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Royal Matrimony: the Theme of Kingship in the Book of Song Of
1 REFORMED THEOLOGICAL SEMINARY CHARLOTTE ‘ROYAL MATRIMONY: THE THEME OF KINGSHIP IN THE BOOK OF SONG OF SONGS AS AN APOLOGETIC TO SOLOMON’ SUBMITTED TO DR. RICHARD BELCHER, JR. IN PARTIAL FULFILMENT OF OT512- POETS (1st YEAR) BY DÓNAL WALSH, MAY 15, 2018 2 The Song of Songs is the subject of no little debate among Bible scholars today. Commentators are generally united in saying that it is a beautiful redemptive poem about love, but the consensus ends there.1 Debates proliferate over its authorship, date, use of imagery, role and number of characters in the book and overall purpose. The interpreter is left to sift through the perplexing and multi-faceted perspectives on the book. This essay hopes to clear up some of this fog by focusing on one major theme: royal kingship. I propose that the Song is a redemptive love poem which also functions as an apologetic work written with Solomon in mind. It is a defense of faithful, monogamous marital love both to Israel and, especially, to Solomon. To establish this premise, I will discuss a proposed apologetic model that is used in the Song, how this relates to the royal theme, the implications of this apologetic reading on how we date the book, and lastly discern its purpose, author, and how this apologetic speaks to us pastorally and Christologically today. An Apologetic Model A big question, as we investigate this royal theme, is how Solomon can be portrayed in both a positive and negative light. Some commentators see him as a manipulative, domineering king who wants to seduce the Shulamite girl into his harem,2 while others take him to be the author of the book, and the ideal king and lover.3 Still others see him in a negative light, but whose royal traits are appropriated positively by the woman in praise of 1 Athalya Brenner, The Song of Songs, Old Testament Guides (Sheffield: JSOT Press, 1989), 63–64; Raymond B. -
The Song of Songs Celebrates God's Kind of Love1
The Song of Songs Celebrates God’s Kind of Love1 Aída Besançon Spencer Introduction fits all the data.12 Further, who is speaking is identified by the use of imagery. Imagery by or about Solomon tends to be more ur- Romance novels are popular, especially among women. Romance ban, financial, militaristic, and related to travel. Also, the ancient fiction sells more than inspirational, mystery, science fiction, Masorite scribes (and probably those earlier) used Hebrew letters fantasy, or classic literary fiction. It had the largest share of the to indicate paragraph markings in the Hebrew Bible. These may United States consumer market in 2012. What are the two ba- even have been in the earliest original biblical scrolls.13 In the sic elements in every romance novel, according to the Romance Song of Songs, the Hebrew letter samek (or the sethumai) tends to Writers of America? “A central love story and an emotionally indicate a change of perspective or locale, while the Hebrew letter satisfying and optimistic ending. In a romance, the lovers pē (pethuma) indicates the beginning of the final conclusion at who risk and struggle for each other and their relationship are 8:11. In addition, in Hebrew, some pronouns are either masculine rewarded with emotional justice and unconditional love.” More or feminine and help readers in discovering if an individual man than ninety percent of the market is comprised of women.2 or a woman is addressed. The two men who court the heroine are The Bible contains numerous romances, but the Song of Songs presented in the first eight verses of chapter one. -
FTV 114 Film Genres: African American Cinema
1 FTV 114 Film Genres: African American Cinema Spring 2014 Tues/Thurs 9-11:20am, 1409 Melnitz & weekly discussion sections Professor Allyson Nadia Field (310) 825-4239; [email protected] Office hours: Tues 11:30-1:30, 3335 Macgowan T.A.s: Sean Bristol-Lee ([email protected]), Aruna Ekanayake ([email protected]), and Dahlia Schweitzer ([email protected]) Course Description The course coVers the rich and diVerse history of African American filmmaking from the silent era to the present day. Emphasis is on the use of film as a medium of protest, resistance, and cultural affirmation. Films will be discussed in the context of the complex issues surrounding race and representation in American cinema. Special attention will be paid to the preservation and restoration work of the UCLA Film & Television Archive's collection of African American films. GiVen the breVity of the quarter, the course is organized in three sections to coVer key periods in the trajectory of African American cinema: “Race Film” (silent and sound), 1970s Black film cultures, and 1990s to contemporary Black cinema. This 5-unit course satisfies the Arts & Humanities GE (Visual and Performance Arts Analysis and Practice) Course Objectives As a GE, the course aims to proVide students with the perspectiVes and intellectual skills necessary to comprehend and think critically about our situation in the world as human beings. In particular, this course proVides students with the basic means to appreciate and evaluate the ongoing efforts of humans to explain, translate, and transform our diverse experiences of the world through such media as language, literature, philosophical systems, images, sounds, and performances. -
The Relationship Between Targum Song of Songs and Midrash Rabbah Song of Songs
THE RELATIONSHIP BETWEEN TARGUM SONG OF SONGS AND MIDRASH RABBAH SONG OF SONGS Volume I of II A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2010 PENELOPE ROBIN JUNKERMANN SCHOOL OF ARTS, HISTORIES, AND CULTURES TABLE OF CONTENTS VOLUME ONE TITLE PAGE ............................................................................................................ 1 TABLE OF CONTENTS ............................................................................................. 2 ABSTRACT .............................................................................................................. 6 DECLARATION ........................................................................................................ 7 COPYRIGHT STATEMENT ....................................................................................... 8 ACKNOWLEDGMENTS AND DEDICATION ............................................................... 9 CHAPTER ONE : INTRODUCTION ........................................................................... 11 1.1 The Research Question: Targum Song and Song Rabbah ......................... 11 1.2 The Traditional View of the Relationship of Targum and Midrash ........... 11 1.2.1 Targum Depends on Midrash .............................................................. 11 1.2.2 Reasons for Postulating Dependency .................................................. 14 1.2.2.1 Ambivalence of Rabbinic Sources Towards Bible Translation .... 14 1.2.2.2 The Traditional -
Jacqueline Stewart on the Politics of Film Preservation: Selected Bibliography
Jacqueline Stewart on The Politics of Film Preservation: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. *mentioned or discussed during the lecture and Q&A Moving Image Preservation (History and Theory) “A National Film Museum.” The Bioscope (May 26, 1910): 4. Bland, R. Henderson. “The Need of a National Repository for Films.” Kinematograph and Lantern Weekly (April 17, 1913): 2489-2491. Bottomore, Stephen. “'A Fallen Star': Problems and Practices in Early Film Preservation.” in This Film Is Dangerous: A Celebration of Nitrate Film. Roger Smither and Catherine A. Surowiec (eds). Brussels: Federation Internationale des Archives du Film (FIAF), 2002. 185-190. ---. “The sparking surface of the sea of history: Notes on the Origins of Film Preservation.” in This Film Is Dangerous: A Celebration of Nitrate Film. Roger Smither and Catherine A. Surowiec (eds). Brussels: Federation Internationale des Archives du Film (FIAF), 2002. 86-97. Bowser, Eileen and Ronald S. Magliozzi. “Film Archiving as a Profession: An Interview with Eileen Bowser.” The Moving Image 3.1 (Spring 2003): 132-146. Brown, Harold. “Trying to Save Frames.” in This Film Is Dangerous: A Celebration of Nitrate Film. -
J. Paul Tanner, "The Message of the Song of Songs,"
J. Paul Tanner, “The Message of the Song of Songs,” Bibliotheca Sacra 154: 613 (1997): 142-161. The Message of the Song of Songs — J. Paul Tanner [J. Paul Tanner is Lecturer in Hebrew and Old Testament Studies, Singapore Bible College, Singapore.] Bible students have long recognized that the Song of Songs is one of the most enigmatic books of the entire Bible. Compounding the problem are the erotic imagery and abundance of figurative language, characteristics that led to the allegorical interpretation of the Song that held sway for so much of church history. Though scholarly opinion has shifted from this view, there is still no consensus of opinion to replace the allegorical interpretation. In a previous article this writer surveyed a variety of views and suggested that the literal-didactic approach is better suited for a literal-grammatical-contextual hermeneutic.1 The literal-didactic view takes the book in an essentially literal way, describing the emotional and physical relationship between King Solomon and his Shulammite bride, while at the same time recognizing that there is a moral lesson to be gained that goes beyond the experience of physical consummation between the man and the woman. Laurin takes this approach in suggesting that the didactic lesson lies in the realm of fidelity and exclusiveness within the male-female relationship.2 This article suggests a fresh interpretation of the book along the lines of the literal-didactic approach. (This is a fresh interpretation only in the sense of making refinements on the trend established by Laurin.) Yet the suggested alternative yields a distinctive way in which the message of the book comes across and Solomon himself is viewed. -
The Punished and the Lamenting Body
HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 8 Original Research The punished and the lamenting body Author: The 5 lamentations, when read as a single biblical book, outline several interacting bodies in a 1 Pieter van der Zwan similar way that dotted lines present the silhouettes and aspects of a total picture. Each also Affiliation: represents action, building into a plot that can be interpreted psychoanalytically to render its 1Department of Old depth and colour content. In addition, by focusing on the body and its sensations, this study Testament, University of can facilitate the visceral experience of the suffering of collective and individual bodies by the South Africa, South Africa recipient. Corresponding author: Pieter van der Zwan, [email protected] Introduction Dates: This study is dedicated to my doctoral supervisor, Prof. Eben Scheffler, whom I met for the first Received: 11 May 2018 time in 1993 at my final oral examination for the BD degree before we started our long journey Accepted: 15 Sept. 2018 about the celebration of the body in the book of Song of Songs. During these 25 years, we have Published: 26 Feb. 2019 become deep friends where conflict can be accommodated, just as it is in the collection of How to cite this article: testimonies about crisis and traumatic experiences of God, testimonies that have inspired us both, Van der Zwan, P., 2019, ‘The also in our ageing bodies. One particular expression of this struggle Prof. Scheffler once verbalised punished and the lamenting as being imprisoned by the body, when I accidentally made him walk in the wrong direction at an body’, HTS Teologiese Studies/Theological Studies airport some years ago. -
The Song of Songs Seder: a Night of Sacred Sexuality by Rabbi Robert Teixeira, LCSW
The Song of Songs Seder: A Night of Sacred Sexuality By Rabbi Robert Teixeira, LCSW Many fault lines cut through the human family. The Sex-Is-Holy - Sex-Is-Dirty divide, which inflicts untold suffering on millions, is one of the widest and oldest. We find evidence of this divide in every faith tradition, including Judaism, where we encounter it numerous times in the Talmud, in reference to the Song of Songs, for example. This work, which revolves around the play of two Lovers, is by far the most erotic book in the Bible. According to the Talmud, the Song of Songs was set aside to be buried because of its sensual content (Avot De-Rabbi Nathan 1:4). These verses were singled out as particularly offensive: I am my beloved’s, and his desire is for me. Come, my beloved, let us go into the open; let us lodge among the henna shrubs. Let us go early to the vineyards; let us see if the vine has flowered, if its blossoms have opened, if the pomegranates are in bloom. There I will give my love to you.” (Song of Songs 7:11-13) At length, the rabbis debated whether to include the Song of Songs in the Bible. In their deliberations, they used the curious phrase “renders unclean the hands.” Holy books, in their view, were essentially “too hot to handle” on account of their intrinsic holiness. Handling them, then, renders unclean the hands, that is, makes one more or less untouchable, until specific rituals of purification are carried out. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1
DOCUMENT RESUME ED 353 622. CS 508 049 AUTHOR Hudson, Herman C., Ed. TITLE Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1. INSTITUTION Indiana Univ., Bloomington. Afro-American Studies. PUB DATE 92 NOTE 92p.; A Martha C. Kraft Professorship Publication. PUB TYPE Collected Works General (020) Reports Evaluative /Feasibility (142) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Auteurism; *Black Community; *Black Culture; Black History; Cultural Images; Film Criticism; *Film Production Specialists; *Film Study; Popular Culture; Racial Relations; Urban Culture IDENTIFIERS *African Americans; *Lee (Spike) ABSTRACT This monograph presents a critical essay and a comprehensive 454-item bibliography on the contemporary African-American filmmaker, Spike Lee. The essay, entitled "African-American Folklore and Cultural History in the Films of Spike Lee" (Gloria J. Gibson-Hudson), analyzes Lee's filmmaking approach from a cultural and historical perspective. The essay identifies Lee as a contemporary storyteller weaving his tales with the aid of a camera and demonstrates how his film narratives draw on both the historic and contemporary experiences of African Americans. The essay discusses five of Lee's films (made between 1984 and 1991) thematically, categorizing them under intra-racal issues and inter-racial issues. The bibliography (by Grace Jackson-Brown) provides citations from both scholarly and popular literature, encompassing newspaper articles, journal and magazine articles, chapters or sections from books, and reviews of films (most of the citations date from the last 5 years). The extensive 49-page bibliography is intended to be a comprehensive guide to literature that will assist students and researchers with an interest in Spike Lee. -
Song of Solomon 8 Outline
Geoffrey R. Kirkland CFBC Wednesday, December 7, 2016 Song of Solomon 8 — “God’s Blueprint for a Marriage: Its Love, Its Strength, Its Passions & Its Permanence!” We need to be faithful teachers of biblical truth regarding such matters: THE DEFINITION OF MARRIAGE: WHAT IS TRUE MARRIAGE? 1. Heterosexual [a man & a woman only] 2. Monogamous [ONE man & ONE woman only.] 3. Complementary [complement each other; obey God’s ways for your gender roles/function] 4. Enjoyable [sanctifying, happy, holy, delightful, intimate, joyous] 5. Permanent [lifelong, unending, unfailing, *never give up*; DIVORCE is *never* an option for believers] THE PURPOSES OF MARRIAGE: WHY DID GOD DESIGN THIS? 1. Companionship [solve a problem of loneliness] 2. Pleasure [sex & intimate satisfactions; affection] 3. Procreation [children/progeny/generations] 4. Sanctification [growth in grace] 5. Demonstration [gospel -- love of Christ] ——— Some Background Features of the ‘Song of all Songs’: Outline of SONG OF SOLOMON — 1. It’s a SONG - a poem, figure of speech, erotic, full of language, pictures, --- it’s not a INTRO (1:1) sort of anthology of brief poems of love but a unified piece of Spirit-given poetry. 1. COURTSHIP (1:2-3:5) 2. It’s in the BIBLE -- this isn’t scribbled on a wall of a NYC subway as dirty & filthy; it’s beginning of love (1:2-11) inspired, authoritative, binding, relevant, needed, sufficient, for ALL of us, and it’s part growth of love (1:12-3:5) of the unfolding of God’s plan of REDEMPTION. 2. WEDDING (3:6-5:1) 3. It’s about LOVE -- it’s about human, marital love & its satisfying physical delights. -
Love Conquers All: Song of Songs 8:6B–7A As a Reflex of the Northwest Semitic Combat Myth
JBL 134, no. 2 (2015): 333–345 doi: http://dx.doi.org/10.15699/jbl.1342.2015.2810 Love Conquers All: Song of Songs 8:6b–7a as a Reflex of the Northwest Semitic Combat Myth aren m. wilson-wright [email protected] Waggener 14a, 2210 Speedway C3400, Austin, TX 78712 Scholars have often noted YHWH’s apparent absence from the Song of Songs. At best, he appears under the name Yah in the difficult and morphologically frozen to suggest that שלהבתיה in Song 8:6. In this article, I go beyond שלהבתיה term love plays the role of YHWH in the Song. Using Calvert Watkins’s work on inher- ited formulae, I argue that Song 8:6b–7a draws on the Northwest Semitic combat myth to identify love with YHWH, the victorious divine warrior. As part of this argument, I identify three inherited formulae in the Hebrew Bible, the Baal Cycle, and later Christian and Jewish literature: “Leviathan, the fleeing serpent, the twisting serpent,” “rebuke Sea,” and “strong as Death.” Within the Song, the phrase “strong as Death” connects this passage with the Baal Cycle, while the evoke scenes of mythic combat from the rest נהרות and מים רבים references to of the Hebrew Bible. This interpretation, I argue, also has mythic resonances in the adjuration refrain in Song 2:7, 3:5, and 8:4 and the phrase “sick with love” in Song 2:5 and 5:8. כי־עזה כמות אהבה קשה כשאול קנאה רשפיה רשפי אש שלהבתיה מים רבים לא יוכלו לכבות את־האהבה For love is as strong as Death, jealousy harsh as Sheol.