Journal articles on the topic 'Psalms'
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1
Beuken, W. A. M. "De Psalmist als Hizkia, zoon van David. Een intertextuele lezing van Psalm 138 en Jesaja 36-38." Verbum et Ecclesia 19, no. 3 (December 30, 1998): 513–24. http://dx.doi.org/10.4102/ve.v19i3.2496.
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The Psalmist as Hezekiah, Son of David. An Intertextual Reading ofPsalm 138 and Isaiah 36-38: Recent research into the Psalms has shown that the 'I' of the laments and the psalms of praise should not be explained in biographical or functional programmatic (cult or court) terms, but should be viewed rather as a metaindividual and paradigmatic figure. Thus the psalmist of one psalm is akin to that of another, their ego being formed according to literary norms. This insight justifies an intertextual reading of the psalms and other biblical texts. Against the background of 2 Chr 32:25, in which Hezekian is accused of ingratitude, the present study endeavours to show that Psalm 138, a song with royal characteristics, can be read as a song of thanksgiving and placed on the lips of Hezekiah. Semantic correspondences with Isaiah 36-38 are both strong and persuasive.
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Barus, Armand. "ALLAH MENDENGAR SERUAN DAN TEMPAT BERLINDUNG: Penelitian Puitis Mazmur 5." Jurnal Amanat Agung 15, no. 2 (November 3, 2020): 202–34. http://dx.doi.org/10.47754/jaa.v15i2.366.
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Abstrak: Pembacaan Mazmur 5 dengan menggunakan metode penelitian puitis (poetic criticism) menyingkapkan pesan berbeda dengan metode pemberian makna teks oleh para penafsir mazmur ratapan (lament psalm) sebelumnya. Metode penelitian puitis memperhatikan keluhan pemazmur, perasaan pemazmur yang disebabkan keluhannya, pengertiannya dan pengakuannya tentang Allah di dalam keluhannya dan perubahan suasana teks (mood) dalam menguak pesan mazmur ratapan. Penerapan penelitian puitis terhadap Mazmur 5 menghasilkan pesan tentang Allah yang mendengar seruan dan tempat berlindung. Pengenalan pemazmur akan Allah yang mendengar seruan dan tempat berlindung mengubah ratapan (lament) pemazmur menjadi pujian.
Abstract: Reading psalm 5 by using poetic criticism reveals differing message with the methods used by lament psalms’ interpreters when reading psalm 5. The method of poetic criticism takes into consideration the lamentation of the psalmist, the feelings resulted from the lament, the psalmist understanding dan knowledge of God in the midst of psalmist lamentation dan the mood of the text in examining lament psalms. Applying poetic criticism to psalm 5 produces a message concerning God who hears and protects. The personal knowledge of the psalmist of God who hears dan protects radically changes the lament into joy.
Kata-kata Kunci: Mazmur ratapan, penelitian puitis, keluhan, perasaan, Allah, perubahan suasana teks (mood), takut akan Allah, ibadah.
Kepustakaan
Anderson, A.A. The Book of Psalms: Psalms 1-72. Vol. 1. New Century Bible Commentary. Grand Rapids, Michigan: William B. Eerdmans, 1972.Barrett, C.K. The Gospel according to St John: An Introduction with Commentary and Notes on the Greek Text. 2 ed. London: SPCK, 1978.Barth-Frommel, Marie-Claire, dan B. A. Pareira. Kitab Mazmur 1-72: Pembimbing dan Tafsirannya. Jakarta: BPK Gunung Mulia, 2012.Barus, Armand. Mengenal Tuhan Melalui Penderitaan. Jakarta: Scripture Union Indonesia, 2016._____________. "Menghadapi Kebohongan: Penelitian Puitis Mazmur 4." Amanat Agung 14, no. 1 (Juni 2018): 1-24._____________. "Sembuhkanlah Aku: Penelitian Puitis Mazmur 6." Amanat Agung 12, no. 2 (Desember 2016): 175-206.Blocher, Henri. "The fear of the Lord as the "principle" of wisdom." Tyndale Bulletin 28 (1977): 3-28.Broyles, Craig C. "Psalms Concerning the Liturgies of Temple Entry." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 248-287. Leiden: Brill, 2005.Craigie, Peter C. Psalms 1-50. Word Biblical Commentary 19. Dallas: Word Books, 1983.Davidson, Robert. The Vitality of Worship: A Commentary on the Book of Psalms. Grand Rapids, Michigan: William B. Eerdmans, 1998.Dyrness, William. Themes in Old Testament Theology. Downers Grove: IVP Press, 1979.Eichrodt, Walther. Theology of the Old Testament. Vol. 1. Philadelphia: Westminster, 1961._____________. Theology of the Old Testament. Vol. 2. Philadelphia: Westminster, 1967.Goldingay, John. Psalms 1-41. Vol. 1. Baker Commentary on the Old Testament Wisdom and Psalms. Grand Rapids: Baker Academic, 2006._____________. Psalms 90-150. Vol. 3. Baker Commentary on the Old Testament Wisdom and Psalms. Grand Rapids, Michigan: Baker Academic, 2008.Keel, Othmar. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Winona Lake: Eisenbrauns, 1997.Lee, Sung-Hun. "Lament and the Joy of Salvation in the Lament Psalms." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 224-247. Supplements to Vetus Testamentum XCIX. Leiden: Brill, 2005.O’Connor, Michael Patrick, dan Bruce K. Waltke. Introduction to Biblical Hebrew Syntax. Winona Lake: Eisenbrauns, 2004.Ridderbos, Herman N. The Gospel according to John: A Theological Commentary. Grand Rapids, Michigan: William B. Eerdmans, 1997.Roberts, J.J.M. "Mowinckel’s Enthronement Festival: A Review." Dalam The Book of Psalms: Composition and Reception, disunting oleh Peter W. Flint dan Patrick D. Miller, Jr, 97-115. Supplements to Vetus Testamentum XCIX. Leiden: Brill, 2005.Routledge, Robin. Old Testament Theology: A Thematic Approach. Downers Grove: IVP Academic, 2008.Schwab, Zoltàn. "Is Fear of the LORD the Source of Wisdom or Vice Versa?" Vetus Testamentum 63, no. 4 (Oktober 2013): 652-662.Villanueva, Federico G. The ’Uncertainty of a Hearing’: A Study of the Sudden Change of Mood in the Psalms of Lament. Supplements to Vetus Testamentum 121. Leiden: Brill, 2008.Waltke, Bruce K., James M. Houston, dan Erika Moore. The Psalms as Christian Lament: A Historical Commentary. Grand Rapids, Michigan: William B. Eerdmans, 2014.Weiser, Artur. The Psalms: A Commentary. The Old Testament Library. Philadelphia: Westminster, 1962.
3
Bauer, Uwe. "EINE LITERARISCHE ANALYSE VON PSALM CXIV." Vetus Testamentum 51, no. 3 (2001): 289–311. http://dx.doi.org/10.1163/15685330152913585.
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AbstractDie vorliegende literarische Analyse des cxiv. Psalms enthält zwei Teile (I/II): eine intratextuelle und eine intertextuelle Analyse. I: Nach der Feststellung des poetischen Charakters des Psalms anhand von Kriterien Niccaccis folgt eine makro- und eine mikropoetologische Untersuchung des gesamten Psalms sowie seiner vier Strophen, die die bisherigen poetologischen Untersuchungen (u. a. von Geller und Prinsloo) diskutiert und weiterführt. II: Nach einer Definition von Inter- bzw. Palintextualität (Stocker) werden dann die Beziehungen des Psalm zu anderen Texten innerhalb der Hebräischen Bibel untersucht. Ergebnis ist u. a., dass der Psalm zum Genre der präsentischen JhwhKönigs-Psalmen zu rechnen ist und dass es thematisch um den Antritt der Königsherrschaft Jhwhs sowohl über Israel als auch über die ganze Erde geht (Partikularismus → Universalismus).
4
Overton, Daniel P. "Singing through Clenched Teeth." Journal of Communication and Religion 43, no. 2 (2020): 55–71. http://dx.doi.org/10.5840/jcr202043210.
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One of the imprecatory psalms, Psalm 137 is among the most disturbing passages of the Bible, as the psalmist blatantly blesses infanticide. I suggest that the growing interdisciplinary field of trauma studies can provide important vocabulary and perspective to understand the rhetorical technique represented by the imprecatory psalms in general and by Psalm 137 in particular. Suggesting that liturgical rhetoric serves an important narrative function, I emphasize the rhetorical benefits of the incorporation of such disturbing passages into the liturgical practice of contemporary communities of faith, perhaps creating an inclusive liturgy for the disoriented.
5
Posta, Anna. "Psalm Paraphrases in Latin in Sixteenth Century Hungary." Central European Cultures 3, no. 2 (December 15, 2023): 3–23. http://dx.doi.org/10.47075/cec.2023-2.01.
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The most popular trend in sacra poesis (sacred poetry) in the sixteenth and seventeenth centuries was the paraphrase of psalms into Latin. In parallel with numerous European examples, there are a good number of paraphrases of psalms from this period in Hungarian Neolatin poetry. Psalm transcriptions in Latin are associated with Georgius Purkircher (Psalm 72, 79), Christianus Schesaeus (Psalm 79, 90), Caspar Piltz (Psalms 3, 4, 23, 31, 51, 79, 80, 91, 110, 127), Johannes Sylvester (Psalm 79), Georgius Ostermaier (Psalms 1, 42, 122–126, 133), Laurentius Szegedinus (Psalms 51, 128), Valentinus Crispus (Psalms 42, 51) and Johannes Bocatius (Psalm 103). In my study, I attempt to outline the main similarities and differences between the paraphrases of the psalms in Hungary and Germany by selecting from this corpus of texts, by means of a detailed philological analysis of the poems and by highlighting the parallels between them.
6
Strawn, Brent A. "The Black Hole at the Center of the Psalms." Interpretation: A Journal of Bible and Theology 78, no. 2 (April 2024): 106–19. http://dx.doi.org/10.1177/00209643231222618.
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This essay explores the motif of "the Pit" as a third, thematic focus for the Psalter (alongside "refuge" and "pathway"). Especially as it comes to fullest expression in Psalm 88, the Pit can be seen as the "black hole" at the center of the Psalms. Yet, while powerful, Psalm 88, and the presence of the Pit therein, does not have the final word. The sequence of the following psalms (Psalms 89, 90, and 91) slowly but surely draws the poet of Psalm 88 out of what has been called the saddest of all psalms. In this way, Psalm 88 retains its witness within the Psalter, but it is also not alone within the Psalms. Astrophysics has determined that black holes are not only destructive; they are also generative, shaping things around them and producing massive amounts of energy. In this light, the Pit, too, can be viewed as a generative theme for the Psalms, one that is crucial—somehow even central—but, in the end, transcended.
7
Van Rooy, H. F. "Die verhouding van die Siriese Psalm 151 tot die Griekse en Hebreeuse weergawes." Verbum et Ecclesia 18, no. 1 (July 19, 1997): 176–97. http://dx.doi.org/10.4102/ve.v18i1.1132.
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The relation between the Syriac Psalm 151 and the Greek and Hebrew versions This article studies the apocryphal Psalm 151, with special reference to the Syriac version in its relation to the versions of this psalm in the Septuagint and at Qumran. Four different sources of this psalm in Syriac can be distinguished, namely, a commentary on the psalms by Athanasius, a number of inanuscripts of the Peshitta and the Syrohexaplar, the manuscript 12t4 (containing the five Syriac apocryphal psalms as an addendum to the canonical psalms) and a number of other manuscripts with these apocryphal psalms. This psalm existed in more than one version in Hebrew. One version is reflected at Qumran in the psalms Scroll from cave 11 and another one in the Septuagint. The Syriac is dependent on the Greek, but clear signs of an inner-Syriac development can be discerned.
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Goswell, Gregory. "Finding Jesus in the Psalter." Evangelical Quarterly 94, no. 2 (May 30, 2023): 97–112. http://dx.doi.org/10.1163/27725472-09402001.
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Abstract A Christological reading of the Psalter in which individual psalms are viewed as primarily the prayers of Jesus is evaluated. This recent evangelical tradition of interpretation goes as far as to assert that the Psalms are only secondarily our prayers. However, while the portrait of David the chief psalmist anticipates Jesus Christ as the ideal Davidic king, this does not require that everything in every psalm be applied to Jesus. When David confesses his sins and failings, these words cannot be placed on the lips of Jesus. It remains nonetheless legitimate for believers to make use of the Psalms and apply much of their content to themselves, for, especially in Books IV and V of the Psalter, David sets an example of devotion to God which others are meant to emulate. As well, a Christian rereading of the Psalter sees the God of the psalmist as the Trinity, so that what is said about God can be applied to Jesus Christ.
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Hutahaean, Hasahatan, Elirani Gea, and Adarsan Simarmata. "Membaca Dan Memaknai Mazmur Ratapan 12 Dengan Metode Baca Gali Alkitab." Manna Rafflesia 7, no. 1 (October 31, 2020): 135–57. http://dx.doi.org/10.38091/man_raf.v7i1.132.
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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.
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Ntsanwisi, Samuel. "Unveiling Shadows: Tracking Youth Disengagement from the Church [Menyingkap Bayangan: Melacak Penyebab Keterpisahan Kaum Muda dari Gereja]." Diligentia: Journal of Theology and Christian Education 6, no. 1 (February 2, 2024): 13. http://dx.doi.org/10.19166/dil.v6i1.7541.
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<p>The idea of human belief in curses poses a problem for the curse part in Psalms. Problem of misunderstanding the curses part of Psalm 83:1-19 arises among believers. Quite often, critical evaluation addresses the correct understanding of the curse part of Psalms because it contains such complex values. Critical evaluation is a part of revelation that creates ethical issues in the lives of believers. Therefore, the purpose of this study is to provide a critical evaluation to understand the curse part of Psalm amidst the phenomenon of ethical issues in the lives of believers in order to knows the purpose of a psalmist in the actualization of God's morals through this study and enrich the church's understanding of the curse part of Psalm that are rarely understood correctly.</p>
11
Hudgins, Andrew. "Psalm Against Psalms." Missouri Review 10, no. 2 (1987): 65–68. http://dx.doi.org/10.1353/mis.1987.0080.
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Kľusková, Mykhaylyna. "Człowiek sprawiedliwy a człowiek bezbożny w świetle Ps 37." Biblical Annals 9, no. 1 (January 18, 2019): 5–34. http://dx.doi.org/10.31743/biban.3243.
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Psalm 37 is one of the most typical wisdom texts in the Book of Psalms. In comparison to other psalms it contains a high number of information on the righteous and the wicked person. The paper aims to present and analyse in detail all contexts in which mentions of the righteous and the wicked appear in order to answer the question what function these information have. The paper is divided into five parts. In the first one is given a short introduction into psalm’s genre and its main topic. The second one reflects all mentions of the righteous and the wicked in Ps 37, such containing the key terms as qyDic' and [v'r' but also those which are thematically connected with them. In the third and fourth part of the paper the information about the righteous and the wicked are analysed in detail and the main contexts of their using are defined. The righteous as supported by God are mainly viewed as existential winners in contrast to the wicked presented as life losers. The final part of the article explains the role of the information on the righteous and the wicked in the psalm taking into account the actual situation of the psalm’s addressee.
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Malgeri, Graziano Maria. "La esperanza en los salmos graduales, según el comentario de san Agustín (II)." Mayéutica 47, no. 103 (2021): 5–144. http://dx.doi.org/10.5840/mayeutica2021471031.
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The article offers a study of the Ascensional Psalms 126 to 133. First of all, the article presents the Latin Text used by Augustine, making a reconstruction of the Psalm’s Text, based on what Augustine comments in his explanation of the Psalms. After that, the Psalms are studied in a Biblical Context, to present afterwards the interpretation that Augustine makes of the Psalms, highlighting the Topic of Hope according to Augustine’s interpretation.
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Malgeri, Graziano Maria. "La esperanza en los salmos graduales, según el comentario de san Agustín (I)." Mayéutica 46, no. 102 (2020): 293–418. http://dx.doi.org/10.5840/mayeutica20204610232.
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The article offers a study of the Ascensional Psalms 119 to 125. First of all, the article presents the Latin Text used by Augustine, making a reconstruction of the Psalm’s Text, based on what Augustine comments in his explanation of the Psalms. After that, the Psalms are studied in a Biblical Context, to present afterwards the interpretation that Augustine makes of the Psalms, highlighting the Topic of Hope according to Augustine’s interpretation.
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Ticciati, Susannah. "Wellness in the Light of the Eschaton: Reading the Psalms with Augustine." Horizons in Biblical Theology 42, no. 2 (October 5, 2020): 208–25. http://dx.doi.org/10.1163/18712207-12341413.
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Abstract This article considers wellness in terms of creaturely integrity, asking how the latter might be reconceived in the light of the eschaton. To that end, it draws on Augustine’s eschatological reading of the Psalms in his Enarrationes in Psalmos. It suggests that an eschatological vision reveals the “wholes” we habitually seek to be only partial wholes, which have a tendency to become “totalizing wholes.” Having offered an account of Augustine’s totus Christus hermeneutic, it turns to his interpretation of Psalm 30 (31), tracing it in terms of the paired concepts of opacity and transparency. It argues that the singing of the Psalms is, for Augustine, our present training in the transparency of the eschaton. It concludes by showing how such an eschatological orientation inculcates a posture humble courage, in which totalizing wholes are critiqued as previously overlooked creaturely connections come into view.
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Tzoref, Shani. "Psalms of Ascent." European Judaism 54, no. 2 (September 1, 2021): 94–103. http://dx.doi.org/10.3167/ej.2021.540211.
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This article uses Hermann Gunkel’s form-critical approach in studying the fifteen short ‘Psalms of Ascent’ (Psalms 120–134). Jewish tradition as well as subsequent scholarship associates these Psalms with the Biblical Pilgrim festivals in Jerusalem, sung by the pilgrims on their way but later incorporated into cultic rites within the Temple. Gunkel’s analysis identifies templates which serve as frameworks for both simple and complex artistic variations. Using the form-critical approach descriptively rather than prescriptively, the article uses the identification of formal elements primarily as a tool for understanding the language, themes, message and mood of these Psalm texts. A study of King Solomon’s dedicatory prayer (1 Kings 8 and 2 Chronicles 6) in conjunction with Psalm 132 indicates a new locus of performance in a ritual in modern synagogue liturgy.
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Hamilton, Mark W. "Pripovijedanje o YHWH-inoj kraljevskoj vlasti u Psalmima." Kairos 17, no. 2 (December 8, 2023): 141–53. http://dx.doi.org/10.32862/k1.17.2.2.
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Psalms 93-100 function within Book 4 of the Psalter to advance the narrative of YHWH’s kingship over the cosmos. Whatever the origins of the constituent psalms, their current sequencing within Book 4 softens the despair that appears in psalms like Psalm 89, the ending of Book 3. As a kind of narrative used in liturgy, these psalms develop characters and plotlines that concentrate upon YHWH’s kingship and proper ordering of the world, which, in turn, benefits Israel and through them, the world.
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Human, Dirk. "Psalms 135 and 136: Exodus Motifs Contributing to Israelite Praise." Old Testament Essays 34, no. 2 (November 18, 2021): 1–23. http://dx.doi.org/10.17159/2312-3621/2021/v34n2a19.
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The twin psalms 135 and 136 are both hymnic inspired texts with strong cultic features. In both psalms, exodus allusions and motifs play a role in the composers' intention to build their own theological thrust. Both psalms display a plethora of resemblances regarding atmosphere, structure, themes, motifs, content and liturgical importance. Nonetheless, each of them radiates its own identity and theological intent. By reading these two psalms both separately and together, the common denominator places the focus on praise for the Israelite God, Yahweh. By identifying the exodus motifs and determining their function in each psalm, this article aims to contribute to the theological meaning of both psalms.
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Vos, C. J. A. "Die liturgie in die spieël van die Psalms." Verbum et Ecclesia 19, no. 3 (December 30, 1998): 686–704. http://dx.doi.org/10.4102/ve.v19i3.2518.
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The liturgy as mirrored in the Psalms: The basic premise of this article is that meditation on the psalms leads us to look at them from a liturgical perspective. Since the liturgy is an expression of various acts and experiences offaith, the psalms - which are also an interpretation of acts of faith and lived faith - are a rich source of liturgical inspiration. This article illustrates the way the psalms provide the building material for various liturgical procedures. We shall be reading Psalm 24 very attentively with a view to sermon writing. This article is dedicated to the memory of the late Prof W S Prinsloo, an outstanding reader and exegete of the psalms.
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Walser, Andreas Victor. "„Mein Gott, mein Gott, zu dir erhebe ich mich in der Früh‟ – Zwei Psalmpassagen in Inschriften aus Tyros und in der patristischen Tradition." Vigiliae Christianae 69, no. 3 (May 8, 2015): 229–55. http://dx.doi.org/10.1163/15700720-12341203.
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A revision of several painted inscriptions discovered in a late antique chamber tomb in Tyre shows that they recorded verses from two Psalms (3, 6 and 62, 2-3), both not otherwise attested epigraphically. The article subsequently examines how these verses were received and interpreted in early Christian literature and by the Greek Fathers of the Church: The popular verse 6 of Psalm 3, with its reference to sleep and awakening, was understood by most—but not all—commentators as a reference to the death and resurrection of Jesus Christ. The less famous first verses of Psalm 62 were usually just read as an expression of the longing for God. The juxtaposition of these two Psalms, which share the liturgical role of Morning Psalms, suggests that the verses from Psalm 62 as well as the one from Psalm 3 were understood as referring to the resurrection and used to express the deceased’s belief in salvation.
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Vos, C. J. A. "Met 'n lied in die hart." Verbum et Ecclesia 22, no. 2 (August 11, 2001): 455–64. http://dx.doi.org/10.4102/ve.v22i2.665.
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Psalms are songs that have principal importance in Jewish and Christian traditions; in the Eastern Orthodox and Western churches; in the Roman Catholic tradition and numerous Reformed divisions. Contemplation on this rich heritage considers the Psalm's contribution to the enrichment and magnification of the liturgy. The richness that the Psalms offer as song book, should be rediscovered and utilised. In this article, selected new Psalms, recently versified in Afrikaans by T T Cloete, are analysed. These Psalms are to be taken into official use on 28 October 2001. The place and function of hymnals is also considered. The church songs are analysed using three criteria: theological, literary, and musicological aspects.
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Dyer, Joseph. "Psalmi ante sacrificium and the origin of the introit." Plainsong and Medieval Music 20, no. 2 (September 15, 2011): 91–121. http://dx.doi.org/10.1017/s0961137111000027.
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ABSTRACTThe biography of Pope Celestine I (422–32) in the first edition of the Liber pontificalis (c.530) credits him with introducing the singing of ‘psalmi ante sacrificium’ at Mass. Several decades later, the second edition added that these psalms were sung ‘antephanatim ex omnibus’. Since the early ninth century, these statements have been interpreted to mean that Celestine introduced the introit chant, a conclusion challenged for the first time about twenty-five years ago. The new interpretation of the passage proposed that Celestine did not introduce the introit, but the responsorial psalm sung between the (two) readings at Mass. An analysis of the terminology used in Celestine's biography, especially the word sacrificium, indicates that the Liber pontificalis author did most likely intend to attribute to him the introduction of the introit, which was certainly in existence by the early sixth century. The presence of a processional solea in certain churches of Rome and the North Adriatic littoral indicates that architectural accommodations were being made for the entrance procession by the fifth century. Psalmic texts form the basis of the repertoire, and non-psalmic introits give every indication of post-dating those with texts drawn from the Psalter.
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Sanctrac, Dragoslava. "Praying the Psalms: How Biblical Prayers Can Enrich Our Personal and Liturgical Prayer Lives." Revista Theologika 33, no. 2 (November 3, 2018): 256–79. http://dx.doi.org/10.17162/rt.v33i2.1119.
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In recent psalm study, new approaches seek to explore how the Psalms enter contemporary life, pastoral care, and worship. This study focuses on the rich use of the Psalms in prayer. From the earliest ages, the Psalms shaped the prayer life of God’s people, including Jesus (Neh 12:8; Matt 27:46; Eph 5:19). Yet in much of Christian practice today, these prayers have become largely neglected. The purpose of this study is to look at the role the praying of the Psalms played in helping God’s people traverse their life journey and grow in their relationship with God, and to explore how our praying the Psalms today can transform our communal and personal prayers, and shape us in the faith of the psalmists.
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Van Rooy, H. F. "The message of a number Psalms as interpreted in Syriac Psalm headings." Verbum et Ecclesia 19, no. 3 (December 30, 1998): 653–63. http://dx.doi.org/10.4102/ve.v19i3.2515.
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Following the view of Theodore of Mopsuestia, the translator(s) of the Peshitta Psalter did not accept the historicity of the headings of the Psalms in the Hebrew Psalter. In some manuscripts the Peshitta Psalms do not have headings at all, while in other manuscripts headings are supplied. This paper makes a few remarks on the study of the headings of the Psalms in Syriac and discusses the headings of a number of Psalms in different Syriac traditions, with special attention to the headings in the Syriac manuscript 12t4. These headings can be regarded as a summary of the exegesis of the particular Psalm and they represent different schools of exegetes with widely different interpretations of most of the Psalms.
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Sachius, Darto. "Karakteristik Mazmur Rajani." Predica Verbum: Jurnal Teologi dan Misi 2, no. 2 (December 31, 2022): 123–32. http://dx.doi.org/10.51591/predicaverbum.v2i2.41.
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This study is entitled Characteristic of Psalm Rajani. This research will look for the characteristics of the Royal Psalms in the Book of Psalms. The research method used is qualitative not experimental. With the following steps, first by analyzing the passage according to its elements, second by knowing the style of poetry in Hebrew poetry, third trying to express the beauty of the language of poetry well, fourth trying to explain the meaning of Hebrew verse. So it is hoped that with this method can be formulated the characteristics of the Royal Psalms. So the three important things in the Royal Psalm are, firstly this psalm reflects the unique relationship between God and the king, secondly the holy king is the mediator of Divine blessing. All three charismatic kings ruled by divine gift. Even the kings of Israel received their dominion with God's approval like a royal coronation.
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Naud, E. "Psalm 40: Één of Twee Psalms?" Verbum et Ecclesia 21, no. 1 (August 6, 2000): 115–34. http://dx.doi.org/10.4102/ve.v21i1.1186.
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Psalm 40: One or two Psalms? Interpretation problems imbedded in Psalm 40 are often prioritized above the function of the psalm. The unity of Psalm 40 is to be investigated in this article. Verses 14 to 18 are in lexemic congruence with Psalm 70. Psalm 40 is frequently discussed in the light of Psalm 70. This research follows a synchronic-diachronic investigation of the text, to formulate the theological function of Psalm 40.
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Human, D. J. "A tradition-historical analysis of Psalm 55." Verbum et Ecclesia 18, no. 2 (July 4, 1997): 267–79. http://dx.doi.org/10.4102/ve.v18i2.562.
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A tradition-historical analysis of Psalm 55. The text of Psalm 55 will be remembered for its musical setting by Felix Mendelsohn and others and also for the fact that it is one of the most difficult psalms to analyse. A tradition-historical analysis of the traditions and history of the poem confinns the unique and independent character of the text. The content of the psalm is characterised by vague allusions to well-known salvational and historical traditions as well as the psalm's characteristic fonnulations. Themes from the primeval history and desert wanderings of Israel are identifiable. Moreover, tenninology with a socalled priestly background, reflect the psalm's cultic setting and junction, while a theme from the Zion tradition is also evident. Prophetic language is evident in both legal concepts and tenninology which expresses guilt. Relationships with wisdom texts are also evident. This article is an attempt to identify and detennine the function of the above-mentioned traditionsgeschichtliche themes in order to gain a better understanding of the text.
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Glowasky, Michael. "Walking the “Course of Blessed Tears”: Cassiodorus’s Expositio Psalmorum and the Emergence of Penitential Psalm Devotion." Journal of Medieval Religious Cultures 50, no. 2 (June 2024): 212–34. http://dx.doi.org/10.5325/jmedirelicult.50.2.0212.
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ABSTRACT While Cassiodorus’s Exposition of the Psalms (ca. 538–570) is commonly cited as the first recorded instance we have of the seven Penitential Psalms being grouped together as a distinct set, it is typically believed that the origin of this set, and thus the devotional practices that grew out of it, can be traced to an earlier date. As a result, Cassiodorus’s commentary on the Psalms has not received the attention it deserves. However, the author suggests in this article that it was Cassiodorus’s unique rhetorical approach to the interpretation of these Psalms that established penitential psalm devotion and allowed it to flourish throughout the medieval period. This is because his interpretation of these psalms elevates them to a means by which the guilty sinner may receive pardon for their sins.
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Vos, C. J. A. "Psalm 2 as lied teks – ‘n literêre en teologiese evaluering." Verbum et Ecclesia 25, no. 2 (October 6, 2004): 769–83. http://dx.doi.org/10.4102/ve.v25i2.299.
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The publishing of the Liedboek (2001) emphasizes the importance of the psalms for liturgy and hymnology. All 150 psalms in the Liedboek were versified by T T Cloete. In this article Psalm 2 is analysed from different perspectives. This leads to a literary and theological evaluation of its versification by Cloete.
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Vos, C. J. A. "Psalm 1 as liedteks – ‘n literêre en teologiese evaluering." Verbum et Ecclesia 24, no. 2 (November 17, 2003): 636–43. http://dx.doi.org/10.4102/ve.v24i2.336.
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The publishing of the Liedboek (2001) emphasises the importance of the psalms for liturgy and hymnology. All 150 psalms in the Liedboek were versified by T T Cloete. In this article the structure and form of Psalm 1 is analysed. This leads to a literary and theological evaluation of its versification by Cloete.
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Awojobi, Peter Olanrewaju. "Rereading Psalm 121 in an African (Yoruba) context." Integrity Journal of Arts and Humanities 2, no. 1 (June 28, 2021): 8–15. http://dx.doi.org/10.31248/ijah2021.014.
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This article is an attempt to reread Psalm 121 in an African context with reference to the culture of the Yoruba people of Nigeria. The study considers certain Eurocentric interpretation of the Book of Psalms which Africans maintained do not meet their social, physical and spiritual aspirations. An African interpretation of the Bible is an interpretation which adopts the African world view. In this study, Psalm 121 is interpreted in the light of help and protection which are the greatest needs of the African people. The study adopts the African Biblical Hermeneutics. The central focus of this approach is to provide a useful lens to reread biblical text in African context. It was discovered that as early as the third century Christian era, worshippers in the temple chanted, and sung on a regular basis from Psalms. The Psalms were popular in the fourth century with the rise of monasticism as monks chanted the psalms as daily prayer not only for personal guidance but also for spiritual warfare against demons. The ancient Israelites who were the original authors of the Psalter wrote from their experiences. Many biblical scholars and members of African indigenous churches in Nigeria, see the Psalter as divine and potent words. Psalm 121 can be used to invoke help and protection on those who desire them in the same way as words of incantation (ogede) are used among the Yoruba ethnic group of Nigeria. It is hoped that the Psalms and the entire Bible will be properly contextualized to address the challenges that Africans are currently facing.
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Makarenko, Oleksii. "ПСАЛМОВІ ТЕКСТИ В УКРАЇНСЬКОМУ ДУХОВНОМУ КОНЦЕРТІ ДОБИ БАРОКО І КЛАСИЦИЗМУ: МИСТЕЦЬКІ ПАРАЛЕЛІ." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 57–74. http://dx.doi.org/10.33287/222034.
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The purpose of the article is to identify common and distinctive features, to determine artistic parallels in the choral sacred music of the Baroque and Classicism through the prism of using psalms of texts. Research methods are used by researcher at the represented scientific article the next, a namely historical-typological, stylistic, structural-analytical, and comparative. Scientific novelty. For the first time, it is traced how the principle of selection of psalm lines affects the compositional structure and content of concerts. Conclusions. Analysis of the material of East Slavic spiritual chants using the example of the genre of a choral concert in its baroque and early classical varieties allows us to make some generalizations on the use of psalm texts. In the selection of psalm texts for concerts from the handwritten set of the Mikhailovsky Monastery, the main tendencies characteristic of European church music are noted. Among the verbal texts, we can find psalms in fragmentary liturgical use, contamination of separate lines of one or different psalms, and with other texts. Note, however, that when writing concertos on selected lines from the psalms, priority is given to the opening passages of the psalms. Poetic versions of the psalms are also found, but it is unlikely that they were intended for church use. The principle of grouping the psalms of the lines influenced the form of choral concerts, where the desire for isolation is traced: in the partisan version, the text-musical lowercase contrasting-composite form acquires features of reprisal (figurative, and at times also intonational), and the features of the four-part cycle, outlined in the part, are the most are evident in the early classical choral version. In the latter, the principle of contrasting comparison of images, tempos, individualized thematicism is more clearly visible, even before the appearance of signs of popular everyday dances. The consistent disclosure of the content of the text did not require balancing the proportions of the sections in the partisan concert «As the hart panteth after the water brooks» («Ymzhe obrazom zhelaet»), while in the spiritual concert «I will love thee, O Lord, my strength» («Vozliubliu tia, Hospody»), a similar tendency is outlined in the arrangement of the psalms of the text in parts, which is associated with both dramatic deployment and with purely musical means of material development.
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Voskoboinikova, Yu. "The specificity of musical shaping in the “Psalms of David” choral cycle by R. Tolmachov." Culture of Ukraine, no. 81 (September 21, 2023): 24–33. http://dx.doi.org/10.31516/2410-5325.081.03.
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The relevance of the article. “Psalms of David” in the poetic adaptation of Taras Shevchenko have long been a part of the choral culture of Ukraine. More than 20 composers have created musical versions of these texts, using separate verses or the entire work.
The latest version of the Psalter is the choral cycle of the Ukrainian conductor, singer, composer and teacher Ruben Tolmachov.
The first nights of the work took place under his leadership in May 2023 and had great success and public resonance. That is why the introduction of this work to scientific discourse is relevant.
The purpose of the article is to reveal the specificity of musical shaping in R. Tolmachov’s “Psalms of David” choral cycle in its relationship with textual semantics.
The methodology. With the help of textual analysis, the semantic types of psalms (didactic, pleading, laudatory, accusatory) and the peculiarities of their musical structure were determined. By the means of structural, musicological and intonation analysis, the implementation regularities of the semantics of the psalms into specific musical forms have been established.
The results. The musical structure of all psalms was analyzed, the patterns of musical shaping were revealed, and the specifics of the relationship between the musical form and the content of the poetic text were described.
The scientific novelty. For the first time, the analysis of the structure of Ruben Tolmachov’s choral cycle based on Taras Shevchenko’s poem was introduced into scientific discourse.
The practical significance. The results of the research have practical value for performers of works by R. Tolmachov, as well as composers and researchers of choral music.
Conclusions. In R. Tolmachov’s “Psalms of David” cycle the principle of strophic composition of parts prevails.
In general, four main types of musical shaping can be highlighted, which are partially correlated with the thematic focus of the psalms.
Didactic (enlightening) psalms, which depict the pious life of the community, have more “stable” forms (two-part, three-part).
Psalm 12 and Psalm 149 have signs of a thorough development based on monothematism.
The accusatory psalms, dedicated to the future Judgment Day (52, 93, 81), are made up using strophic forms with elements of reprise. At the same time, the 81st psalm is characterized by a less active dramatic development and contains a solo episode of a cathartic nature, which is designed to emphasize one of the central ideas of the cycle about the mortality of a person, regardless of his/her status, about higher moral and spiritual values.
It is also worth noting that the architectonics of R. Tolmachov’s psalms is mostly characterized by the final position of the climaxes.
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Lombaard, CJS. "Four recent books on spirituality and the Psalms: some contextualising, analytical and evaluative remarks." Verbum et Ecclesia 27, no. 3 (September 30, 2006): 909–29. http://dx.doi.org/10.4102/ve.v27i3.194.
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In the four years from 2002 to 2005, four new books on the Psalms and spirituality have been published. These are: • Stuhlmueller, C 2002. The spirituality of the Psalms. Collegeville, Minnesota: Liturgical Press. • Brueggemann, W 2002. Spirituality of the Psalms. Minneapolis: Fortress Press. • Waaijman, K 2004. Mystiek in de psalmen. Baarn: Uitgeverij Ten Have. • Firth, D G 2005. Hear , o Lord. A spirituality of the Psalms. Calver: Cliff College Publishing. In this paper, brief remarks on the context within which this publication trend takes place, are made. Each of the works is then briefly described, and general evaluative remarks are concluded with.
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Kenneth Kuntz, J. "Reclaiming Biblical Wisdom Psalms: a Response To Crenshaw." Currents in Biblical Research 1, no. 2 (April 2003): 145–54. http://dx.doi.org/10.1177/1476993x0300100203.
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This piece targets Crenshaw's article, 'Wisdom Psalms?' (CRBS 2000) that debunks a broad array of scholarly attempts to identify canonical wisdom psalms. Convinced that Crenshaw's minimalist perception often skews his reading of the biblical text and its interpretation, Kuntz counters that the Hebrew Psalter hosts a limited number of psalms that are stylistically and thematically reminiscent of what transpires in the widely recognized trinity of wisdom books in the Hebrew canon (Proverbs, Job, Qoheleth). Despite their overlap with other genres, wisdom psalms of diverse format and length exhibit shared features that warrant our embracing them as a viable psalmic category.
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Tarigan, Winardi. "Impreactory Psalms Dalam Konteks Ancient Near East (ANE) Dan Perjanjian Lama." Predica Verbum: Jurnal Teologi dan Misi 4, no. 1 (June 27, 2024): 18–39. http://dx.doi.org/10.51591/predicaverbum.v4i1.91.
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Expressions of revenge or curses against enemies in psalms are often called imprecatory psalms. In investigating psalm texts containing curses, experts usually relate them to the Ancient Near East (ANE) cultural background and several texts in the Old Testament as the basis or reference. This research will explore the relationship between imprecise Psalms and the tradition of curses in ANE culture and the practice of curses in the Old Testament outside the Psalms. So, it will provide a comprehensive contribution to evaluating imprecise psalms in the context of the ANE and Old Testament. Are the curses in the three contexts the same or have significant differences? The author attempts to review and evaluate curses in these three contexts through descriptive studies, literature reviews, contextual analysis, and comparative studies. While there are influences and similarities in the use of curses between Psalms and ANE cultures and the Old Testament, it cannot be avoided that there are also differences that need to be considered to understand the context and purpose of the use of curses in the psalms. Interpreters must highlight the differences in genre, meaning, and essence between curses in the context of the ANE and the Old Testament and the imprecatory psalms. However, considering this background in interpretation will broaden the understanding and insight into the imprecatory in the context of modern Christianity.
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Michal, Gavin. "Exploring Rabbinic Approaches to the Psalms." Old Testament Essays 35, no. 1 (June 21, 2022): 1–27. http://dx.doi.org/10.17159/2312-3621/2022/v35n1a7.
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Today, the Jewish world has adopted a popularist - if not theurgical -approach to the Book of Psalms, where the Psalms take on a mystical and almost magical function.1 However widespread, this is only one facet of a kaleidoscope of multifaceted and divergent methodologies that lie within the rubric of rabbinic Psalm interpretation. This article looks at some of the theology underpinning the essential structures of the Psalms as seen through the eyes of the classical rabbis. The analysis begins with the overall edifice of the Psalter, its division into books and their order, discusses the nomenclature and the aspect of musicology, and rabbinic views concerning their authorship and provenance. The article proceeds to investigate diverse and sometimes mutually-exclusive rabbinic opinions regarding the essential intent, usage and status of the Psalms. In the final analysis, readers are left bewildered as to whether the Psalms hold the key to the secrets of the universe or whether Jews are even allowed to pray by using the Psalms because of their exalted spiritual stature, or on the contrary, whether the Psalms are merely human expressions of prayer and grappling attempts at making sense of a difficult world, and therefore, of diminished and mundane status.
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Witt, Andrew. "Hearing Psalm 102 within the Context of the Hebrew Psalter." Vetus Testamentum 62, no. 4 (2012): 582–606. http://dx.doi.org/10.1163/15685330-12341000.
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Abstract Along with recent scholarship which is concerned with reading the book of Psalms as a whole, this article analyzes Psalm 102 within its canonical, literary context. It focuses on two main areas. First, the superscription. It identifies the speaker as the “afflicted,” who is a suffering royal Davidic figure associated with Psalms 88-89 and 101, 103. Second, the paper moves throughout the rest of the psalm, making observations concerning thematic and lexical relationships between the psalm and its immediate context. It concludes that Psalm 102, alongside 101, functions as a meditative response of the afflicted Davidic king to the questions posed in Psalm 89. As such, it provides an important literary hinge, without which the lamenting questions of Book III could not turn into affirmations of YHWH’s love and praise throughout Books IV-V.
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Pallesen, Carsten. "Stensalmer – selvforhold og parallelisme i Salmernes Bog belyst ud fra Günter Bader og Paul Ricoeur." Dansk Teologisk Tidsskrift 75, no. 2 (May 10, 2012): 82–102. http://dx.doi.org/10.7146/dtt.v75i2.105563.
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The article, “Petrifi ed Psalms: Self-relation and parallelism in the Book of Psalms in the light of Günter Bader and Paul Ricoeur”, presents two systematic readings of the Book of Psalms: Günter Bader’s Psalterspiel 2009 addresses the Book of Psalms as a whole, while Paul Ricoeur offers an interpretation of Psalm 22 in the context of his intertexual reading of the Passion in St.Mark and within the symbolic network of the Biblical texts. In each of the two different approaches, the article adresses the question about divine self-relevation: the Name of God, in Ex 3:14 (“I am who I am”) and human self-relation as it is accentuated in a biblical formula of self-presentation: “I am poor” (ani/ aani). The article addresses the putative impact of biblical parallelism and self-presentation on modern philosophy of subjectivity in Herder and German idealism, classical strucuralism in Roman Jakobson and post-structuralism in Jacques Derrida and Gilles Deleuze. Leaning on Winfried Menningshaus and Bader it is argued that the Psalms have a role of a vanishing or repressed mediator for philosophy of subjectivity. This function is captured by the romantic metaphor ‘petrifi ed psalms’.
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Basson, Willem Diederick, and Daleen Kruger. "Persepsies oor die sinodebesluite en aard van die psalms binne die GKSA." Koers - Bulletin for Christian Scholarship 81, no. 3 (December 15, 2016): 2–9. http://dx.doi.org/10.19108/koers.81.3.2261.
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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.
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Chykalova, Olha. "The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 7–24. http://dx.doi.org/10.34064/khnum2-34.01.
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Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In addition to psalms, it is represented by oratorios, cantatas, motets, hymns. Nevertheless, compared to oratorios, other genres (psalms, motets, cantatas, hymns) have not been studied enough in scientific works. In fact, spiritual concepts in the sacred music of F. Mendelssohn also remain unexplained. However, it is precisely the considering certain leading ideas that can combine different works that is the key to a deeper understanding of the composer’s spiritual music. Objectives, methods, and novelty of the research. The purpose of this article is to consider the specifics of implementation of the spiritual concept “Have hope in God!” in the psalms by F. Mendelssohn-Bartholdi. The term “concept” is used in a meaning close to its original understanding by the “father of conceptology” P. Abelard – as higher than even the “category” the result of the vivid activity of the exalted spirit. The specificity of the chosen topic required the application of an interdisciplinary approach to the subject of research and methods of spiritual-semantic, comparative, genre-stylistic analysing the musical material. The scientific novelty of the research lies in the fact that for the first time in the musicological thought, the concept of hope in God was revealed in F. Mendelssohn’s psalms and the ways of its embodiment in various examples of this genre in the composer’s work were explored. Research results and conclusion. During his lifetime, the composer wrote nine psalms, which we propose to divide into two groups based on their structure and composition: 1) large-scale psalms for choir, soloists, and orchestra; 2) more chamber ones, for a cappella performance. As a result of the study of these works at different levels (verbal, tonal and harmonic, intonation-thematic, timbre) it was found that the studied spiritual concept is actualized through a verbal text that is identical (“Harre auf Gott!” – “Have hope in God!”) or similar (common ideological content of the text – the hope in God), through musical intonations (use of separate melodic and rhythmic constructions of leit-theme “Harre auf Gott!”), certain common tonal principles (major key), performance staff (choral rendition). Degree of conformity may be varied. The highest degree of similarity is observed between two parts of the psalm № 42. № 4 and № 7 are characterized by equal text, thematic material, key, and scale (F-major). Connection between the psalm № 42 (№ 4 and № 7) and psalm № 43 (Final) is almost the same, but the scales are different (F-major and D-major). There are more distant parallels between the psalm № 42 and psalms №№ 2, 22, 115. The conclusion states that the spiritual concept of hope in God combines not only different numbers within one psalm and psalms within one cycle, but also works that belong to different groups of psalms and periods of the composer’s work.
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Menn, Esther M. "No Ordinary Lament: Relecture and the Identity of the Distressed in Psalm 22." Harvard Theological Review 93, no. 4 (October 2000): 301–41. http://dx.doi.org/10.1017/s0017816000016370.
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One of the most significant shifts in Psalms scholarship in recent years has been the emergence of a new interest in tracing how early religious communities interpreted this religious poetry within the context of an emerging scriptural canon. Whereas the form-critical studies that dominated much of the twentieth century concentrate on recovering the originalSitz im Leben(or “life setting”) of the liturgical compositions collected in the Psalter within Israel's religious cult, the recent scholarly turn emphasizes how these prayers and praises came to be reread in light of narratives and other material found elsewhere in the Bible. In point of fact, the earliest evidence for this practice of canonical relecture is preserved within the Book of Psalms itself, where historical superscriptions correlate a number of psalms with specific events in King David's life. Through the addition of superscriptions, the moving penitential prayer found in Psalm 51 becomes “A Psalm of David, when Nathan the prophet came to him, after he had gone in to Bathsheba” (compare 2 Samuel 11-12), the lament of an individual surrounded by threatening enemies found in Psalm 3 becomes “A Psalm of David, when he fled from Absalom his son” (compare 2 Samuel 15-18), and so forth.
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Spieckermann, Hermann. "From the Psalter back to the Psalms. Observations and Suggestions." Zeitschrift für die alttestamentliche Wissenschaft 132, no. 1 (March 3, 2020): 1–22. http://dx.doi.org/10.1515/zaw-2020-0008.
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AbstractThe essay is a plea for ending the hunt for the message inscribed into the final shaping of the Psalter. After the psalms had to suffer from exaggerated form-critical categorisation and other approaches, the Psalter is not in need of having its content labelled with inadequate generalising terms. The complexity of the psalms does not favour this approach. Instead, the psalms are waiting to be appreciated as textual individuals and each psalm as part of its special position in a manageable cluster of texts. In view of the Psalter as a whole the predominance of petition and praise, manifest in the title Tehillim, deserves closer theological attention.
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Nickerson, Matthew. "Nephi’s Psalm: 2 Nephi 4:16-35 in the Light of Form-Critical Analysis." Journal of Book of Mormon Studies (1992-2007) 6, no. 2 (October 1, 1997): 26–42. http://dx.doi.org/10.2307/44758820.
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Abstract Identifying the poetic forms in the Book of Mormon enables readers to appreciate its beautiful literary style and gain a better understanding of its message. This article uses the formcritical analysis of psalms, first outlined by Hermann Gunkel in 1926, to demonstrate sharp similarities between Nephi’s psalm and similar psalms in the Old Testament. Nephi’s psalm plainly follows the format and substance of the individual lament as described by Gunkel and elaborated by numerous subsequent scholars. As in other instances of Hebrew poetic forms in the Book of Mormon, understanding and appreciating the psalm, more particularly the personal lament, can offer new insights into 2 Nephi 4:16-35 and make its message of hope and trust more powerful and personal.
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Beck, Boris, and Danijel Berković. "Narativ i dramatika psalma 73." Anafora 6, no. 1 (2019): 107–23. http://dx.doi.org/10.29162/anafora.v6i1.3.
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Psalam 73 nalazi se u središnjem dijelu biblijskog Psaltira, ne samo po smještaju nego i po temi patnje pravednika, a pitanje koje postavlja – o odsutnom Bogu koji dopušta da zli prosperiraju – ponavlja se na mnogim mjestima Svetog pisma (Job, Habakuk), naročito u tzv. mudrosnim psalmima, kao što je Psalam 49 ili Psalam 73. Psalmist u psalmu proživljava unutarnju dramu sumnje i učvršćivanja u vjeri, a dramatska struktura teksta povezana je s etapama njegove religiozne krize. Psalmist od pouzdane orijentacije prema Bogu zapada u dezorijentaciju te se na koncu reorijentira. Svaka od tih faza povezana je s promjenom dramaturške situacije i vremenske vizure, a teologija i naracija Psalma 73 nerazdruživo su povezane i nužno osvjetljavaju jedna drugu. Psalmist na početku psalma ispada iz biblijskog pogleda na uređenost svijeta, zapada u ponor sumnji koje doživljava kao poživotinjenje te se na koncu vraća na vjerom nadahnutu poziciju s koje je i krenuo. Psalmist je u tekstu otkrio svoju ispovijed i prorokovanje za druge, da bi slušateljima ili čitateljima bio uzor i vodič na duhovnom putovanju – da bi kao pojedinac pomogao uspostaviti vjeru u zajednici.
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Resende, Luiz Antonio de Lima, Silke Anna Theresa Weber, Marcelo Fernando Zeugner Bertotti, and Svetlana Agapejev. "Stroke in ancient times: a reinterpretation of Psalms 137:5,6." Arquivos de Neuro-Psiquiatria 66, no. 3a (September 2008): 581–83. http://dx.doi.org/10.1590/s0004-282x2008000400033.
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Stroke was probably first described in Psalms 136: 5-6 of the Catholic Bible, and Psalms 137:5-6 of the Evangelical Bible. Based on the Portuguese, Spanish, English, German, Dutch, Russian, Greek, and original Hebrew Bible, the significance of this Psalm is the invocation of a punishment, of which the final result would be a stroke of the left middle cerebral artery, causing motor aphasia and right hemiparesis.
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Han, Jae Hee. "“Hail, Bema of Victory, Great Sign of Our City!”." Studies in Late Antiquity 7, no. 3 (2023): 407–44. http://dx.doi.org/10.1525/sla.2023.7.3.407.
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The goal of this article is to situate the Manichaean Bema Psalms from the Coptic Manichaean Psalmbook in the late antique Roman Empire, on the one hand, and to introduce it as a point of comparison for scholars interested in comparative liturgy, on the other. It argues that public expressions of adoration in the late antique Roman Empire, especially acclamations and panegyrics, functioned as the cultural scaffolding for the performance of the Bema Festival in the Roman Near East. To support this claim, it will first show how Bema Psalm 222 uses imperial acclamations and topoi drawn from panegyrics to welcome Mani to the bema. It then turns to compare the Bema Psalms with Christian and Jewish liturgy, thereby demonstrating that the Bema Psalms participate in the same liturgical developments as their neighbors in the Roman Empire. It shows how various “hailing” acclamations found throughout Bema Psalms parallel Christian hymns in praise of Mary, the Theotokos (God-bearer) in both form and epithets used. It then pivots to compare the role of refrains in a Jewish liturgical text for Passover with another Bema Psalm, ultimately arguing that both locate the congregation within a liturgical drama through the performance of acclamatory refrains.
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Charzyńska-Wójcik, Magdalena. "Too Good Is Bad: On a Forgotten Translation of the Book of Psalms From 1700." Roczniki Humanistyczne 71, no. 6sp (July 24, 2023): 15–43. http://dx.doi.org/10.18290/rh237106.2s.
Full textAbstract:
This contribution is devoted to an English translation of the Book of Psalms made by John Caryll and David Nairne at the exiled court of James II in Saint-Germain-en-Laye. The Psalmes of David, translated from the Vulgat first printed in 1700, received a corrected and revised edition brought out in 1704. Despite the significant place it occupies in the history of translations of the Psalter from the Vulgate into English, it has hardly received any scholarly attention. The paper examines the circumstances in which this translation emerged, looks at its language and compares it with its rival texts, examines its reception, circulation, and sociolinguistic context with a view to determining why the text ceased to be printed and why it has suffered neglect in the literature dealing with biblical translations. The contribution also presents for the first time the text of Psalm 1 from the newly discovered manuscript version of the Psalmes preserved in SCA in Aberdeen, Scotland.
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Gordley, Matthew E. "Creating Meaning in the Present by Reviewing the Past: Communal Memory in the Psalms of Solomon." Journal of Ancient Judaism 5, no. 3 (May 14, 2014): 368–92. http://dx.doi.org/10.30965/21967954-00503005.
Full textAbstract:
This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the tradition of Solomonic discourse are also addressed insofar as they contribute to the didactic function of this psalm collection.
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Тимофеев, Борис. "Messianic Meaning in Psalms 2, 8, 44: the View of Diodorus of Tarsus and Theodore of Mopsuestia." Theological Herald, no. 1(36) (March 15, 2020): 98–113. http://dx.doi.org/10.31802/2500-1450-2020-36-1-98-113.
Full textAbstract:
Цель статьи - реконструкция экзегетических принципов толкования диодором Тарсийским и Феодором Мопсуэстийским мессианских текстов в псалтири. Эти толкователи известны критическим подходом к прямой мессианской интерпретации пророческого провозвестия ветхого завета. Так, с их точки зрения, из всей псалтири только четыре псалма говорят непосредственно о христе и его времени. Это псалмы 2, 8, 44 и 109. поскольку толкования диодора и Феодора на 109й псалом в настоящее время недоступны, автор ограничился сравнительным анализом их комментариев на псалмы 2, 8 и 44. результаты сравнения помогают прояснить детали герменевтических принципов диодора и Феодора и определить их место в древней христианской экзегетической традиции. This article is an attempt to reconstruct the exegetical principles of the interpretation of messianic texts in the Psalms of Diodorus of Tarsus and Theodore of Mopsuestia. These interpreters are known for their critical approach to the direct messianic interpretation of the Old Testament prophetic proclamation. So, for example, from their point of view, of the entire Psalm, only four psalms speak directly about Christ and his time. These are 2, 8, 44, and 109 Psalms. Since the interpretation of Diodorus and Theodore on Psalm 109 is currently unavailable, we restrict ourselves to analyzing their comments on Psalms 2, 8, and 44. The results of the comparative analysis can help to clarify the details of the hermeneutic principles of Diodorus and Theodore and help determine their place in the ancient Christian exegetical tradition.