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1
Bulas, Ryszarda Maria. "Dekoracje irlandzkich psałterzy." Vox Patrum 60 (December 16, 2013): 93–109. http://dx.doi.org/10.31743/vp.3980.
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A particularly interesting question in medieval Irish literature, is decorating Psalters. Since the Biblical psalms were very popular among the Anglo-Saxons, they were often copied and decorated also in Ireland. Initially, the decoration was limited to ornamentation letters. Later there were elements depicting scenes from the life of David, which had its origins, according to F. Henry, in the Carolingian art. In this article, the author presents in chronological order all decorated Irish and Anglo-Saxon Psalters, which show visible influence of the Irish art (Cathach, Durham Cassiodorus, Psalter of Cantorbury, Cotton Psalter, Southampton Psalter, Ricemarcus’ Psalter, Liber hymnorum, Psalter of the St. Caimin).
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Millard, Matthias. "Von Der Psalmenexegese Zur Psalterexegese Anmerkungen Zum Neuansatz Von Frank Lothar Hossfeld Und Erich Zenger." Biblical Interpretation 4, no. 3 (1996): 311–27. http://dx.doi.org/10.1163/156851596x00040.
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AbstractDer neue Kommentar über Psalm 1-50 von Frank-Lothar Hossfeld und Erich Zenger ist der erste Kommentar in deutscher Sprache mit einem Interesse an kontextueller Auslegung seit dem von Franz Delitzsch (1860; 5. Auflage, 1894). Seine Methode, die Kontextbezogenheit der Psalmen zu erklären, ist aberwiegend die Redaktionskritik; einige Psalmen werden aber auch als kompositorische Psalmen betrachtet. Der Kommentar führt zwei typische Phasen der Redaktionsarbeit aus: eine formative-exilische und eine nachexilische, die ein besonderes Interesse an einer Theologie der Armen hat. Die Kritik dieses Ansatzes, wie sie in diesem Artikel erfolgt, befürwortet überwiegend die Struktur, nach der die Psalmen in chiastischen Sammlungen angeordnet sind (bei Hossfeld und Zenger: Ps. 3-14; 15-24; 25-34; 35-41; 42-49) mit Ps. 1 und 2 als Einleitung zum gesamten Psalter und zu Teilen von ihm. Aus der Perspektive, daß der Psalter aus kleineren formgeschichtlich definierten Einheiten besteht, in denen der Leser von der Klage zu Lob und Dank geführt wird, fragt er weiter kritisch nach der vermuteten redaktionsgeschichtlichen Struktur des Psalters und deren literarkritischen Implikationen.
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Dahmen, Ulrich. "Psalmen oder Psalter?" Biblische Zeitschrift 59, no. 2 (November 23, 2015): 312–18. http://dx.doi.org/10.1163/25890468-059-02-90000018.
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Bashanova, M. A., Yu Zhang, and 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, no. 2 (2019): 102–14. http://dx.doi.org/10.25205/1818-7935-2019-17-2-102-114.
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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.
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Slavova, Tatyana. "Selected Psalms (“David’s Prophesies”) of The Palaea Interpretata." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 2 (2019): 5–13. http://dx.doi.org/10.25205/1818-7935-2019-17-2-5-13.
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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.
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Gretsch, Mechthild. "The Junius Psalter gloss: its historical and cultural context." Anglo-Saxon England 29 (January 2000): 85–121. http://dx.doi.org/10.1017/s0263675100002428.
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Oxford, Bodleian Library, Junius 27 (S.C. 5139), the Junius Psalter, was written, Latin text and Old English gloss, probably at Winchester and presumably during the reign of King Edward the Elder. Junius 27 is one of the twenty-nine complete or almost complete psalters written or owned in Anglo-Saxon England which have survived. (In addition to these twenty-nine complete psalters, eight minor fragments of further psalters are still extant.) This substantial number of surviving manuscripts and fragments is explained by the paramount importance of the psalms in the liturgy of the Christian church, both in mass and especially in Office. Junius 27 is also one of the ten psalters from Anglo-Saxon England bearing an interlinear Old English gloss to the entire psalter. (In addition there are two psalters with a substantial amount of glossing in Old English, though not full interlinear versions.) Since our concern in the first part of this article will be with the nature of the Old English glossing in the Junius Psalter, and its relationship to other glossed psalters, it is appropriate at the outset to provide a list of the psalters in question. At the beginning of each of the following items I give the siglum and the name by which the individual psalters are traditionally referred to by psalter scholars. An asterisk indicates that the Latin text is a Psalterium Romanum (the version in almost universal use in England before the Benedictine reform); unmarked manuscripts contain the Psalterium Gallicanum. For full descriptions of the manuscripts, see N. R. Ker, Catalogue of Manuscripts Containing Anglo-Saxon.
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Pulsiano, Phillip. "The originality of the Old English gloss of the Vespasian Psalter and its relation to the gloss of the Junius Psalter." Anglo-Saxon England 25 (December 1996): 37–62. http://dx.doi.org/10.1017/s0263675100001927.
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In a brief discussion of the Vespasian Psalter in 1898, Albert S. Cook offered a statement that set the tone for subsequent debate about the relationship between the Old English gloss of the Vespasian Psalter (A = London, British Library, Cotton Vespasian A. i) and that of the junius Psalter (B = Oxford, Bodleian Library, junius 27): ‘It seems not improbable that it [i.e. the gloss to the Vespasian Psalter] is the original from which all later Old English glosses on the Psalms have been derived, undergoing in the process such modifications as were due to the language of the particular dialect or epoch.’ With regard to the Junius gloss specifically, Cook printed the text of Psalm XCIX [C] from the Vespasian Psalter, which he collated with the Junius, Cambridge (C = Cambridge, University Library, Ff. 1.23), Regius (D = London, British Library, Royal 2. B.V), and Eadwine (E = Cambridge, Trinity College R. 17.1) psalters; he concluded that ‘B stands nearest to A, but is carelessly written, and changes Anglian peculiarities in the direction of West Saxon (in to on, all to eall, &c.) while retaining, in general, a comparatively early and Anglian cast (weotað, scep, leswe, &c.)’. Although Otto Heinzel, writing in 1926, disagreed with Cook's assertion that the Vespasian gloss was the source from which all other psalters ultimately derived their glosses, he reiterated, after a fashion, the idea that the Junius gloss is related to that of the Vespasian Psalter, although, like Cook, he did not argue for a direct relationship between these two works. In Heinzel's stemma, from the Urtext*0 derive *α, which stands as the model for B, and *β, which in turn stands as the model for both A and C. The stemma, in its full form, taking the Dtype (Regius Psalter) tradition into account, has justly been termed ‘fanciful’ by Kenneth Sisam. The relationship between the glosses in these two psalters formed the subject of an extended study by Uno Lindelöf published in 1901.
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Prinsloo, Gert T. M. "Reading the Masoretic Psalter as a Book: Editorial Trends and Redactional Trajectories." Currents in Biblical Research 19, no. 2 (February 2021): 145–77. http://dx.doi.org/10.1177/1476993x20944675.
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The publication of Gerald H. Wilson’s The Editing of the Hebrew Psalter in 1985 marked a distinct shift in approaches to Psalms research. This article reviews this shift from psalm to Psalter exegesis. North American scholarship tends to follow a synchronic approach and to describe the shape of the Psalter. German scholarship tends to use a diachronic perspective and trace the shaping of the Psalter to explain how it attained its final form. There are growing signs of dialogue and convergence between these two main approaches to the editing of the Hebrew Psalter, which overshadow form-critical and liturgical approaches to the editing of the Psalter. Adherents of the shape and the shaping approach tend to propose a specific theme, organizational principle, or redactional intent to explain the Psalter’s final form. The multi-faceted nature of the Psalter and its long and complex history imply that, in spite of a multitude of publications, the last word on editorial trends and redactional trajectories has not been spoken.
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Jakšić, Nikola. "Iluminirani psaltir 15. stoljeća zadarskih franjevaca." Ars Adriatica, no. 2 (January 1, 2012): 119. http://dx.doi.org/10.15291/ars.444.
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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.
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IRVING, DAVID R. M. "The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka." Eighteenth Century Music 11, no. 2 (August 7, 2014): 235–55. http://dx.doi.org/10.1017/s1478570614000062.
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ABSTRACTThe spread of Protestant Christianity to Indonesia and Sri Lanka in the early modern period involved large-scale translation projects and, from the beginning of the eighteenth century, the publication of metrical psalms in languages spoken by local communities: Portuguese, Malay, Tamil and Sinhala. Selected psalms from the Genevan Psalter, as well as complete versions, were translated and published in South and Southeast Asia on several occasions in the eighteenth century, representing the earliest printing of Western staff notation in Jakarta and Colombo. These psalters were issued in numerous editions, and some were prefaced with a short explanation of the musical scale. Christian communities in Indonesia and Sri Lanka appear to have used the psalters regularly in religious devotions and services. This article explores the processes involved in the translation, production and distribution of these psalters, considering musical and cultural aspects of their adoption into local communities.
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Specland, Jeremy. "Competing Prose Psalters and Their Elizabethan Readers." Renaissance Quarterly 74, no. 3 (2021): 829–75. http://dx.doi.org/10.1017/rqx.2021.102.
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Layouts and paratexts of Elizabethan prose psalters advocate two competing reading methods: reading sequentially according to the church calendar or selecting psalms by occasion. Marked psalters and bibles, however, show that Elizabethan readers often disregarded printed prescription, practicing either method, or both, as they chose. To capitalize on reader independence, printers eventually produced texts that encouraged comparative reading across multiple translations, culminating in the two-text psalter of the 1578 Geneva Bible. This episode in the history of devotional reading demonstrates the tendency of Elizabethans to slip the confessional categories into which their own texts, and later historiography, would place them.
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Смирнова, Э. С. "About the customer and the original assignment of the Psalter of Simon (SHM, A. I. Chludov Collection No. 3), as well as the likelihood of its connection with Yuriev monastery." Architectural archeology, no. 4 (February 12, 2023): 195–204. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-371-8.195-204.
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Богато иллюстрированная Псалтирь в Отделе рукописей ГИМ (Хлуд. 3) создана в Новгороде во второй четверти XIV в. и содержит 119 иллюстраций. Рукопись не была предназначена для новгородского Софийского собора, поскольку там такая Псалтирь уже, видимо, существовала. Одна из миниатюр Симоновской Псалтири повторяет редкую композицию иконы «Спас на престоле» 1337 г., заказанной новгородским архиепископом Моисеем в промежутке между двумя его архиепископскими сроками. Связь Моисея с Юрьевым монастырем, где он когда-то был архимандритом, позволяет предположить, что дорогостоящая рукопись Псалтири могла быть заказана Моисеем для Георгиевского собора этого монастыря. Другое решение вопроса о происхождении Псалтири связано с именем некоего «отца Симона» в записи писца на л. 98 об. Если Симон - это заказчик Псалтири (как иногда предполагают), то его можно с осторожностью отождествить с Симоном - заказчиком Евангелия 1270 г. (РГБ, собрание Румянцева, cod. 105), который являлся иноком именно Юрьева монастыря. Оба варианта решения проблемы указывают на значительную роль Юрьева монастыря и его главного храма в художественной культуре Новгорода XIV в. The richly illustrated Psalter in the Manuscripts Department of the State Historical Museum (Chlud. 3) was created in Novgorod in the second quarter of the 14th century. It contains 119 illustrations. The manuscript was not intended for the Cathedral of Holy Wisdom, since such a Psalter apparently already existed there. One of the miniatures of the Psalter of Simon repeats the rare composition of the icon "The Saviour enthroned" of 1337, painted on the order of Novgorod Archbishop Moses in the interval between his two archiepiscopal terms. Moses' connection with Yuriev monastery, where he was once an archimandrite, suggests that the costly manuscript of the Psalter could have been ordered by Moses for St. George's cathedral of this monastery. Another version of the Psalter's origin is associated with the name of a certain "father Simon" mentioned in the scribe's note on l. 98 ob. If Simon was the customer of the Psalter (as is sometimes assumed), then he can be identified with caution with Simon, the customer of the Gospel of 1270 (RSL, N. P. Rumyantsev Collection, No. 105), who was a monk namely in Yuriev monastery. Both options for addressing the problem of the Psalter's origin point to the significant role of Yuriev monastery and its main church in the artistic culture of Novgorod in the 14th century.
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Ho, Peter CW. "Pan-Psalter Occurrence Scheme of ‘Jacob’ and ‘Covenant’." Journal for the Study of the Old Testament 44, no. 2 (August 28, 2019): 217–32. http://dx.doi.org/10.1177/0309089219860165.
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Recent doctoral research on the Psalter continue to reinforce the idea that the 150 individual psalms are not haphazardly arranged and that various editorial techniques have been employed to shape the Psalter. In this article, I propose a novel editorial technique that has hitherto not been recognized or systematized in the literature on Hebrew poetry or the Psalms—the ‘Pan-Psalter Occurrence Scheme’—a careful use and placement of certain words/phrases across the entire Psalter such that all their sequential occurrences reflect a well-designed schema. Two lexemes, יעקב (‘Jacob’) and ברית (‘covenant’) are studied. The occurrences of these words are found to develop along a linear dimension (metanarrative) and display remarkable concentric arrangements. The POS technique suggests that the entire Psalter is indicative of intentional and careful macrostructural design. This article will contribute to our knowledge of ancient poetic editorial techniques underlying the composition of the Hebrew Psalter.
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Longacre, Drew. "The 11Q5 Psalter as a Scribal Product: Standing at the Nexus of Textual Development, Editorial Processes, and Manuscript Production." Zeitschrift für die alttestamentliche Wissenschaft 134, no. 1 (March 1, 2022): 85–111. http://dx.doi.org/10.1515/zaw-2022-0004.
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Abstract This article demonstrates how pragmatic factors impacted the formation of the 11Q5 (11QPsa) psalter, confirming the essential interdependency between textual development, editorial processes, and physical manuscript production. I enumerate several default modes that guided the compiler and the types of editorial interventions by which he created the 11Q5 psalter. These suggest that the 11Q5 psalter was produced as a revised version of the traditional psalter, expanded and rearranged from an MT-like base text to enhance thematic, lexical, and sometimes formal connections between psalms.
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Rush, Rebecca M. "Authority and Attribution in the Sternhold and Hopkins Psalter." Renaissance and Reformation 38, no. 1 (June 13, 2015): 57–82. http://dx.doi.org/10.33137/rr.v38i1.22782.
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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.
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MacRobert, Catherine Mary. "The Place of the Mihanović Psalter in the Fourteenth-Century Revisions of the Church Slavonic Psalter." Studia Ceranea 6 (December 30, 2016): 75–98. http://dx.doi.org/10.18778/2084-140x.06.05.
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Modern scholarship on the textual history of Church Slavonic biblical translation recognizes two distinct revisions of the Church Slavonic Psalter from the early fourteenth century, Redaction III (sometimes called the ‘Athonite’ redaction) and Redaction IV, known only in the Norov psalter manuscript. Although they are both attested from the same period and in manuscripts of similar Bulgarian provenance, these two redactions are in some respects systematically different in their linguistic character, their approach to translational issues and their Greek textual basis. In the light of A.A. Turilov’s observation that the Mihanović Psalter, possibly the earliest witness to Redaction III, is written in the same hand as the greater part of the Norov Psalter, this paper examines the textual antecedents of the two redactions and the importance of the Mihanović Psalter as a link between them.
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Ho, Peter C. W. "The Macrostructural Logic of the Alphabetic Poems in the Psalter." Vetus Testamentum 69, no. 4-5 (October 14, 2019): 594–616. http://dx.doi.org/10.1163/15685330-12341395.
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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.
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Pilch, Herbert. "The Sondershäuser Psalter." NOWELE Volume 31/32 (November 1997) 31-32 (November 1, 1997): 313–23. http://dx.doi.org/10.1075/nowele.31-32.24pil.
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Kauffmann, C. M., and William Noel. "The Harley Psalter." American Historical Review 103, no. 2 (April 1998): 495. http://dx.doi.org/10.2307/2649795.
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Karzarnowicz, Jarosław. "Psalmy 50 i 120 w cerkiewnosłowiańskich tekstach psałterza. Nowe spojrzenie na przekład biblijny." Linguodidactica 26 (2022): 95–109. http://dx.doi.org/10.15290/lingdid.2022.26.07.
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In the article I discuss the problem of the translation of the biblical book of psalms into the Church Slavonic language. Psalms 50 and 120 are of particular interest here. My goal is to show a different, more recent view of the issue of translation from Greek to Slavonic from the earliest translations starting from Psalterium Sinaiticum and Psalterium Bononiense. In my paper I am not interested in the way the text is translated, the degree of dependence on Greek, but rather in certain innovations of all texts and what they can testify to. In the analysis of the material I use issues of interpretation and textual implications. The research material was taken from Psalterium Sinaiticum and Psalterium Bononiense, Norov psalter, Kiev psalter and Radomir’s psalter. The results of the analysis of the material indicate that the texts of translations can be divided into two groups: earlier texts with a high degree of internal consistency, and inconsistencies with previous translations. The Kiev psalter and the Radomir psalter are quite innovative, which indicates the creative nature of the work on both texts.
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Toswell, M. J. "The relationship of the metrical Psalter to the old English glossed Psalters." English Studies 78, no. 4 (July 1997): 297–315. http://dx.doi.org/10.1080/00138389708599079.
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Deshman (†), Robert. "The Galba Psalter: pictures, texts and context in an early medieval prayerbook." Anglo-Saxon England 26 (December 1997): 109–38. http://dx.doi.org/10.1017/s0263675100002131.
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The ‘Galba Psalter’ (London, British Library, Cotton Galba A. xviii) is a pocket-sized (128 × 88 mm.), early-ninth-century Carolingian book, perhaps made in the region of Liège, that was originally decorated with only ornamental initials. By the early tenth century the manuscript had reached England, where an Anglo-Saxon scriptorium added two prefatory quires (1r–19v) containing a metrical calendar illuminated with zodiac signs, KL monograms and single figures (pls. IX–X), and five full-page pictures. Two miniatures of Christ and the saints on 2v and 21r (pls. X–XI) preface the calendar and a series of prayers respectively, and three New Testament pictures marked the customary threefold division of the Psalms. Facing Ps. I was a miniature of the Nativity (pl. XII), now detached from the manuscript and inserted into an unrelated book (Oxford, Bodleian Library, Rawlinson B. 484, 85r). The Ascension on 120v (pl. XIII) prefaces Ps. CI. A third picture before Ps. LI has been lost, but almost certainly it represented the Crucifixion. The placement of an image of this theme between the Nativity and the Ascension would have been appropriate from a narrative standpoint, and some later Anglo-Saxon and Irish psalters preface this psalm with a full-page picture of the Crucifixion. Obits for King Alfred (d. 899) and his consort Ealhswith (d. 902) provide a terminus post quem for the calendar and the coeval illumination. The Insular minuscule script of the calendar indicates a West Saxon origin during the first decade of the tenth century. On the grounds of the Psalter's style and later provenance, the additions were very likely made at Winchester.
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Pentkovskaya, Tatiana V. "Maximus the Greek's Biblical Philology in the European Context and in the Church Slavonic Tradition." Slovene 9, no. 2 (2020): 448–60. http://dx.doi.org/10.31168/2305-6754.2020.9.2.18.
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[Rev. of: Verner I. V. The Interlinear Slavonic-Greek Psalter of 1552 Translated by Maximus the Greek. Moscow: Indrik, 2019, 928 pp. (in Russian)] The article offers a review of the study and publication of Maximus the Greek's 1552 translation of the Psalter. This translation, which has remained in manuscripts until now, is viewed as part of the European biblical revision, ialongside other well-known Renaissance translations and editions of the Holy Scriptures. The Church Slavonic-Greek Psalter of 1552 is a monument at once to Byzantine-Slavic, European-Slavic, and inter-Slavic cultural and linguistic ties of the early Modern period. The edition contains an exemplary linguistic and textological description of the Psalter of 1552 which clearly highlights the stages of Maximus the Greek's work on the text, reveals his methods using handwritten and printed sources in different languages, and explicates the translation technique of the Athos scholar. The book identifies the printed Greek original of the Psalter of 1552, which turns out to be the 1498 edition of Justin Decadius. The second part of the book contains a critical edition of the Psalter of 1552 based on the interlinear manuscript of the Russian State Library (RSL f. 173.I # 8) incorporating variant readings of six copies studied. The Greek part of the interlinear manuscript is presented in accordance with its specific Slavonic spelling. This book is a major contribution to paleoslavistics and to the research on biblical studies in Early Modern Russia.
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Zagórska, Paulina. "The coordinated glosses of the Eadwine Psalter and their source(s)." Biuletyn Polskiego Towarzystwa Językoznawczego LXXVI, no. 76 (December 31, 2020): 257–73. http://dx.doi.org/10.5604/01.3001.0014.6659.
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The paper presents the results of an extensive study into double glosses employed in the Old English gloss to the Eadwine Psalter in order to verify the possible sources of this linguistically complex manuscript. The analysis shows that the affiliation of the gloss is complicated, with numerous glosses which do not belong to the established Old English psalter glossing tradition. Additionally, the results shed some light on several of the baffling questions concerning the Old English gloss to the Eadwine Psalter, such as the number of hands and the glossing practice behind the production of this manuscript. Ultimately, the paper shows that contrary to the popular opinion, the Old English gloss to the Eadwine Psalter is a valuable source of linguistic data which moreover provides information on the twelfth-century scribal practice in the post-Conquest England.
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Wójcik, Jerzy. "The First English Printed Psalters — George Joye’s Translations and Their Editions." Roczniki Humanistyczne 67, no. 5 (July 24, 2019): 143. http://dx.doi.org/10.18290/rh.2019.67.5-8.
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The paper discusses four English Psalters which are the work of a prominent, although largely forgotten, English protestant George Joye, whose first English translation of the whole Psalter appeared in Antwerp in 1530. The original publication was followed by two reprints, both of which appeared in London in 1534 and 1544. The fourth publication, which appeared in Antwerp in 1534, was a new translation prepared by Joye on the basis of a different Latin text. The text of Psalm 1 from each of these publications is provided, enabling the comparison of the differences displayed by the texts in question so characteristic of early print.
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Powell, Morgan. "Making the Psalter of Christina of Markyate (the St. Albans Psalter)." Viator 36 (January 2005): 293–335. http://dx.doi.org/10.1484/j.viator.2.300014.
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Lemeshkin, Ilya Vasil’evich. "THE CZECH FIRST PRINTED PSALTER OF 1487 AND THE PSALTER OF F. SKORINA (1517) AD GLORIAM VENERATIONEMQUE DEI." Russkaya literatura 1 (2022): 153–61. http://dx.doi.org/10.31860/0131-6095-2022-1-153-161.
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The article establishes a textological correlation between the Czech First Printed Psalter of 1487 and the Psalter of F. Skorina (1517). Following the example of his predecessors — the Prague printers of the late 15th century (the printer of the Psalter and the printer of Prague Bible), F. Skorina used the wide-known stereotypical expression, rooted in the Medieval literary tradition, where the abovementioned construction was also used in the author’s dedication. The colophon and the foreword to the Incunabula from the year 1487 affected the language, composition and content of F. Skorina’s foreword.
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Nowak-Barcińska, Małgorzata. "Psałterz poznański. Prolegomena lingwistyczne." Poznańskie Studia Polonistyczne. Seria Językoznawcza 25, no. 2 (April 8, 2019): 221–42. http://dx.doi.org/10.14746/pspsj.2018.25.2.12.
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This article discusses a collection of fifty psalms published as The Poznań Psalter. A Collection of Psalms for Common Singing at Home and in Church (Poznań 2017). As a text genre, the publication represents a song book, which – according to its dictionary definition – is: ‘a collection of songs (solemn or popular) with their lyrics and notes’. The publication can alternatively be classified as a hymnal. The authors of the paraphrased psalter intended to underscore the musical character of the Biblical texts. This musical character is underscored by giving the particular psalms their regular rhythmic pattern, partly supported with a rhyming pattern. As far as the musical layer of the Poznań Psalter is concerned, the authors make a conscious reference to tradition, since the melodic lines are transferred from the Geneva Psalter (1563 edition). The language layer, on the other hand, departs from tradition, since it does not exhibit the historically marked lexical or grammatical structures. Analysing the text of the Poznań Psalter, composed by the Protestant (Reformed Evangelical Church) authors in the context of the Polish tradition of Biblical translation, one can conclude that this tradition retains its vital interdenominational nature, which – as in the case in point – is capable of using the Warsaw Bible and the Millennium Bible as sources of textual adaptation.
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De Claiss, NL. "Reading backwards from the beginning: My life with the Psalter." Verbum et Ecclesia 27, no. 2 (November 17, 2006): 455–67. http://dx.doi.org/10.4102/ve.v27i2.158.
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The Psalter is more than the sum of its individual parts. The book is indeed the collected hymns of ancient Israel and its designation as “the hymnbook of second temple period” is appropriate. But, in addition, the Psalter is a narrative within a poetic text. Contem-porary interest in the Psalter includes the desire to flesh out, give breath to, and stir the nephesh (“the inmost being”) of the text of the book of Psalms. But are scholars making any progress? In this article the author answers positively and is intended to provide a summary of this same learning experience.
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Cook, Ryan J. "“They were Born There”." Horizons in Biblical Theology 39, no. 1 (March 20, 2017): 16–30. http://dx.doi.org/10.1163/18712207-12341342.
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The Psalter references other nations or people groups frequently and in richly diverse ways. This article seeks to understand the role and function of these references in ancient Israelite worship. It conducts this study by outlining the diverse roles the nations play in the Psalter, then utilizing rhetorical criticism, it examines their suasive role in the Psalm 2. It argues that the primary function of the nations in the Psalter, despite the various ways in which the nations are depicted, is to help shape Israel’s identity both between itself and yhwh and between itself and the nations.
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Levin, Christoph. "DIE ENTSTEHUNG DER BÜCHEREINTEILUNG DES PSALTERS." Vetus Testamentum 54, no. 1 (2004): 83–90. http://dx.doi.org/10.1163/156853304772932942.
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AbstractThe division of the Book of Psalms into five books in line with the Torah was first created by the doxology of Ps cvi 48 which repeats Ps xli 14 verbatim and combines it with a quotation of Dtn xxvii 16ff. (cf. Neh viii 1-6). The three other doxologies which divide the Book of Psalms relate to the former separate collections: Ps xli 14 concludes the first Davidic Psalter Pss iii-xli, Ps lxxii 18-19 rounds off the 'elohistic' Davidic Psalter Pss li-lxxii, and Ps lxxxix 53 concludes the 'messianic' Psalter Pss ii-lxxxix.
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Whiting, Mark J. "Psalms 1 and 2 as a hermeneutical lens for reading the Psalter." Evangelical Quarterly 85, no. 3 (April 30, 2013): 246–62. http://dx.doi.org/10.1163/27725472-08503004.
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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.
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Groenewald, A. "Psalms 69:33-34 in the light of the poor in the Psalter as a whole." Verbum et Ecclesia 28, no. 2 (November 17, 2007): 425–41. http://dx.doi.org/10.4102/ve.v28i2.115.
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The Psalter has very often been regarded as the prayer book of the poor. In the Psalms God is portrayed as the saviour of the poor, their hope, their stronghold and liberator – whether these are prayers of an individual or prayers of the community. The high concentration of the term(s) for the “poor” in the Psalter, in relation to the rest of the books of the Old Testament (OT), indeed indicates a profound affinity for the “poor” in the Psalter , which is an indication that the Psalter underwent a redaction of the “theology of the poor”. In this article the focus will be on Psalm 69, as it seems to have undergone a “redaction of the poor”. The main focus will be on the verses 33 and 34, as they, specifically, contain terminology of the “poor”. Special attention will also be given to the different terms used for the poor in this text.
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Rogers, Nicholas. "The Original Owner of the Fitzwarin Psalter." Antiquaries Journal 69, no. 2 (September 1989): 257–78. http://dx.doi.org/10.1017/s0003581500085437.
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The Fitzwarin Psalter (Paris, B.N. MS lat. 765) is one of the most striking English manuscripts of the fourteenth century. Its miniatures are characterized by bold compositional experiment and a mannered figure style of extreme emotional intensity. The conventional name of the manuscript derives from the presence of two shields in the lower border of the Beatus page (fol. 23), which were identified by Francis Wormald as those of the families of Fitzwarin and Clevedon. But he was unable to find any evidence connecting the two families by marriage. He dated the Psalter to the third quarter of the century, and in this has been followed by Lucy Sandler. However, in an important study of the Fitzwarin Psalter and related manuscripts, Lynda Dennison demonstrated that, for stylistic reasons, the Psalter (with the exception of a bifolium, fols. 21-22) must be dated to the mid-1340s. This redating prompts a re-examination of the question of the identity of the original owner.
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O'Neill, Patrick P. "Latin learning at Winchester in the early eleventh century: the evidence of the Lambeth Psalter." Anglo-Saxon England 20 (December 1991): 143–66. http://dx.doi.org/10.1017/s0263675100001794.
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Aside from its Old English gloss, the Lambeth Psalter has largely been ignored. Yet this manuscript furnishes valuable evidence about Latin learning in late Anglo-Saxon England, specifically at Winchester. And it can lay claim to be the most important surviving witness to psalter scholarship from this period.
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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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Verner, Inna. "Varying Means of Grammatical Parallelism in the Church Slavonic Translations of Psalms of the 11th–16th Centuries." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 6 (March 2021): 5–16. http://dx.doi.org/10.15688/jvolsu2.2020.6.1.
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As a metrically organized poetic text, the Psalter is built on the principle of substantive and formal parallelism of verses and stanzas in the Hebrew text as well as in Greek and Church Slavonic translations. In the article, based on the material of Slavic translations of different times (from the Sinai Psalter of the 11 th century to the Psalter of 1552 by Maximus the Greek), cases of assimilation / dissimilation of grammatical forms in parallel text structures are considered. The variability which arises in the process of dissimilation has neither genetic (South Slavonic vs East Slavonic, archaic vs new, standard vs non-standard forms), nor functional (literary vs non-literary forms), but rhetorical nature of stylistic variation, conditioned by the structure of the text. The analysis revealed that in early Slavonic psalter redactions the choice and the number of variable grammatical forms are limited; the texts of the 16 th century, namely the Psalms of 1552 translated by Maximus the Greek, are particularly characterized by stylistic grammatical variability, concerning the most different forms (from the substantive Gen. and Dat. cases to the aorist and perfect in the 3 rd person). The examined cases of the dissimilated grammatical forms in parallel contexts of the Psalter are supported by some original Maximus the Greek's works, so that these forms should be considered as stylistic variants of the literary Church Slavonic language.
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Holladay, William L. "Indications of Jeremiah's Psalter." Journal of Biblical Literature 121, no. 2 (2002): 245. http://dx.doi.org/10.2307/3268355.
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Trost, Vera. "Das Projekt „Stuttgarter Psalter“." WLBforum 14, no. 1 (April 15, 2012): 9–14. http://dx.doi.org/10.53458/wlbf.v14i1.356.
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Das Projekt nahm seinen Anfang mit einem Anruf von Professor Dr. Hartmut Weber, Präsident des Bundesarchivs, im Sommer 2006. Er teilte mir mit, dass er der Württembergischen Landesbibliothek Mittel für ein herausragendes Restaurierungsobjekt aus der „Walther und Erika von Dietrich - Dr. med. Elfriede Burger-Stiftung“ zukommen lassen könne. Diese Herausforderung musste angenommen werden. Welches Objekt aus den historischen Sammlungen war geeigneter als der Stuttgarter Psalter?
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McNamara, Martin. "Five Irish psalter texts." Proceedings of the Royal Irish Academy: Archaeology, Culture, History, Literature 109C, no. 1 (2009): 37–104. http://dx.doi.org/10.1353/ria.2009.0000.
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Keefer, Sarah Larratt. "TheEx Librisof theRegius Psalter." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 3, no. 4 (October 1990): 155–59. http://dx.doi.org/10.1080/19403364.1990.11755276.
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McNamara, Martin. "Five Irish psalter texts." Proceedings of the Royal Irish Academy, Section C 109, no. -1 (January 1, 2009): 37–104. http://dx.doi.org/10.3318/priac.2009.109.37.
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Caskenette, Stephanie. "Reading and relating: Digitally tracing human groupings in the illustrations of the Utrecht Psalter." SURG Journal 7, no. 1 (February 6, 2014): 17–22. http://dx.doi.org/10.21083/surg.v7i1.2824.
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Within the illustrations of the ninth century Utrecht Psalter, groupings of multiple people with no imperative role in the narrative are found in large numbers. This inclusion is unique and with clear intention, and unlike other non-essential pictorial elements in the composition such as foliage or buildings, all of these figures are drawn to completion. As the images in the Utrecht Psalter show consistency in their measurements on the page, as well as through the scale of elements within the actual illustrations, direct comparisons can be made on how these figures are employed in the scene. By using digital applications to create a compositional overlay of all these groups, a concentration of figures on the left and right sides of the image is observed. This article suggests that such an arrangement provides a readable image, with human groups added in order to encourage engagement with the text of the Psalter and aid in remembering its messages.
Keywords: Utrecht Psalter; medieval literacy; manuscript illustration; image composition; digital humanities; artwork engagement
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Goswell, Gregory. "The Non-Messianic Psalter of Gerald H. Wilson." Vetus Testamentum 66, no. 4 (October 12, 2016): 524–41. http://dx.doi.org/10.1163/15685330-12341251.
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The sequential reading of the macrostructure of the Psalter pioneered by Gerald Wilson produced a seachange in Psalms scholarship, however, his non-messianic reading of the Psalter continues to evoke controversy and attract criticism. In this article I attempt to answer Wilson’s critics who find fault with his reading of the Psalter on the basis of the presence of Psalms 110 and 132 in Book v, psalms that are usually classified as ‘royal’ and seen as promoting a strongly messianic hope. After a review of Wilson’s arguments, I analyse the immediate context, the key words and the theocratic focus of Psalms 110 and 132. These features provide support for Wilson’s thesis that ‘David’ in Book v is no messianic cipher, but an exemplary model of loyal devotion to God’s kingship. This viewpoint in no way undermines a Christian reading of the Psalter, with the Book of Psalms read as pointing forward to the God-man, Jesus Christ, who is the ultimate model of human devotion to God, the apocalyptic Son of Man, and the Divine King come to save his people.
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Löffler, Anette. "sagitta volante – philere vligend: A hitherto undiscovered fragment of an interlinear Latin-German Psalms translation at the Schwerin State Library sagitta volante – philere vligend: Ein unbekanntes Fragment einer interlinearen lateinisch-deutschen Psalmenübersetzung in der Landesbibliothek Schwerin." Zeitschrift fuer deutsches Altertum und Literatur 150, no. 2 (April 1, 2021): 220–25. http://dx.doi.org/10.3813/zfda-2021-0007.
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A fragment containing a Latin-German Psalter Text was uncovered at the Schwerin State Library while examining a recovered binder's waste. These Psalms emerge from the Septuagint tradition. The fragment dates to the last quarter of the 13 th century. The translated text is composed in Middle Low German and Middle High German. Bei der Erschließung der mittelalterlichen Makulatur wurde in der Landesbibliothek Schwerin ein Fragment mit einer lateinisch-deutschen Psalmenübersetzung gefunden. Die Psalmen orientieren sich an der Überlieferung der Septuaginta. Das Fragment stammt aus dem letzten Viertel des 13. Jahrhunderts. Die Schreibsprache ist mitteldeutsch/niederdeutsch.
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Clanchy, Michael. "Images of Ladies with Prayer Books: What do they Signify?" Studies in Church History 38 (2004): 106–22. http://dx.doi.org/10.1017/s042420840001576x.
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Monastic illumination of manuscripts gave to writings a force and prestige which was unprecedented. Throughout the millennium of western monasticism (500-1500 A.D.), the rich founded monasteries so that monks might pray and worship on their behalf. The monks displayed the fruit of their labours to their patrons in their churches and other works of art, particularly in their books. When with growing prosperity from about 1250 onwards the demand for individual prayer reached down to the middle class of knights and burgesses, they began to want wonderworking books of their own. They could not afford to buy a chantry chapel or a jewelled reliquary, but a small illuminated manuscript came within their means as the first step towards the purchase of paradise. Ladies in particular took to reciting the Latin Psalter and treasuring illuminated Books of Hours. In fifteenth-century depictions of the Annunciation, Mary is often shown seated in a sunlit bower with an open Book of Hours on her lap or displayed on a lectern. Likewise she is sometimes depicted with the Child Jesus on her knee, showing him a Book of Hours. The habit of possessing books might never have reached the laity if writing had not been so luxurious and so covetable. Illumination introduced the laity to script through images which could not fail to attract the eye. The children of the prosperous were introduced to the Psalter by their mothers or a priest for the purpose both of learning to read and of beginning formal prayer. To own a Psalter was therefore an act of familial as well as public piety.These words were written twenty years ago, for a conference at the Library of Congress in 1980 on ‘Literacy in historical perspective’. Since then, these themes have been addressed in several lectures and research papers at conferences, and I would stand by the main ideas expressed in that passage. Monks had indeed given extraordinary prestige to books and in particular to the illuminated liturgical book, which is a medieval invention. By the thirteenth century such books were being adapted for lay use and ownership, typically in Books of Hours. However, it is mistaken to say that lay use ‘began’ then, as the aristocracy – particularly in Germany – had been familiar with prayer books for centuries. In the twelfth century, Hildegard of Bingen was said to have learned only the Psalter ‘as is the custom of noble girls’. A Psalter for lay use dating from c.1150, which belonged to Clementia von Zähringen, has been preserved. It contains a full-page portrait of a lady – presumably Clementia herself – at folio 6v between the end of the Calendar and the Beatus page beginning the Psalms. This book has 126 folios in its present state (possibly one folio is missing at the end) and it measures 11 cm X 7 cm, no larger than a woman’s hand. The biography of Marianus Scotus, the eleventh-century Irish hermit who settled at Regensburg, describes how he wrote for poor widows and clerics ‘many little books and many Psalter manuals’ (‘multos libellos multaque manualia psalteria’). The diminutive form ‘libellos’ and the adjective ‘manualia’ emphasise that these manuscripts were small enough to hold in the hand, like Clementia von Zähringen’s book.
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Niekraszewicz-Karotkaja, Żanna. "Псалтирь царя Давида Симеона Полоцкого в контексте паралитургической и парафрастической традиции XVI–XVII вв." Studia Rossica Posnaniensia 47, no. 2 (December 25, 2022): 9–25. http://dx.doi.org/10.14746/strp.2022.47.2.1.
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The collection of poetic translations of King David’s Psalms, compiled by Symeon of Polatsk, is usually used in the scientific discourse under the descriptive title Psaltir’ rifmotvornaya. In this article, King David’s Psalter (1680) of Symeon is considered not in the context of the poet’s entire creative heritage, but in terms of the evolution of the European book tradition of paraliturgical discursive psalmic practices and the poetic paraphrase of the psalms, beginning with the German poets of the Renaissance Helius Eobanus Hessus and Ioannes Mylius Libenrodensis. Not only the artistic experience of Western and Central Europe but also of the Grand Duchy of Lithuania is taken into account. Addressing the broader historical context allows us to move away from traditional scientific discussions about the degree of influence of Jan Kochanowski’s poetic paraphrases of psalms (Psałterz Dawidów, 1578) and to more adequately appreciate Symeon’s merits in the field of cultural transfer. The King David’s Psalter of Symeon is evaluated as a result of the interaction of the European book tradition of creating poetic paraphrases of biblical texts and the East Slavic singing culture. The functioning of this culture from the end of the 16th century and especially in the 17th century was greatly influenced by Polish spiritual songs (first of all, the poetic paraphrases of the psalms of Jan Kochanowski), as well as by the increased interest in polyphonic singing thanks to Nikolai Diletsky.
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Carrasco, Magdalena Elizabeth. "The Imagery of the Magdalen in Christina of Markyate's Psalter (St. Albans Psalter)." Gesta 38, no. 1 (January 1999): 67–80. http://dx.doi.org/10.2307/767112.
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Zenger, Erich, and Frank-Lothar Hossfeld. "Neue Und Alte Wege Der Psalmenexegese Antworten Auf Die Fragen Von M. Millard Und R. Rendtorff." Biblical Interpretation 4, no. 3 (1996): 332–43. http://dx.doi.org/10.1163/156851596x00068.
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AbstractDas Psalmenbuch ist eine Komposition sui generis. Einerseits präsentiert es sich als eine Zusammenstellung von 150 Einzelpsalmen, die als solche entstanden sind und gelesen werden wollen. Andererseits gibt es zahlreiche Indizien dafür, daß diese 150 Einzeltexte in kleineren und/oder größeren kompositionellen Zusammenhängen stehen. Um diese von Redaktionen intendierten Zusammenhänge textgemäβ zu erfassen, müssen synchrone und diachrone Analysemethoden kombiniert werden. Der formgeschichtliche Ansatz kann dabei nur eine sekundäre Funktion übernehmen, da die meisten Psalmen nachkultische Dichtungen sind und weil der Psalter nicht als "Kultbuch" entstanden ist. Von besonderer Bedeutung für die Rekonstruktion der Entstehungsgeschichte der Teilsammlungen und des Gesamtpsalters sind sozialgeschichtliche und intertextuelle Fragestellungen.
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Fischer, Georg SJ. "“BLESSED IS HE WHO CONSIDERS THE POOR” PERSPECTIVES FROM BOOK V IN THE PSALTER." Journal for Semitics 25, no. 2 (May 9, 2017): 469–82. http://dx.doi.org/10.25159/1013-8471/2521.
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The fifth book of the Psalter shows a notable increase in the attention given to the poor. Several psalms therein emphasize this topic and occupy specific positions, e.g., Pss 107, 109, 146, and 147. Dominant themes are hunger, justice, and the constant and all-embracing support that God gives, and which leads, towards the end of the Psalter, to a number of psalms dedicated to praise of God.