team uses the method of Reading the Bible (BGA). The methods of BGA are simple but practice interpretation that was designed initially for Christian quiet times. After Psalm 12 interpreted, the Research Team founded that the psalmist was still lamenting over the situation around him. Even though the psalmist experienced joy because God will save, but the wicked are still there and rottenness still arises among the sons of men. Because God works not based on the presence or absence of the wicked and rottenness among the children of men.
4
Tyra, Steven W. „“Mary puts us all to shame”“. Church History and Religious Culture 98, Nr. 3-4 (12.12.2018): 367–86. http://dx.doi.org/10.1163/18712428-09802002.
Der volle Inhalt der QuelleAnnotation:
AbstractThis article examines Martin Luther’s interpretation of Saint Mary Magdalene throughout his career, from his Psalms lectures of 1513 to his sermons on John’s Gospel in 1529. In particular, it will be argued that Luther both adopted and reshaped the exegetical tradition flowing from the twelfth-century theologian, Bernard of Clairvaux. The final result was a Reformation reading of the Magdalene that was neither fully medieval nor “Protestant” as the tradition would later develop. Luther’s journey with the saint thus illumines his ambiguous place in the history of biblical interpretation, as well as his fraught relationship to the medieval past.
5
Basson, Willem Diederick, und Daleen Kruger. „Persepsies oor die sinodebesluite en aard van die psalms binne die GKSA“. Koers - Bulletin for Christian Scholarship 81, Nr. 3 (15.12.2016): 2–9. http://dx.doi.org/10.19108/koers.81.3.2261.
Der volle Inhalt der QuelleAnnotation:
Perceptions regarding synod decisions and the nature of psalms in the RCSA. Since its inception in 1859, the Reformed Church in South Africa has been singing only psalms, scriptural hymns and Biblical songs. Currently, there are two official versifications of the psalms in use within the Reformed Church, namely the so-called Totius versification of 1936 and the 2001 rhymed version of psalm texts, mainly by T.T. Cloete. A study of members’ perceptions of synod decisions and the nature of the psalms in the Reformed Church shows that the psalms are not fully utilised. Synods decide what type of songs, type of songs, including psalms, are approved, are approved for use. Members believe that many psalms are no longer suitable for the 21st-century churchgoer, that synod decisions appear to be out of touch with members’ musical needs and that synods oppose musical innovation. The purpose of this article is to give an overview of ministers, organists/music leaders and parishioners’ perceptions regarding the nature and use of psalms during worship in the Reformed Church of South Africa as well as synod decisions pertaining to the psalms. Die Gereformeerde Kerke in Suid-Afrika sing vanaf die kerk se ontstaan in 1859 slegs psalms, Skrifberymings en Skrifgetroue liedere. Tans is daar twee amptelike psalmberymings in gebruik binne die Gereformeerde Kerk, naamlik die sogenaamde Totius-beryming van 1936, asook die 2001-omdigting met psalmtekste deur hoofsaaklik T.T. Cloete. ’n Studie van lidmate se persepsies oor sinodebesluite en die aard van die psalms binne die Gereformeerde Kerk toon aan dat die psalms nie optimaal benut word nie. Sinodes besluit watter tipe liedere, insluitend psalms, vir gebruik goedgekeur word. Lidmate glo dat talle psalms nie meer geskik is vir die 21ste-eeuse lidmaat nie, dat sinodebesluite uit voeling is met lidmate se musikale behoeftes en dat sinodes musikale vernuwing teenwerk. Die doel van hierdie artikel is om ’n oorsig te gee van die persepsies van predikante, orreliste/musiekleiers en gemeentelede met betrekking tot die aard en gebruik van die psalms binne die erediens van die Gereformeerde Kerke van Suid-Afrika, asook sinodebesluite wat hiermee verband hou.
6
Trocmé-Latter, Daniel. „The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva“. Plainsong and Medieval Music 20, Nr. 2 (15.09.2011): 145–63. http://dx.doi.org/10.1017/s0961137111000039.
Der volle Inhalt der QuelleAnnotation:
ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.
7
Poxon, Andrew. „The Institutionalization of the Congregational Singing of Metrical Psalms in the Elizabethan Reformation“. Studies in Church History 57 (21.05.2021): 120–41. http://dx.doi.org/10.1017/stc.2021.7.
Der volle Inhalt der QuelleAnnotation:
Previous scholarship has often employed the categories of ‘voluntary’ and ‘established’ religion when studying lay involvement in parish religion; yet these categories do not provide adequate space for the vitality of lay religious initiatives during the English Reformation. Through a study of the singing of metrical psalms, this article argues that the categories of ‘inspiration’ and ‘institution’ provide a more nuanced understanding of lay religious initiatives during the English Reformation. It outlines the ways in which the singing of metrical psalms, taken from the Sternhold and Hopkins Whole Booke of Psalmes, moved from its origins in domestic devotions, through inspirational initiative, to become an institutionalized part of the worship of English congregations. This process developed over many years, coming to the fore during the reign of Elizabeth I, yet even once institutionalization had occurred, inspiration could still arise, providing fresh direction and development.
8
Dada, Samuel Ayodele, und Omolara Kikelomo Owoeye. „The Psalms as Poems: A Case Study of Psalm 136“. JOURNAL OF ADVANCES IN LINGUISTICS 4, Nr. 1 (26.06.2014): 347–54. http://dx.doi.org/10.24297/jal.v4i1.5211.
Der volle Inhalt der QuelleAnnotation:
The paper is an in-depth study of the one hundred and thirty-sixth Psalm of the Holy Bible from a linguistic lens view. Using a stylo-rhetorical approach to the analysis of the contents of this Psalm, the study discovers that the style and contents of the data are akin to that of many poetic works right from the time of English poetry in medieval times. Psalm 136 is essentially a ballad in terms of its tragic content. The story telling, tragic essence and lyrical content of the Psalm all combined to establish its poetic substance. The conclusion of the work is that Psalm 136, though written on and for religious worship, qualifies to be described as poetry.
9
Ho, Peter C. W. „The Macrostructural Logic of the Alphabetic Poems in the Psalter“. Vetus Testamentum 69, Nr. 4-5 (14.10.2019): 594–616. http://dx.doi.org/10.1163/15685330-12341395.
Der volle Inhalt der QuelleAnnotation:
AbstractWith the emergence of the canonical approach to the Psalter, individual psalms are no longer studied as standalone compositions, but viewed along a continuum of psalms to provide meaning. While scholars have analysed alphabetic poems and how they add to meaning, the study of such poems has rarely gone beyond the individual psalm. This paper seeks to understand alphabetic poems within the horizon of the Psalter and whether they function together to provide meaning at the macrostructural level. The paper begins with analyses of eight generally accepted alphabetical acrostics in the Psalter. From their characteristics, a total of forty-six alphabetic poems are suggested. It is observed that these poems mark leitmotifs at prominent locations and develop the motif of David across the entire Psalter. The macrostructural logic of alphabetical poems, as a whole, is subservient to the overarching theological thrust of the Psalter.
10
Tax, Petrus W. „Ein Psalmenkommentar Haimos von Auxerre: perierat, et inventus est“. Mediaevistik 32, Nr. 1 (01.01.2020): 227–36. http://dx.doi.org/10.3726/med.2019.01.10.
Der volle Inhalt der QuelleAnnotation:
<?page nr="227"?>Abstract In a 1945 article the discovery of a genuine Psalms commentary by Remigius of Auxerre was announced, even in two versions. But it could be shown that only version 2 was genuine. Then the question arose whether Remigius was the author of this commentary or another Auxerre exegete. Already at the end of the fifteenth century the very learned biographer and bibliographer Trithemius had ascribed a Psalm commentary”lib. 1” to Haimo (of Halberstadt, whom he confused with Haimo of Auxerre). Further research showed that there are indeed many common features between the text of this version 2 Psalms commentary and the writings of Haimo of Auxerre, especially his Ezechiel commentary and his “Scolia quaestionum,” a collection of excerpts, often containing solutions of exegetical problems, which Haimo frequently used in his exegesis. These common features consist not only of the same use of exegetical themes such as the Last Judgment but also of criticism of worldly as well as ecclesiastical authorities, references to old heresies and showing their impact in modern times, the pointing out of irony, the interest in titles of rulers in the East and the West, the treatment of unusual topics such as cannibalism, and a common stylistic feature: the consistent use of ‘beatus‘ in refererences to early exegetes such as Augustine, Jerome, even Cassiodorus. Thus it became apparent that indeed Haimo of Auxerre has to be considered as the author of version 2 of this Psalms commentary.
11
Wynne-Davies, M. „Mary Sidney Herbert's Psalm Translations“. Cambridge Quarterly 29, Nr. 2 (01.02.2000): 181–84. http://dx.doi.org/10.1093/camqtly/29.2.181.
Der volle Inhalt der Quelle
12
Wynne-Davies, M. „Mary Sidney Herbert's Psalm Translations“. Cambridge Quarterly XXIX, Nr. 2 (01.02.2000): 181–84. http://dx.doi.org/10.1093/camqtly/xxix.2.181.
Der volle Inhalt der Quelle
13
Hopf, Matthias. „Die Psalmen als „verbale Bühnen““. Biblische Zeitschrift 65, Nr. 1 (20.01.2021): 1–27. http://dx.doi.org/10.30965/25890468-06501001.
Der volle Inhalt der QuelleAnnotation:
Abstract Many psalms display characteristics that are – in literary theory – associated with performance texts like “dramas”. The criteria for this are that texts feature a “lexis” (direct speech out of the mouth of a discernible character), an “opsis” (elements evoking a scenery etc., often presented in direct speech), and plot structures (not only story plots, but also character development and the like). Many psalms fit this criterology, even though some more than others, as well as partially with some very unique characteristics. Still, this allows for understanding several psalms as miniature “verbally presented stages”. The implications of this basal communicative structure are explored in this contribution, a major of which pertains to the recent discussion on identification potentials: In some psalms the lyrical subject is an offer to identify with, whereas in others – the ones discussed here – it is better understood as opposite to the recipient.
14
Willgren, David. „‘May YHWH avenge me on you; but my hand shall not be against you’ (1 Sam. 24:13): Mapping land and resistance in the ‘biographical’ notes of the ‘Book’ of Psalms“. Journal for the Study of the Old Testament 43, Nr. 3 (März 2019): 417–35. http://dx.doi.org/10.1177/0309089217725257.
Der volle Inhalt der QuelleAnnotation:
The ‘biographical’ notes of the Masoretic ‘Book’ of Psalms are often understood as placing the psalms in dialogue with 1-2 Samuel, and casting David as a pious exemplar. As David prayed psalms in his distress, so can anyone. Indebted to an influential article by Brevard Childs, many scholars also see early traces of midrashic exegesis. However, this is not entirely persuasive, and to inquire into these issues, the article proceeds from the observation that many of the ‘biographical’ notes cluster around similar events. In most of them, David is fleeing from Saul. Following a survey of the ‘biographical’ notes in both the Masoretic text and the Septuagint, it is argued that the often-suggested connections between the psalms and 1-2 Samuel are quite weak, and that a better way to understand the addition of ‘biographical’ notes is found when reading them in light of a resurfacing Saulide–Davidic rivalry in post-exilic times.
15
Turner, Geoffrey. „The Righteousness of God in Psalms and Romans“. Scottish Journal of Theology 63, Nr. 3 (01.07.2010): 285–301. http://dx.doi.org/10.1017/s0036930610000372.
Der volle Inhalt der QuelleAnnotation:
AbstractPaul quoted extensively from scripture, especially in Romans. Many of these citations are from the Psalms, using the Septuagint. Paul could have found all his vocabulary and concepts for ‘justification by faith’ in the Psalms. The Psalms contain a doctrine of ‘righteousness through faithfulness’: God is righteous by forming a covenant with Israel, and proves his righteousness by remaining faithful to that covenant despite Israel's failings. He will remain faithful to the end by vindicating his righteous ones when they are oppressed by the ungodly. Israelites are righteous by having been elected to the covenant and will remain righteous through faithfulness to God, the marks of which are the avoidance of idolatry and keeping the law. Far from rejecting this Old Testament inheritance, Paul takes over this doctrine of ‘righteousness through faithfulness’ as it stands in the Psalms (Romans 1:18–3:20) and then christologises it (from 3:21). The mark of faithfulness to God now is no longer the law, however, but faithfulness to Christ, who is himself the model of faithfulness and what it is to be righteous. This understanding of how one becomes righteous is located by Paul himself within his fivefold scheme of salvation at Romans 8:30: foreknown, predestined, called, made righteous and glorified.
16
Gordley, Matthew E. „Psalms of Solomon as Resistance Poetry“. Journal of Ancient Judaism 9, Nr. 3 (19.05.2018): 366–85. http://dx.doi.org/10.30965/21967954-00903005.
Der volle Inhalt der QuelleAnnotation:
Two trends in recent scholarship provide a new set of lenses that enable contemporary readers to appreciate more fully the contents and genre of Psalms of Solomon. On the one hand, scholars such as Richard Horsley, Anathea Portier-Young, and Adela Yarbro Collins have now explored the ways in which early Jewish writers engaged in a kind of compositional resistance as they grappled with their traditions in light of the realities of oppressive empires. These approaches enable us to consider the extent to which Psalms of Solomon also may embody a kind of resistant counterdiscourse for the community in which it was edited and preserved. On the other hand, scholars within biblical studies (e. g., Hugh Page) and beyond have examined the dynamics of the poetry of resistance. Such poetry has existed in many times, places, and cultures, giving a voice to the oppressed, protecting the memory of victims, and creating a compelling vision of a possible future in which the oppression is overcome. In this article the poetry of Guatemalan poet Julia Esquivel is interwoven with Psalms of Solomon to illustrate these dynamics and to illuminate the kinds of concerns that scholars like Barbara Harlow and Caolyn Forché have highlighted within the poetry of witness. Since Psalms of Solomon has yet to be explored through these dual lenses of resistance and resistance poetry, this article examines these early Jewish psalms in light of these scholarly trends. I argue that Psalms of Solomon can be understood as a kind of resistance poetry that enabled a community of Jews in the first century B. C. E. to resist the dominant discourse of both the Roman Empire and its client king, Herod the Great. The themes of history, identity, and possibility that pervade resistance poetry in other times and places are central features of Psalms of Solomon.
17
Evans, J. Martin. „Mary Ann Radzinowicz. Milton's Epics and the Book of Psalms. Princeton: Princeton University Press, 1989. xvii + 227 pp. $32.50.“ Renaissance Quarterly 43, Nr. 4 (1990): 882–84. http://dx.doi.org/10.2307/2862823.
Der volle Inhalt der Quelle
18
Whiting, Mark J. „Psalms 1 and 2 as a hermeneutical lens for reading the Psalter“. Evangelical Quarterly 85, Nr. 3 (30.04.2013): 246–62. http://dx.doi.org/10.1163/27725472-08503004.
Der volle Inhalt der QuelleAnnotation:
Psalms 1 and 2 are considered unimportant in many interpretative paradigms. It is argued that this is due, in part, to the canonisation of the presupposition that there is no coherent determinable literary structure in the Psalter. This presupposition is challenged by noting the evidence that exists of literary intentionality at the micro-, meso- and macro-structural levels within the Psalter. The content of Psalms 1 and 2 is identified and the use of these themes and motifs within the Psalter is explored. A unifying overarching concern with Zion Theology is tentatively considered. The hermeneutical and theological potential of Psalms 1 and 2 as an intentional introduction are explored. Such an editorial agenda indicates that the collected Psalter is a deliberate rereading of its individual compositions. We conclude with the suggestion that this rereading might usefully be seen as a step in the direction of the more radical rereading demanded by NT faith.
19
Grzywaczewski, Józef. „Okoliczności kompozycji hymnu Akatyst ku czci Najświętszej Maryi Panny“. Vox Patrum 69 (16.12.2018): 195–218. http://dx.doi.org/10.31743/vp.3259.
Der volle Inhalt der QuelleAnnotation:
The author of this article tries to situate the famous Greek Hymn Akathistos in its large context. He presents the Old Testament tradition, especially the Psalms, and the New Testament tradition: Christological hymns and the person of Mary in the Gospel. The Christians of the first centuries used to sing hymns during their meetings of prayer. The old Hellenic tradition in poetry and music could also have influence on the Christian poetry and music, especially on the formal aspect of such compositions. It seems to be obvious that the Akathistos was inspired by the theological considerations on Mary as Christ’s Mother. This hymn is a great praise of Mary as Theotokos; this title was accepted officially in the Church by the Council of Ephesus (431). The exact date of the composition of the hymn is not known; it is only known that this hymn was sung in 626 in Constantinople as thanksgiving to Mary for the expelling of the aggressors (a regiment of the Persian army). The question of authorship of Akathistos is still discussed; most scholars attribute it to Romanos Melodus, but such an opinion is considered as probable. The aim of this article is to introduce the lector into the study on the theology of the Akathistos (Christology and Mariology). Surely, such a study can be precious for the Christian spirituality.
20
Andoková, Marcela. „“ut nos simus codex ipsorum” The Interpretation of verba dubitationis in St. Augustine’s Homiletic Œuvre*“. Acta Antiqua Academiae Scientiarum Hungaricae 59, Nr. 1-4 (25.09.2020): 341–51. http://dx.doi.org/10.1556/068.2019.59.1-4.30.
Der volle Inhalt der QuelleAnnotation:
Summary:St. Augustine as a preacher used a language close to his multi-ethnic North-African audience who were often poorly educated in Latin, if not illiterate. So when explaining difficult biblical passages translated from Greek into Latin, he had to search for appropriate expressions which, in many cases, were not conform with standard Latin taught at schools. Therefore, this paper focuses on some aspects of Late Latin present in old Latin translations of Scriptures and explained by Augustine in his exegetical homilies, mainly in his Commentaries on the Psalms, paying particular attention to his interpretation of verba dubitationis (especially forsitan) as reflected in his Enarratio in Psalmum 123. 8, Tractatus in Iohannis Evangelium 37. 3–5, and other related passages.
21
Fisken, Beth Wynne. „"The Art of Sacred Parody" in Mary Sidney's Psalmes“. Tulsa Studies in Women's Literature 8, Nr. 2 (1989): 223. http://dx.doi.org/10.2307/463736.
Der volle Inhalt der Quelle
22
KOLB, ROBERT. „Luther's Theology of the Cross Fifteen Years after Heidelberg: Lectures on the Psalms of Ascent“. Journal of Ecclesiastical History 61, Nr. 1 (02.12.2009): 69–85. http://dx.doi.org/10.1017/s0022046909991345.
Der volle Inhalt der QuelleAnnotation:
Luther's hermeneutical principles labelled ‘the theology of the cross’, developed in his ‘Heidelberg theses’ of 1518, continued to guide his formulation of biblical teaching throughout his career. In lectures on the Psalms of ascent (1532–3), under quite different circumstances, Luther claimed again that ‘Our theology is a theology of the cross’. Five elements of his Heidelberg theologia crucis guided his interpretation in these lectures. The distinction of the hidden and the revealed God, the focus on Christ's atoning sacrifice for sin, the reliance on faith in God's Word rather than human reason, God's working ‘under the appearance of opposites’ and the suffering involved in battling Satan shape his treatment of many passages in the lectures on Psalms cxx–cxxxiv.
23
Eriksen, Roy T. „George Gascoigne's and Mary Sidney's Versions of Psalm 130“. Cahiers Élisabéthains: A Journal of English Renaissance Studies 36, Nr. 1 (Oktober 1989): 1–9. http://dx.doi.org/10.1177/018476788903600105.
Der volle Inhalt der Quelle
24
Jakšić, Nikola. „Iluminirani psaltir 15. stoljeća zadarskih franjevaca“. Ars Adriatica, Nr. 2 (01.01.2012): 119. http://dx.doi.org/10.15291/ars.444.
Der volle Inhalt der QuelleAnnotation:
The author discusses an illuminated manuscript from the convent of St Francis at Zadar. Nine folios featuring the most representative initials from this manuscript were cut out in 1974 and their whereabouts have been unknown ever since. Only old black and white photographs of this psalter are known in the scholarly literature. With the aid of colour details preserved on a roll film at the Conservation Office at Zadar, the author attempts to reconstruct their original appearance. He highlights the fact that this psalter has not been thoroughly analyzed or consistently described. He establishes that this is a Liturgical psalter (psalterium feriale) which differs from a Biblical psalter, and that it contains a hymnal (psalterium cum hymnis). Each psalm and hymn begins with an illuminated initial, most of which are decorative. However, the psalter has eight figural initials ( littera historiata), which the author analyzes individually and establishes as a direct reflection of the division of the psalter into the days of the liturgical week. Figural decoration was given only to the initials of the first psalm of each new liturgical day (feria), which makes seven in total. These are: Psalms I, XXVI, XXXVII, LII, LXVIII, LXXX and XCVII, where Psalm I marks Sunday, Psalm XXVI Monday and so on, until the end of the liturgical week. Figural decoration was also given to the very first initial at the beginning of the psalter which opens with a so-called Invitatorium. Each figural initial is described in detail and special emphasis is given to initial B on folio 5 which represents the richest initial in the entire psalter. At its bottom is a depiction of St Bernardine, rather than St Anthony of Padua or St Francis as has been suggested.In this paper, the author publishes all the initials and places them in the context of their respective psalms. The paper graphically differentiates three types of initials through the use of different typesetting. The figural initials, littera historiata, are printed in bold, the italic typeface is applied to the littera dominicalis, while the others, ‘littera ferialis’, which form the majority, are printed in regular typeface. The colour red is used for a rubrica, that is the subtitles which mark the psalter’s individual sections, such as the Invitatorium, feria, hymns etc. This enables even those who have no command of Croatian to gain insight into the entire content of the psalter. Contrary to current opinion which claims the psalter to be the work of a Venetian school, and contrary to an isolated view that it was created at Zadar itself, the author deems that the psalter was created in the circle of Bologna, most likely around 1460 or soon after this date.
25
Gillingham, Susan. „The Exodus Tradition and Israelite Psalmody“. Scottish Journal of Theology 52, Nr. 1 (Februar 1999): 19–46. http://dx.doi.org/10.1017/s0036930600053473.
Der volle Inhalt der QuelleAnnotation:
It is impossible to read the first fifteen chapters of Exodus alongside the royal psalms and Zion hymns in the Psalter without noticing that very different perceptions of Israel's beginnings co-existed in the pre-exilic period. The Moses-Egypt tradition is about a wandering people, deprived of land and status, living under the promise of the protection offered by a nomadic clan-god; whilst the David-Zion tradition, fundamental to so many psalmists, concerns an established nation, a royal state cult which ratifies claims to land and status through its deity ‘housed’ in a Temple. And yet the Exodus tradition is used in a handful of psalms: the question thus arises — what purpose does it serve? Furthermore, why should the psalmists use such an anomalous tradition in this way?
26
Furey, Constance M. „Impersonating Devotion“. Representations 153, Nr. 1 (2021): 11–28. http://dx.doi.org/10.1525/rep.2021.153.2.11.
Der volle Inhalt der QuelleAnnotation:
What can biblical psalms teach us about literary devotion? An unexpected answer to that question is provided by Philip Sidney’s The Defence of Poesy (1595), a touchstone of literary criticism in its time and in ours. The argument in this essay unfolds from analysis of a single paragraph, which reveals how Sidney’s description of King David’s Psalms challenges our regnant categories in the following way: If today religion connotes fidelity or devotion to an external authority, as for many it does, and if literature entails authorial sovereignty and independent creativity (also a widespread assumption), then Sidney’s approach deviates by equating divine inspiration with poetic creativity. His celebration of variable voices and personae, in particular, undermines the distinction between fidelity and autonomy by offering the psalmist’s voice as a model of transformative self-expression.
27
Coleman, Stephen. „The Psalmic Oral Formula Revisited: A Cognitive-Performative Approach“. Biblical Interpretation 27, Nr. 2 (08.05.2019): 186–207. http://dx.doi.org/10.1163/15685152-00272p02.
Der volle Inhalt der QuelleAnnotation:
Abstract In the wake of Milman Parry’s and Alfred Lord’s groundbreaking discovery of oral composition in Homeric epics, biblical scholars analyzed the formulaic language of the biblical Psalms with a view toward establishing a similar compositional function. This approach met with little success. Among the many recent refinements to the Oral-Formulaic theory is the distinction between oral composition and oral conception, a distinction which allows for identifying oral features of a “text” which do not necessarily reflect composition in performance. The goal of this article is two-fold. First this article proposes a new model for identifying oral formulas based on the theory of prototypical categorization developed within the field of cognitive sciences, particularly cognitive linguistics. Second, this article argues that the psalmic oral formulas are best understood as linguistic registers which evoke a performance arena, a feature of orally derived literature described most extensively by John Miles Foley.
28
Slavova, Tatyana. „Selected Psalms (“David’s Prophesies”) of The Palaea Interpretata“. NSU Vestnik. Series: Linguistics and Intercultural Communication 17, Nr. 2 (2019): 5–13. http://dx.doi.org/10.25205/1818-7935-2019-17-2-5-13.
Der volle Inhalt der QuelleAnnotation:
During the Middle Ages on the Eastern Orthodox Church territories there existed an encyclopedia book, entitled the Palaea Interpretata that was extremely popular and highly respected. The current paper studies one of the Biblical sources of The Palaea Interpretata – namely, the collection of selected psalms, entitled “David’s Prophesies” (давидъ же прорицаше). The discussion is focused on the compiler’s placing of the collection in The Palaea, in the part dedicated to David (i.e. after the excerpts from the First and Second Books of Samuel and before the First Book of Kings). David’s Prophesies belonged to the original content of The Palaea Interpretata. They had one major goal – to represent the Old Testament as a prototype of the New Testament and to prove the superiority of the Christian doctrine over the non-Christian ones. The Compiler of The Palaea Interpretata chose various psalms or parts of psalms, dividing them into twenty five orations with respective titles. To trace the editing performed over the Psalter text the current article draws a parallel with the text of seven psalters from the 11th–16th centuries. It establishes the greatest resemblance with the Bychkov Psalter of the 11th century, which reflects the Preslav version of the Psalter translation. At the same time, it becomes obvious that “David’ Prophesies” of The Palaea Interpretata have also retained many of the peculiarities of the primary translation of the Psalter as reflected in Sinai Glagolitic Psalter. The Glagolitic traces are to be found in the very text of “David’s Prophesies” of The Palaea Interpretata, which obviously derive from the psalter, serving as their source and protograph. The source was of relatively old origin; it contained traces of Glagolitic letters, and reflected the Psalter’s primary translation into Old Bulgarian by Cyril and Methodius, which had been edited in Preslav.
29
Collins, Adela Yarbro. „Psalms, Philippians 2:6-11, and the Origins of Christology“. Biblical Interpretation 11, Nr. 3 (2003): 361–72. http://dx.doi.org/10.1163/156851503322566787.
Der volle Inhalt der QuelleAnnotation:
AbstractStudents of early Christianity recognized long ago that the canonical psalms of the Jewish Bible provided a framework of meaning in which the followers of Jesus could make sense of his crucifixion. This novel hermeneutic is evident in the allusions to the Psalms in the passion narrative of the Gospel according to Mark. It appears also in the Markan Jesus's explanation of the need for the Son of Man to suffer. Most students of the New Testament today understand Philippians 2:6-11 as a pre-Pauline hymn that was composed for early Christian worship. More recent studies suggest that it is exalted prose rather than poetry. The hypothesis of this article is that Paul composed it, either for worship or for the purposes of the argument of his letter to the Philippians. In doing so, he adapted a common social practice of the local culture. The "theologos" was an official in the organized worship of an ancient deity whose duty it was to compose brief speeches, sometimes in prose, sometimes in poetry, in honor of the deity. The organized worship of the emperor included such officials. Paul acted as a "theologos" in writing a brief speech in exalted prose honoring Jesus Christ, whom he had taught the Philippians to honor instead of the emperor.
30
Wiedermann, Gotthelf. „Alexander Alesius' Lectures on the Psalms at Cambridge, 1536“. Journal of Ecclesiastical History 37, Nr. 1 (Januar 1986): 15–41. http://dx.doi.org/10.1017/s0022046900031894.
Der volle Inhalt der QuelleAnnotation:
In the summer of 1535 Anglo-German relatios assumed a new dimension. Faced with the prospect of a Catholic alliance on the continent and the possibility of a general council in the near future, Henry VIII was forced to consider more seriously than ever before a defensive alliance with the German Protestants. In August of that year, while Robert Barnes was approaching Wittenberg via Hamburg, commissioned by Henry both to prevent Melanchthon's rumoured visit to France and to make preparations for a full diplomatic mission to the princes of Lutheran Germany, Philip Melanchthon sent copies of the latest edition of his Loci Communes to the king of England, to whom they had been dedicated. The envoy on this mission was the Scottish Augustinian, Alexander Alesius, who was lecturing at the University of Wittenberg at that time. Alesius had received his own university education in St Andrews. Upon his graduation in 1515, he had entered the Augustinian priory there and subsequently proceeded to the study of theology. As a successful student of scholastic theology he had felt himself called to refute Lutheran theology as soon as it began to be debated in Scotland. In February 1528 he was commissioned to bring about the recantation of Patrick Hamilton, but the discussions with this first martyr of the Scottish Reformation as well as the latter's steadfast death at the stake led to a profound questioning of his own convictions. In the following year Alesius emerged as a severe critic ofthe old Church, for which he paid dearly by persecution and imprisonment. After an adventurous escape from St Andrews and months of travelling he finally reached Wittenburg, where he was inscribed in the faculty of arts in October 1532. So far very litde is known about Alesius' activities in Wittenberg. Yet there are two reasons why some elucidation of his academic activities and theological development during his three years at Wittenberg is highly desirable. First, it would be surprising indeed if his first experiences at this university, and especially the direct contact with Luther and Melanchthon, had not left a mark on his thought and career as a reformer. Second, his close friendship with the English reformers and his involvement in the doctrinal debates in England during the late 1530s suggests that Alesius formed an important link between the Reformation in England and in Germany.
31
Bashanova, M. A., Yu Zhang und A. A. Yakovlev. „Names of the days of the week in the language consciousness of Russian and Chinese undergraduate students“. NSU Vestnik. Series: Linguistics and Intercultural Communication 17, Nr. 2 (2019): 102–14. http://dx.doi.org/10.25205/1818-7935-2019-17-2-102-114.
Der volle Inhalt der QuelleAnnotation:
During the Middle Ages on the Eastern Orthodox Church territories there existed an encyclopedia book, entitled the Palaea Interpretata that was extremely popular and highly respected. The current paper studies one of the Biblical sources of The Palaea Interpretata – namely, the collection of selected psalms, entitled “David’s Prophesies” (давидъ же прорицаше). The discussion is focused on the compiler’s placing of the collection in The Palaea, in the part dedicated to David (i.e. after the excerpts from the First and Second Books of Samuel and before the First Book of Kings). David’s Prophesies belonged to the original content of The Palaea Interpretata. They had one major goal – to represent the Old Testament as a prototype of the New Testament and to prove the superiority of the Christian doctrine over the non-Christian ones. The Compiler of The Palaea Interpretata chose various psalms or parts of psalms, dividing them into twenty five orations with respective titles. To trace the editing performed over the Psalter text the current article draws a parallel with the text of seven psalters from the 11th–16th centuries. It establishes the greatest resemblance with the Bychkov Psalter of the 11th century, which reflects the Preslav version of the Psalter translation. At the same time, it becomes obvious that “David’ Prophesies” of The Palaea Interpretata have also retained many of the peculiarities of the primary translation of the Psalter as reflected in Sinai Glagolitic Psalter. The Glagolitic traces are to be found in the very text of “David’s Prophesies” of The Palaea Interpretata, which obviously derive from the psalter, serving as their source and protograph. The source was of relatively old origin; it contained traces of Glagolitic letters, and reflected the Psalter’s primary translation into Old Bulgarian by Cyril and Methodius, which had been edited in Preslav.
32
Clarke, Danielle. „Memory and memorialization in the Psalmes of Mary Sidney, Countess of Pembroke“. Memory Studies 11, Nr. 1 (Januar 2018): 85–99. http://dx.doi.org/10.1177/1750698017736840.
Der volle Inhalt der QuelleAnnotation:
This article argues that early modern memory practices are intimately bound up with questions of subject formation, and that questions of gender and agency are central to debates over these practices, both within and beyond educational sites. Taking Mary Sidney, Countess of Pembroke as the example, it argues that rote-learning, copying, and memorization are key elements of the poetics of the Sidney Psalter, and that these functions have a very specific aim, namely, to create a literary monument, through stylistic, poetic, and theological allusions, to the powerfully authorizing figure of her brother, Sir Philip Sidney.
33
Human, Dirk J., Alphonso Groenewald, Esias E. Meyer, Ananda Geyser-Fouch, Sampson S. Ndoga und Gerda E. De Villiers. „Old Testament Studies at the University of Pretoria: Glimpses of the past and future“. Verbum et Ecclesia 38, Nr. 4 (20.12.2017): 37. http://dx.doi.org/10.4102/ve.v38i4.1789.
Der volle Inhalt der QuelleAnnotation:
In a short historical overview of the academic and social contributions of the Department of OTS at the UP over the past century (1917–2017), this chapter provides a limited picture of how the department has contributed to academia, church and society. In this year of the Faculty of Theology’s centenary celebrations, this chapter contemplates selected highlights of the past and intends to discover the avenues of future vistas through current academic strengths, research foci of personnel and the actualisation of the OT in the African context(s).From the inception of the UP in 1908, the Faculty of Humanities has been involved in OT related studies, namely the study of the Hebrew language. OTS has become known over many years through individual scholars’ expertise regarding Bible translation and the foci on specific parts of the OT, namely the Pentateuch, Psalms, Prophets or Second Temple literature. World renowned projects started since 1990 to involve several international scholars. These include inter alia Pro Pent, Pro Psalms, Pro Prof and Qumran projects.Because the department is located at a FT in Africa, it has continuously strived to become theologically relevant for local and African contexts. The department continually envisions excellence and relevant
34
Cherednуk, L. A. „“DAVID PSALMS” BY TARAS SHEVCHENKO AND LINA KOSTENKO IN THE ASPECT OF INTERTEXTUALITY“. PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, Nr. 3(55) (12.04.2019): 37–44. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-37-44.
Der volle Inhalt der QuelleAnnotation:
The article discusses intertextuality as a specific feature of fiction of the XIX-XXI centuries, is a peculiar communication code of the author with the reader, helps him to understand not only himself, but also the world in which he lives. Intertext appears in works of literature in the form of citations, allusions, reminiscences, parodies and imitations of other people's stylistic properties. Scientific intelligence analyzes the features of the structure of the Book of Psalms, which is one of the books of the Old Testament of the Bible, addresses the problem of authorship of a monument to world culture. The article analyzes separate poems from the cycle David of Psalms, which both artists have. Of course, each of the poets can trace the interpretation of the biblical text of an outstanding literary and cultural attraction. In the process of analysis, it was found that T. Shevchenko’s works are characterized by deep connections with ancient culture, Slavic mythology, and many European literatures. The “David Psalms” cycle of modern Ukrainian poetess Lina Kostenko is full of modern realities, acute social conflicts, which is a feature of the poetess’s creative manner. It is defined as the original features of the biblical text copying by each writer, and the presence of common features. It is established that in the works of both poets, despite the difference in time, metaphysical ideas take place, reflecting universal moral and ethical principles, opposing the concepts of “good – evil”, “truth – untruth”, “glory – hula”, are widely used Church Slavonic dictionary, there are elements of introspection. The works of Taras Shevchenko and Lina Kostenko are full of deep feelings about contemporary being, creating a unique image of a literary hero, which is a reflection of the author's position. Entering into the main text the motives of intertextuality allows you to create a unique idiostyle of both artists at different levels of literary reception.
35
Rush, Rebecca M. „Authority and Attribution in the Sternhold and Hopkins Psalter“. Renaissance and Reformation 38, Nr. 1 (13.06.2015): 57–82. http://dx.doi.org/10.33137/rr.v38i1.22782.
Der volle Inhalt der QuelleAnnotation:
This essay addresses the vexed question of the genre of the Sternhold and Hopkins psalter by considering the framing of the psalms in the early editions printed in England and on the continent. It is undeniable that all of the producers of the Sternhold and Hopkins psalter were committed to the dissemination of Scripture in the vernacular and that many were concerned with approximating the hebraica veritas. But comparing the title pages, prefaces, and marginal notes included in the sixteenth-century versions of the psalter with those of contemporary prose translations reveals that the editors of the psalter distinguished the metrical psalms from prose translations by carefully marking them as the poetic products of particular authors. In calling on the names and titles of the versifiers as sources of the volume’s authority, the editors of the Sternhold and Hopkins psalter forged an understanding of poetic authorship that would prove influential not only for later psalm translators but for English poets more generally. Indeed, this essay makes the case that the practices of authorial attribution employed in the psalters may have directly influenced the presentation of more celebrated verse anthologies like Tottel’s Songes and Sonettes.
Cet article se penche sur la question controversée du genre du psautier Sternhold and Hopkins, en examinant l’encadrement des psaumes dans les premières éditions anglaises et continentales. Il est indéniable que les éditeurs de ce psautier étaient engagés dans la diffusion des traductions en langue vernaculaire des Écritures et qu’ils cherchaient à s’approcher de la hebraica veritas. Toutefois, en comparant les pages titres, les préfaces, et les annotations marginales des différentes versions du XVIe siècle du psautier avec celles des traductions versions contemporaines en prose, on découvre que les éditeurs du psautier différencient les psaumes métriques des traductions en prose en les identifiant clairement comme le travail poétique d’auteurs spécifiques. En faisant reposer l’autorité de la publication sur les noms et les titres des poètes, les éditeurs du psautier Sternhold and Hopkins ont créé une vision de l’auteur poète qui allait non seulement avoir une grande importance pour les traducteurs suivants de psaumes, mais également pour les poètes anglais en général. En effet, cet article montre également que les pratiques d’attribution d’auteur dans les psautiers ont influencé directement la présentation d’anthologies de poésie plus réputées, telles que les Songes and Sonettes de Tottel.
36
Gitner, Adam. „SARDISMOS: A RHETORICAL TERM FOR BILINGUAL OR PLURILINGUAL INTERACTION?“ Classical Quarterly 68, Nr. 2 (Dezember 2018): 689–704. http://dx.doi.org/10.1017/s0009838819000028.
Der volle Inhalt der QuelleAnnotation:
In his poem ‘The Last Hours of Cassiodorus’, Peter Porter has the Christian sage ask: ‘After me, what further barbarisms?’. Yet, Cassiodorus himself accepted, even valorized, at least one form of barbarism that had been rejected by earlier rhetoricians: sardismos (σαρδισμός), the mixture of multiple languages in close proximity. In its earliest attestation, Quintilian classified it as a type of solecism (Inst. 8.3.59). By contrast, five centuries later Cassiodorus in his Commentary on the Psalms used the term three times to praise the mixture of Greek, Hebrew and Latin in the Latin Psalter. This reversal, from vice to virtue of speech, illustrates some significant changes in attitudes toward language and multilingualism that developed as Christianity reshaped Roman literary culture. For one, Christian preachers, modelling themselves on the plain style of the Gospels, embraced forms of speech that had been regarded as low and stigmatized. In the words of Augustine (In psalm. 36, Serm. 3.6): ‘better you understand us in our barbarism than to have been deserted in our eloquence’ (melius in barbarismo nostro uos intelligitis, quam in nostra disertudine uos deserti eritis).1 Secondly, Hebrew now entered the linguistic consciousness of the Roman literary elite as one of the three languages of Scripture. Even if in-depth knowledge remained rare, it was worthy of being mentioned alongside Greek and Latin, just as it had appeared with them in the inscription on Jesus’ cross (Luke 23:38, John 19:20). Lastly, linguistic variety itself came to be positively valued since it reflected the diversity of a church coming together out of many peoples. Commenting on the bride's appearance in Psalm 45, both Augustine and Cassiodorus saw the variegated adornment of her robe as a reference to the diversity of Christian languages.
37
Kilpatrick, Hilary. „From Venice to Aleppo: Early Printing of Scripture in the Orthodox World“. Chronos 30 (10.01.2019): 33–61. http://dx.doi.org/10.31377/chr.v30i0.329.
Der volle Inhalt der QuelleAnnotation:
The Bible, as the etymology of the word indicates, refers not to one book but to many. The Christian Bible is made up of the Old Testament, that is, the Jewish Scriptures, and the New Testament; moreover, for some Churches, among them the Orthodox, certain books commonly called the Apocrypha , which were added to the Septuagint, the Greek translation of the Hebrew Old Testament, also fonn part of the Bible. The Bible is thus a small library, and as is common in libraries, some books are more popular than others. Long before the introduction of printing, the varying degrees of importance accorded to different books of the Bible led to some of them being translated before others. For instance, in Anglo-Saxon England, interlinear glosses (i.e. crude word-by-word translations) were made of the Gospels and Psalms, and separate portions of the Bible, including the Gospels, were rendered into Old English (Anonymous 1997: 200). Likewise, the earliest known written translations of parts of the Bible into Arabic are of the Gospels and Psalms; they can be dated to the 8th century. Oral translations are older, going back to pre-Islamic times (Graf 1944: 114-115, 138; Griffith 2012: 123-126). By contrast, the first attempt to produce a complete Bible in Arabic occurred only in the l 61h century (Graf 1944: 89-90).
38
Clarke, Danielle. „"Lover's Songs Shall Turne to Holy Psalmes": Mary Sidney and the Transformation of Petrarch“. Modern Language Review 92, Nr. 2 (April 1997): 282. http://dx.doi.org/10.2307/3734802.
Der volle Inhalt der Quelle
39
Sandhaug, Christina. „Conceit beyond expectation: Mary Sidney's Rhyming Rhetoric in Psalm 55,Exaudi, Deus“. Nordlit 3, Nr. 2 (01.10.1999): 105. http://dx.doi.org/10.7557/13.2133.
Der volle Inhalt der Quelle
40
Dickie, June F. „Community Translation and Oral Performance of Some Praise Psalms within the Zulu Community“. Bible Translator 68, Nr. 3 (30.11.2017): 253–68. http://dx.doi.org/10.1177/2051677017728564.
Der volle Inhalt der QuelleAnnotation:
There is a strong history among the Zulu community of performing praise poetry, and a passion for composing and performing poetry continues among Zulu youth today. On the other hand, the current Zulu Bible is considered by many young people to be irrelevant or difficult to read and understand. With these two factors in mind, I conducted a study in which Zulu youth were invited to participate in basic training, after which they made their own translations of various praise psalms and then performed them before a community audience using song, rap, or spoken poetry. This paper looks at the process and benefits of inviting “ordinary speakers” to participate in the translation process, and of communicating the message through oral performance. The results are encouraging and suggest the methodology could be extended to other genres of biblical text and other language groups.
41
Belkin, Ahuva. „Antichrist as the Embodiment of the Insipiens in Thirteenth-Century French Psalters“. Florilegium 10, Nr. 1 (Januar 1991): 65–82. http://dx.doi.org/10.3138/flor.10.004.
Der volle Inhalt der QuelleAnnotation:
While illustrations for many Holy Books are created especially for the relevant texts, the iconography of the Psalms has mostly been borrowed. In early manuscripts the rich imagery of the visual scenes occupied large portions of the page, but this changed as artists became increasingly involved with historiated initials. These, marking the liturgical division, were decorated with sequences borrowed from the New and Old Testaments, with the literal illustrations being confined to the opening verses. In contrast to the diversity that had characterized earlier endeavours, the picture cycles became static from the thirteenth century onward, with each production centre and its zone of influence embracing repetitive themes.
42
Hogeterp, A. L. A. „Eschatologisch Schriftgebruik in het Nieuwe Testament in het licht van de rollen van de Dode Zee“. NTT Journal for Theology and the Study of Religion 62, Nr. 2 (18.05.2008): 140–54. http://dx.doi.org/10.5117/ntt2008.62.140.hoge.
Der volle Inhalt der QuelleAnnotation:
This article reviews eschatological interpretations of Isaiah, Psalms, and Daniel in the New Testament in light of the Dead Sea Scrolls. Q 7:18-23 and 4Q521 attest to a horizon of expectation that an anointed messenger (Isa. 61:1) and divine miracles (e.g. Isa. 26:19) confirm hope in the Lord ‐ hope that the Jesus-movement identified with Jesus as Lord. The Davidic messianism that exegesis of Ps. 110:1 in Mrk. 12:35-37a par. counters is partly informed by accents of Davidic messianism in 11QPsa. Mark 13:26-27 par., that alludes to Dan. 7:13-14, shares with 4QpsDana ar 24 2 the motif of the gathering of the elect.
43
HANNAY, MARGARET P. „“Princes you as men must dy”: Genevan Advice to Monarchs in the Psalmes of Mary Sidney“. English Literary Renaissance 19, Nr. 1 (Januar 1989): 22–41. http://dx.doi.org/10.1111/j.1475-6757.1989.tb00968.x.
Der volle Inhalt der Quelle
44
Emms, Richard. „The scribe of the Paris Psalter“. Anglo-Saxon England 28 (Dezember 1999): 179–83. http://dx.doi.org/10.1017/s0263675100002301.
Der volle Inhalt der QuelleAnnotation:
The Paris Psalter (Bibliothèque Nationale de France, lat. 8824) has attracted much interest because of its long, thin format, its illustrations in the Utrecht Psalter tradition and its Old English prose translation of the first fifty psalms, which has been convincingly attributed to King Alfred himself. It is a bilingual psalter, with Latin (Roman version) on the left and Old English on the right. The first fifty psalms are in the prose translation connected with King Alfred, the remainder in a metrical version made by an author whose work has not been identified elsewhere. The leaves are approximately 526 × 186 mm, with a writing space of about 420 × 95 mm. It has been estimated that there were originally 200 leaves in twenty-five quires, but fourteen leaves, including those carrying all the major decoration, have been removed. There remain thirteen outline drawings integrated into the text on the first six folios. Some drawings may have functioned as ‘fillers’ where the Latin text was shorter than the Old English. Further on in the manuscript, in order to solve this problem, the scribe either left gaps or made the columns of Latin thinner than the corresponding Old English ones. The Old English introductions were set out across both columns, suggesting that the book was made for someone who read English more easily than Latin. The manuscript was written around the middle of the eleventh century, and it is clearly the work of a single skilled scribe who used a neat Anglo-Caroline minuscule for the Latin texts, and matching English vernacular minuscule with many Caroline letter forms for the Old English. Unfortunately, his hand has not been identified in any other books or charters; however, he did record in a colophon (186r; see pl.V) that he was called Wulfwinus cognomento Cada.
45
Griffith, M. S. „Poetic language and the Paris Psalter: the decay of the Old English tradition“. Anglo-Saxon England 20 (Dezember 1991): 167–86. http://dx.doi.org/10.1017/s0263675100001800.
Der volle Inhalt der QuelleAnnotation:
The metrical version of psalms LI–CL, known as the Paris Psalter, is a pedestrian and unimaginative piece of poetic translation. It is rarely read by students of Old English, and most Anglo-Saxonists make only passing reference to it. There is scarcely any literary criticism written on the text, although some work has been done on its vocabulary and metre. I hope to show in this article, however, that its stylistic peculiarities mark an important stage in the disintegration of the Old English poetic mode, and that analysis of these may go some way towards answering the difficult questions which surround the manner and the cause of the style's disappearance at the end of the Anglo-Saxon period. In particular, I shall examine this poet's selective use of the poetic diction normally associated with the form, and the impact of this selectivity on the systems of rank and formula.
46
Evetts-Secker, Josephine. „Jerusalem and Albion. Ralph Buckland’s ‘Seaven Sparkes of the Enkindled Soule’“. Recusant History 20, Nr. 2 (Oktober 1990): 149–63. http://dx.doi.org/10.1017/s0034193200005331.
Der volle Inhalt der QuelleAnnotation:
Little is known of Ralph Buckland. Anstruther records that he was born in 1564, educated at the Merchant Taylors’ School and Magdalen College, Oxford, ordained in Rome in 1588 and sent as a ‘seminary priest’ to England where he was arrested and banished in 1606. He died in 1611 leaving behind him two works, both printed secretly in England, Seaven Sparkes of the Enkindled Soule (1604/5) and An Embassage to Heaven (1606–10). The earlier volume, a collection of original psalms, is a significant work from many points of view. It has literary value both as a poetic text and as a technical experiment, showing an early awareness of the mechanics of Hebrew prosody and current scholarly debate about its practice. It is also a poignant record of the predicament of the recusant Englishman around the time of the Gunpowder plot and an effective register of his state of mind.
47
O'Connor, Kathleen M. „Book Review: Interpreting the Psalms: An Exegetical Handbook. By Mark D. Futato. Grand Rapids, MI: Kregel Publication: 2007. Pp. 234. Paper, $20.99“. Biblical Theology Bulletin: Journal of Bible and Culture 39, Nr. 1 (Februar 2009): 51–52. http://dx.doi.org/10.1177/01461079090390010608.
Der volle Inhalt der Quelle
48
Pawelec, Radosław. „Czy Jan Kochanowski miał kogoś lub coś w nienawiści? Użycia słów z gniazda w tekstach autora Trenów na tle ich znaczeń w XV i XVI wieku.“ Poradnik Językowy 2020, Nr. 1/2020(770) (30.01.2020): 92–103. http://dx.doi.org/10.33896/porj.2020.1.7.
Der volle Inhalt der QuelleAnnotation:
This paper presents an analysis of the usages of words from the nest <nienawiść> (hatred) in the works by Jan Kochanowski against the semantic development of these words in Polish. Their original etymological meaning is related to seeing someone unwillingly, disliking someone. In the Old and Middle Polish periods, they were used fairly often, but the usages were different from the present ones: many of them had a less negative meaning than they do in Modern Polish. It was shaped after the 16th century, yet the beginnings of the process are assumed to go back to the century of the last Jagiellons. The author formulates a hypothesis that Jan Kochanowski, who noticed the trend in the semantics of the words from the nest <nienawiść>, restricted their usage in his works only to the translations of the Old Testament psalms, consciously not referring them to the contemporary interpersonal relationships.
49
Basson, Alec. „“Friends becoming foes”: a case of social rejection in Psalm 31“. Verbum et Ecclesia 27, Nr. 2 (17.11.2006): 398–415. http://dx.doi.org/10.4102/ve.v27i2.154.
Der volle Inhalt der QuelleAnnotation:
The supplicant of Psalm 31 bemoans the fact that his neighbours and companions treat him like an outcast. What is even more disturbing is the fact that one would expect this from the enemies, as is the case in so many laments. The friends and family who were supposed to provide the necessary support in times of affliction, however, deserted the psalmist. The line between friend and foe became blurred. The plaintiff faces rejection on two fronts: attacked by his enemies and ostracised by his friends. Through the marginalisation the poet no longer feature as a member of the social group that embodies his identity. Instead of being in the centre, he now operates on the periphery, thus bearing the full brunt of social rejection in ancient Israel. This form of rejection is tantamount to life on the “outskirts” of society. Focusing on the notion of spatiality, this paper aims at illustrating that the image-schema of centre-periphery underlies the behaviour of the companions in Psalm 31. The neighbours and companions reside in the centre (important and honourable), whereas the psalmist exists on the periphery (unimportant and disgraced).
50
Murray, Douglas M. „Continuity and Change in the Liturgical Revival in Scotland: John Macleod and the Duns Case, 1875-1876“. Studies in Church History 35 (1999): 396–407. http://dx.doi.org/10.1017/s0424208400014169.
Der volle Inhalt der QuelleAnnotation:
During the Liturgical Revival of the Victorian period, the worship of the Church of Scotland changed more radically than at any time since the seventeenth century. Those who favoured reform felt that the largely unstructured and didactic character of Presbyterian services no longer appealed to many sections of society. The upper classes, for example, were turning in increasing numbers to the worship of the Episcopal Church. In addition some reformers wished the liturgy of the Kirk to reflect more clearly the doctrinal basis of the Reformed tradition. The innovations which were pioneered in this period included a change in the posture of the congregation for prayer and for singing, the introduction of prayers read by the minister instead of being delivered extempore; the use of set forms such as the Creed, the Lord’s Prayer, and the Doxology; the singing of hymns as well as psalms; the use of organs to accompany praise; the observance of the main festivals of the Christian year, and the greater frequency of holy communion.