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Books on the topic 'Mary in the Psalms'

Author: Grafiati

Published: 24 June 2021

Last updated: 1 February 2022

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1

Sidney, Philip. The Sidney Psalter: The psalms of Sir Philip and Mary Sidney. Oxford: Oxford University Press, 2009.

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2

The Psalms, prayers of many moods. New York: Paulist Press, 1999.

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3

Jesus' cry from the cross: Towards a first-century understanding of the intertextual relationship between Psalm 22 and the narrative of Mark's Gospel. London: T & T Clark, 2009.

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4

Brug, John F. Psalms: Psalms 1-72. 2nd ed. Milwaukee, Wis: Northwestern Pub. House, 2002.

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5

Psalms: Psalms 73-150. 2nd ed. Milwaukee, Wis: Northwestern Pub. House, 2001.

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6

Psalms. Elgin, Ill: Brethren Press, 1989.

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7

1943-, Zorn Walter D., ed. Psalms. Joplin, Mo: College Press, 1999.

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8

Grogan, Geoffrey. Psalms. Grand Rapids, Mich: William B. Eerdmans Pub. Co., 2008.

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9

Mays, James Luther. Psalms. Louisville: John Knox Press, 1994.

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10

P, Brown William. Psalms. Nashville: Abingdon Press, 2010.

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11

Psalms. London, England: T & T Clark Publishers, 2004.

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12

Psalms. Nashville: Abingdon Press, 2011.

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13

Psalms. Nashville: Abingdon Press, 2011.

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14

Psalms. Louisville, Ky: Geneva Press, 1998.

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15

Psalms. Colorado Springs: Three Continents Press, 1994.

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16

Psalms. Waco, Tex: Word Books, 1987.

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17

Goldingay, John. Psalms. Grand Rapids, Mich: Baker Academic, 2006.

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18

Psalms. Milwaukee, Wis: Northwestern Pub. House, 1989.

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19

Psalms. Grand Rapids, Mich: Baker Academic, 2006.

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20

Mays, James Luther. Psalms. Louisville: John Knox Press, 2011.

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21

Steveson, Peter A. Psalms. Greenville, S.C: Bob Jones University Press, 2007.

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22

Psalms. Peabody, MA: Hendrickson, 1999.

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23

Psalms. Louisville, Ky: Westminister John Knox Press, 2000.

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24

Psalms. Grand Rapids, Mich: Baker Books, 1994.

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25

Gerstenberger, Erhard. Psalms. Grand Rapids, Mich: Eerdmans, 1988.

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26

H, Bellinger W., ed. Psalms. New York: Cambridge University Press, 2013.

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27

Psalms. Wheaton, Ill: Crossway Books, 1993.

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28

(Editor), David W. Cotter, Jerome T. Walsh (Editor), and Chris Franke (Editor), eds. Psalms. Collegeville, Minn.: Liturgical Press, 2001.

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29

Psalms. Grand Rapids, Mich: Eerdmans, 2001.

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30

Bernard, April. Psalms. New York: Norton, 1993.

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31

James, Patterson. Mary, Mary. New York: Little, Brown, and Co. Large Print, 2005.

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32

Mary, Mary. London: Headline, 2010.

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33

James, Patterson. Mary, Mary. New York: Warner Books, 2005.

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34

Parsons, Julie. Mary, Mary. London: Pan, 1999.

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35

McBain, Ed. Mary, Mary. Bath: ChiversPress, 1994.

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36

Hayes, Sarah. Mary Mary. London: Walker, 1992.

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37

McBain, Ed. Mary, Mary. London: BCA, 1992.

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38

Mary, Mary. London: Collins Educational, 1990.

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39

Parsons, Julie. Mary, Mary. London: Macmillan, 1998.

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40

McBain, Ed. Mary, Mary. London: BCA, 1992.

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41

McBain, Ed. Mary, Mary. New York: Warner Books, 1994.

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42

1554-1586, Sidney Philip Sir, Pembroke, Mary Sidney Herbert, Countess of, 1561-1621., and Hamlin Hannibal, eds. The Sidney Psalter: The psalms of Sir Philip and Mary Sidney. Oxford: Oxford University Press, 2009.

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43

Pembroke, Mary Sidney Herbert. Mary Sidney, Countess of Pembroke (1561-1621) & Sir Philip Sidney: The Sidney Psalms (Fyfield Books). Harry Ransom Humanities Research Center, 1992.

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44

Lewis, Jayne Elizabeth. The Eighteenth-Century Psalm. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.150.

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Integral to both Anglican liturgy and nonconformist devotional practice in the eighteenth century, the “Englished” Psalm supplied a common currency between competing but increasingly compatible confessional groups. The Psalms also turn up everywhere in emergent, nonreligious literary genres. In both settings, the Psalms calibrated signature speech acts of imprecation, petition, and praise with lexical praxes that a commercialized print culture made not only possible and common but visible and adjustable by individual writers and readers. A novel experimental culture of the English Psalms held unprecedented potential to turn class, credal, and historical division into unity but also posed uniquely “modern” perils. While the Psalms could now be experienced directly as sources of freedom and pleasure available to a wide range of Christian readers and writers, they also potentially transferred the experience of pleasure from a many-personed God to printed English words.

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45

Ahearne-Kroll, Stephen. Psalms of Lament in Mark's Passion: Jesus' Davidic Suffering. University of Cambridge ESOL Examinations, 2010.

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46

Lambert, Erin. Everywhere in Our Sight. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661649.003.0005.

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This chapter focuses on the liturgy and psalm singing of a group of Dutch Reformed exiles known as the Stranger church, who found safe harbor under the leadership of Johannes a Lasco in London in the 1550s only to face expulsion after the accession of Mary I. By singing the metrical psalms of Jan Utenhove, the exiles envisioned a community that could be enacted in any place and redefined their relationship to a world in which they had no sanctioned place. Thus the Stranger church reimagined the entire earth as a place of exile and looked to heaven as their home when their bodies rose from the earth. The story of the Dutch Strangers thus separates belief from the political geography of sixteenth-century Europe, and it reveals how the turmoil of the era transformed the relationship between belief and the physical world.

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47

O’Collins, SJ, Gerald. Four Old Testament Books as Inspired and Inspiring. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824183.003.0002.

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This chapter examines the inspired composition and inspiring impact of four Old Testament books (Genesis, Psalms, Isaiah, and Sirach). Biblical texts came from many anonymous persons (e.g. Genesis and the Psalms) and from known individuals (e.g. Sirach). In both cases, the Holy Spirit effected the formation of the final texts, and the subsequent use of such symbolic stories as that of Adam and Eve by biblical and patristic authors (e.g. Paul in Romans; Irenaeus), and in Christian art and literature (e.g. icons and Masaccio; Donne and Milton). The Psalms and Prophets fed into the preaching of Jesus and the New Testament (e.g. Paul’s letters). After the Psalms, Isaiah was the book most quoted by New Testament authors, proving a reservoir for their understanding of God. Ben Sira, author of Sirach, was aware of his authority within the wisdom-literature tradition but not of being inspired by God in writing his book.

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48

Hayes, Mark. The Mark Hayes Vocal Solo Series: 7 Psalms and Spiritual Songs for Solo Voice (The Mark Hayes Vocal Solo Series). Alfred Publishing, 2006.

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49

The Mark Hayes Vocal Solo Series: 7 Psalms and Spiritual Songs for Solo Voice (The Mark Hayes Vocal Solo Series). Alfred Publishing, 2006.

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50

Clarke, Elizabeth, and Simon Jackson. Lyric Poetry. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.41.

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Abstract:

Legitimized by the poetry of the Bible, devotional lyric verse—crossing denominational lines, often combining Reformation spirituality with Renaissance rhetoric—flourished in early modern England. Poets like Mary and Philip Sidney and George Herbert modelled their work on the Book of Psalms, at times imitating the prosodic simplicity of the Sternhold and Hopkins metrical psalms, elsewhere adapting the sophisticated stanzaic variety of the Marot/Beze Psalter. Women like Aemilia Lanyer and Anne Southwell used the Song of Songs to express their devotion to Christ. The ‘mystical marriage’ was often used by women such as Barbara Mackay, who produced a version of the Song of Songs in manuscript, and Elizabeth Melville, who parodied Petrarchan poetry; and it was employed in shocking fashion by John Donne. The religious lyric exists on the borderline of public and private: in conclusion, we present such lyrics as social and occasional, and examine their relationship with music.

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