1 Syllabus for BIB 437—Psalms and Wisdom Literature 3.0 Credit Hours
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A Resource Guide for Studying and Appropriating the Psalms
Leaven Volume 7 Issue 3 I Lift Up My Soul Article 10 1-1-1999 I Lift Up My Soul: A Resource Guide for Studying and Appropriating the Psalms Paul Watson Follow this and additional works at: https://digitalcommons.pepperdine.edu/leaven Part of the Biblical Studies Commons, Christianity Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Watson, Paul (1999) "I Lift Up My Soul: A Resource Guide for Studying and Appropriating the Psalms," Leaven: Vol. 7 : Iss. 3 , Article 10. Available at: https://digitalcommons.pepperdine.edu/leaven/vol7/iss3/10 This Resource Guide is brought to you for free and open access by the Religion at Pepperdine Digital Commons. It has been accepted for inclusion in Leaven by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Watson: I Lift Up My Soul: A Resource Guide for Studying and Appropriatin 160 Leaven, Summer, 1999 ILift Up My Soul: A Resource Guide for Studying and Appropriating the Psal By Paul Watson We are experiencing among our not to suggest that oldel"'tesources the new Interpretation Biblical people a renewed and increased are not also valuable); and third, Studies series. Intended for use in interest in the psalms, which is most that they be readable and accessible congregational Bible classes, this is encouraging. We are turning to the to any serious student of the psalms. a ten-unit study guide. The first two psalms in many different settings-- I hope that you will find these units provide a general overview of in classes and small groups, in the resources as helpful and insightful the psalms; the remaining eight pulpit, in private devotional mo- as I have. -
Church Holy Books 1. Holy Bible: Old Testament
Church Holy Books •How many books does the Church use? •What are they for and when are they used? 1. Holy Bible: Old Testament 39 Books: Books of the LAW (5): – Genesis – Exodus – Leviticus – Numbers – Deuteronomy 1 1. Holy Bible: Old Testament Historical Books (12): – Joshua – Judges – Ruth – 1 & 2 Samuel – 1 & 2 Kings – 1 & 2 Chronicles – Ezra – Nehemiah – Esther 1. Holy Bible: Old Testament Poetic Books (5): – Job – Psalms – Proverbs – Ecclesiastes – Song of Songs 2 1. Holy Bible: Old Testament Major Prophets (5): – Isaiah – Jeremiah – Lamentations of Jeremiah – Ezekiel – Daniel 1. Holy Bible: Old Testament Minor Prophets (12): Hosea Nahum Joel Habakkuk Amos Zephaniah Obadiah Haggai Jonah Zechariah Micah Malachi 3 1. Holy Bible “All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness” (2 Timothy 3:16) Most important of all books All the other books are based upon It and inspired by It Our Church is an entirely Biblical Church relying on God’s inspired Word for our spiritual nourishment 1. Holy Bible: Old Testament Easy way to remember: – 5 – 12 – 5 – 5 – 12 – Law (5) – Historical (12) – Poetic (5) – Major Prophets (5) – Minor Prophets (12) 4 1. Holy Bible: Old Testament More Old Testament Books Deuterocanonical Books 10 additional books or parts of books were removed from the Protestant translation of the Bible, but exist in the Hebrew, Septuagint (Greek) and Vulgate (Latin) 1. Holy Bible: Old Testament According to the Coptic tradition, they are: – Tobit – Judith – 1 and 2 Maccabees – Wisdom – Sirach – Baruch – Rest of Esther – Additions to Daniel – Psalm 151 5 1. -
Hebrew and Christian Bibles: a Comparative Chart
Jewish and Christian Bibles: A Comparative Chart HEBREW BIBLE Orthodox Christian OT Catholic Christian OT Protestant Christian OT (a.k.a. TaNaK/Tanakh or Mikra) (based on longer LXX; various editions) (Alexandrian LXX, with 7 deutero-can. bks) (Cath. order, but 7 Apocrypha removed) Torah / Books of Moses Pentateuch Pentateuch (Law) Law (Pentateuch) 1) Bereshit / Genesis 1) Genesis 1) Genesis 1) Genesis 2) Shemot / Exodus 2) Exodus 2) Exodus 2) Exodus 3) VaYikra / Leviticus 3) Leviticus 3) Leviticus 3) Leviticus 4) BaMidbar / Numbers 4) Numbers 4) Numbers 4) Numbers 5) Devarim / Deuteronomy 5) Deuteronomy 5) Deuteronomy 5) Deuteronomy Nevi’im / Former Prophets Historical Books Historical Books Historical Books 6) Joshua 6) Joshua 6) Joshua 6) Joshua 7) Judges 7) Judges 7) Judges 7) Judges 8) Samuel (1&2) 8) Ruth 8) Ruth 8) Ruth 9) Kings (1&2) 9) 1 Kingdoms (= 1 Sam) 9) 1 Samuel 9) 1 Samuel 10) 2 Kingdoms (= 2 Sam) 10) 2 Samuel 10) 2 Samuel 11) 3 Kingdoms (= 1 Kings) 11) 1 Kings 11) 1 Kings Nevi’im / Latter Prophets 12) 4 Kingdoms (= 2 Kings) 12) 2 Kings 12) 2 Kings 10) Isaiah 13) 1 Chronicles 13) 1 Chronicles 13) 1 Chronicles 11) Jeremiah 14) 2 Chronicles 14) 2 Chronicles 14) 2 Chronicles 12) Ezekiel 15) 1 Esdras 13) The Book of the Twelve: 16) 2 Esdras (= Ezra + Nehemiah) 15) Ezra 15) Ezra Hosea, Joel, 17) Esther (longer version) 16) Nehemiah 16) Nehemiah Amos, Obadiah, 18) JUDITH 17) TOBIT Jonah, Micah, 19) TOBIT 18) JUDITH Nahum, Habakkuk, 19) Esther (longer version) 17) Esther (shorter version) Zephaniah, Haggai, 20) 1 MACCABEES 20) -
Guide to Reading Nevi'im and Ketuvim" Serves a Dual Purpose: (1) It Gives You an Overall Picture, a Sort of Textual Snapshot, of the Book You Are Reading
A Guide to Reading Nevi’im and Ketuvim By Seth (Avi) Kadish Contents (All materials are in Hebrew only unless otherwise noted.) Midrash Introduction (English) How to Use the Guide Sheets (English) Month 1: Yehoshua & Shofetim (1 page each) Month 2: Shemuel Month 3: Melakhim Month 4: Yeshayahu Month 5: Yirmiyahu (2 pages) Month 6: Yehezkel Month 7: Trei Asar (2 pages) Month 8: Iyyov Month 9: Mishlei & Kohelet Month 10: Megillot (except Kohelet) & Daniel Months 11-12: Divrei HaYamim & Ezra-Nehemiah (3 pages) Chart for Reading Sefer Tehillim (six-month cycle) Chart for Reading Sefer Tehillim (leap year) Guide to Reading the Five Megillot in the Synagogue Sources and Notes (English) A Guide to Reading Nevi’im and Ketuvim Introduction What purpose did the divisions serve? They let Moses pause to reflect between sections and between topics. The matter may be inferred: If a person who heard the Torah directly from the Holy One, Blessed be He, who spoke with the Holy Spirit, must pause to reflect between sections and between topics, then this is true all the more so for an ordinary person who hears it from another ordinary person. (On the parashiyot petuhot and setumot. From Dibbura de-Nedava at the beginning of Sifra.) A Basic Problem with Reading Tanakh Knowing where to stop to pause and reflect is not a trivial detail when it comes to reading Tanakh. In my own study, simply not knowing where to start reading and where to stop kept me, for many years, from picking up a Tanakh and reading the books I was unfamiliar with. -
Old Testament Basics LESSON 08 of 10 Old Testament Poetry
OT128 Old Testament Basics LESSON 08 of 10 Old Testament Poetry Dr. Sid Buzzell Experience: Dean of Christian University GlobalNet Introduction In this lesson, we study some of the Bible’s most profound and treasured literature. In fact it’s some of the most beautiful literature written anywhere. In this lesson, we will study Israel’s Old Testament poetry. There are five Old Testament books—Job, Psalms, Proverbs, the Song of Solomon, and Lamentations— that are written entirely or almost entirely in poetic form. Many narrative books contain poetry and so do all but two of the prophetic books. Isaiah contains some of the most magnificent poetry in all of the Old Testament. From Genesis to Malachi, the Old Testament is enriched by poetry. Characteristics of Old Testament Poetry Poetry is distilled language. While prose is usually explicit in its form, poetry is written in such a way that the reader has to interact with the writer. The message is written so the reader has to discover it by working with the poem’s construction. When writing in distilled language, the poet works very hard to find just the right word to make the poem work. He or she has to make the lines in the poetic verses interact with each other. The poet writes with the expectation that the reader work the meaning out of the poem and that truth discovered is more powerful than truth given. So if you try to read Old Testament poetry quickly, casually, easily, it won’t work. You have to get into the process. -
Parallelism in Hebrew Poetry Demonstrates a Major Error in the Hermeneutic of Many Old-Earth Creationists
Answers Research Journal 5 (2012):115–123. www.answersingenesis.org/arj/v5/parallelism-hebrew-poetry-old-earth.pdf Parallelism in Hebrew Poetry Demonstrates a Major Error in the Hermeneutic of Many Old-Earth Creationists Tim Chaffey, Web writer and editor, Answers in Genesis, Petersburg, Kentucky Abstract Many old-earth creationists cite poetic passages in an effort to convince people that we cannot and should not interpret the creation account literally. Yet the old-earth creationist is quick to interpret SRHWLFSDVVDJHVO LWHUDO O\DQGWUHDWWKHQD U UDWLYHSDVVDJHVÀJX UDWLYHO\7KLVD U WLFOHZ L O OSURYLGHDVX U YH\RI the nature of Hebrew poetry and provide examples of the various forms of parallelism exhibited in the six poetic books of the Bible: Job, Psalms, Proverbs, Ecclesiastes, Song of Solomon, and Lamentations. 7KHÀQDOVHFWLRQRIWKLVVWXG\ZLOOVKRZWKDW*HQHVLVLVQRWSRHWU\DQGDEULHIH[DPLQDWLRQRID SRSXODU2OG7HVWDPHQWHYHQWZLOOUHDGLO\GLVSOD\WKHYDVWGLIIHUHQFHVEHWZHHQQDUUDWLYHDQGSRHWU\ Keywords: narrative, Hebrew poetry, synonymous parallelism, antithetic parallelism, synthetic parallelism, framework hypothesis, progressive creationism, hermeneutics, old-earth creationism, chiasm Introduction 7KHVHFRQGW\SHRISDUDOOHOLVPLGHQWLÀHGE\/RZWK Poetry is a highly stylized form of writing used LVNQRZQDVDQWLWKHWLFSDUDOOHOLVPZKLFKLVQHDUO\WKH by many cultures, each having their own unique opposite of synonymous parallelism. This occurs when methods of conveying information. Americans and WKHVHFRQGVWLFKLVGLUHFWO\FRQWUDVWHGWRWKHÀUVWDQG other Westerners are familiar -
A Quick Guide to Biblical Genres
A QUICK GUIDE TO BIBLICAL GENRES HISTORICAL NARRATIVE ● Historical narrative is Scripture that gives factual retellings of real events. ● These books of the Bible are not based in myth, they are based in fact. ● As we read, it’s important for us to pause and reflect on the fact that these events actually happened! ● Historical narrative comprises 43% of the Bible. God loves to tell stories of His faithfulness. ● Old Testament narrative is found in: ○ Genesis, Exodus, Numbers, Deuteronomy, Joshua, Judges, Ruth, 1-2 Samuel, 1-2 Kings, 1-2 Chronicles, Ezra, Nehemiah and Esther ○ Parts of Job and the Prophets ● New Testament narrative is found in: ○ Matthew, Mark, Luke, John (see ‘The Gospels’ below for more) and Acts THE LAW ● Biblical law is Scripture that outlines God’s commands to His covenant people. ● Laws come in several forms: ○ Moral Law- laws about how to live, for all people in all times ○ Ceremonial Law- laws about tabernacle and temple worship for the Israelites ○ Civil or Judicial Law- laws that governed, preserved and protected Israelite society ● It’s important for us to note that the law was given after God redeemed the Israelites out of Egypt. Grace came before the law. ● The law was designed to be used by governing authorities, not individuals. ● Biblical law is found in ○ Leviticus, parts of Exodus, Numbers and Deuteronomy POETRY ● Biblical poetry is Scripture written in verse. ● This type of Scripture is full of symbolic language, metaphors, word pictures and expressions of feeling. ● Psalms make up the majority of biblical poetry, but poetry can also be found in: ○ Song of Solomon, Lamentations, and several OT narratives ● There are several authors of Psalms, with David being the most well-known author. -
Select Bibliography on Solomon Islands, 2003–2017
Select Bibliography on Solomon Islands, 2003–2017 Clive Moore School of Historical and Philosophical Inquiry The University of Queensland August 2017 Select Bibliography on Solomon Islands, 2003–2017 Biography Clive Moore CSI, is an Emeritus Professor in the School of Historical and Philosophical Inquiry at The University of Queensland, where previously he held the McCaughey Chair of History. He is a leading Pacific historian whose major publications have been on New Guinea, and the Solomon Islands, the Pacific labour reserve, Australia’s Pacific Island immigrants, federation, masculinity and sexuality. Inaugural President of the Australian Association for the Advancement of Pacific Studies (2006–10), in 2005 he was awarded a Cross of Solomon Islands, and between 2011 and 2017 he was a Fellow of the Australian Academy of the Humanities. In 2012, he was made Outstanding Alumni of the Year at James Cook University, and in 2015 he was awarded the John Douglas Kerr Medal of Distinction by The Royal Historical Society of Queensland and the Professional Historians Association (Queensland). His has major monographs are Kanaka: A History of Melanesian Mackay (Port Moresby, Institute of Papua New Guinea Studies and University of Papua New Guinea Press, 1985); Sunshine and Rainbows: The Development of Gay and Lesbian Culture in Queensland (St Lucia, Qld, University of Queensland Press, 2001; New Guinea: Crossing Boundaries and History (Honolulu, University of Hawai’i Press, 2003); Happy Isles in Crisis: The Historical Causes for a Failing State in Solomon Islands, 1998–2004 (Canberra, Asia Pacific Press, 2004); The Forgan Smith: History of a Building and its People at The University of Queensland (St Lucia, Qld, The University of Queensland, 2010); and, Making Mala: Malaita in Solomon Islands, 1870s–1903s (Canberra, Australian National University Press, 2017). -
Elizabeth Singer Rowe
Elizabeth Singer Rowe: Dissent, Influence, and Writing Religion, 1690-1740 Jessica Haldeman Clement PhD University of York English and Related Literature September 2017 Abstract This thesis addresses the religious poetry of Elizabeth Singer Rowe, arguing that her Dissenting identity provides an important foundation on which to which to critically consider her works. Although Rowe enjoyed a successful career, with the majority of her writing seeing multiple editions throughout her lifetime and following her death, her posthumous reputation persists as an overly pious and reclusive religious poet. Moving past these stereotypes, my thesis explores Rowe’s engagement with poetry as a means to convey various aspects of Dissent and her wider religious community. This thesis also contributes to the wider understanding of Dissenting creative writing and influence in the years following the Glorious Revolution of 1688, using Rowe’s work as a platform to demonstrate complexities and cultural shifts within the work of her contemporaries. My argument challenges the notion that Rowe’s religious poetry was a mere exercise in piety or a display of religious sentimentalism, demonstrating powerful evolutions in contemporary discussions of philosophy, religious tolerance, and the relationship between the church and state. A popular figure that appealed to a heterodox reading public, Rowe addresses many aspects of Dissent throughout her work. Combining close readings of Rowe’s poetry and religious writings with the popular works of her contemporaries, this study explores latitudinarian shifts and discussions of depravity within her religious poetry, the impact of the Clarendon Code and subsequent toleration on her conceptualisation of suffering and imprisonment, as well as her use of ecumenical language throughout her writings. -
Studia Orientalia 111 Studia Orientalia Volume 111 Published by the Finnish Oriental Society Studia Orientalia Volume 111 Published by the Finnish Oriental Society
STUDIA ORIENTALIA 111 Studia Orientalia Volume 111 Published by the Finnish Oriental Society Studia Orientalia Volume 111 Published by the Finnish Oriental Society Helsinki 2011 Studia Orientalia, vol. 111, 2011 Copyright © 2011 by the Finnish Oriental Society Societas Orientalis Fennica c/o Department of World Cultures P.O. Box 59 (Unioninkatu 38 B) FI-00014 University of Helsinki FINLAND Editor Lotta Aunio Advisory Editorial Board Axel Fleisch (African Studies) Jaakko Hämeen-Anttila (Arabic and Islamic Studies) Tapani Harviainen (Semitic Studies) Arvi Hurskainen (African Studies) Juha Janhunen (Altaic and East Asian Studies) Hannu Juusola (Semitic Studies) Klaus Karttunen (South Asian Studies) Kaj Öhrnberg (Librarian of the Society) Heikki Palva (Arabic Linguistics) Asko Parpola (South Asian Studies) Simo Parpola (Assyriology) Rein Raud (Japanese Studies) Riikka Tuori (Secretary of the Society) Typesetting Lotta Aunio ISSN 0039-3282 ISBN 978-951-9380-79-7 WS Bookwell Oy Jyväskylä 2011 CONTENTS Ordenanzas jerezanas sobre la guarda de la frontera frente a Ronda y su serranía a comienzos de la guerra de Granada (1482–1484) ......................................................1 JUAN ABELLÁN PÉREZ Categories of Proper Language in Classical Arabic Literature ................................23 LALE BEHZADI Algerische Literatur im achtzehnten Jahrhundert ....................................................39 MAREK M. DZIEKAN Economía de los Centros de Culto del Reino de Granada: Los bienes habices de la mezquita y rábitas del Padúl (Valle de -
Interpreting Biblical Poetry
Interpreting Biblical Poetry The poetry in the Old Testament (primarily the Psalms, but also some songs within narrative, as well as Song of Songs and poetic portions of the Prophets) was written in Hebrew, using Hebrew conventions. Whereas traditional English poetry relies on rhyme and meter, Hebrew poetry commonly uses other conventions (such as acrostics, parallelism, and contrast) that can be difficult to convey in English translation. Although poetry is more rare in the New Testament, there are portions of text (especially in the letters) that are styled as poetry because they are likely from early hymns or liturgies. Inductive Bible Study Applied to Poetry (Example: Psalm 34) 1. Observation: What do you notice about the text? What questions does it raise for you? (Read the text in at least two different versions of the Bible.) 2. Interpretation: What is the author trying to communicate? Who is the author or editor? (not all psalms were written by David; some are anonymous; “of David” may not mean that David is the author—it could mean “for” or “in the style of”) What is the literary context? (the psalms were not written in the order they are arranged in now, but they were intentionally edited together in collections and so may have some relationship to the psalms around them) What literary features does the author use? (acrostic, parallel lines, contrast, themes, etc.) Is there a clear historical context for the psalm/song? What did this psalm/song mean in its historical context? What does this psalm/song communicate about who God is, how he relates to his people, and how he wants his people to live and act? What does this psalm/song communicate about the faith, struggles, and emotions of someone living in covenant relationship with God? 3. -
Celestial Crusades and Wars in Heaven: the Biblical Epics of the Late 1500S
Celestial Crusades and Wars in Heaven: the Biblical Epics of the Late 1500s Silvia Giovanardi Byer A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of in the Department of Romance Languages Chapel Hill 2008 Dr. Dino Cervigni (advisor) Dr. Ennio Rao Dr. Federico Luisetti Dr. Amy Chambless Dr. Elvira Giosi ©2008 Silvia Giovanardi Byer ALL RIGHTS RESERVED ii Abstract SILVIA GIOVANARDI BYER: Celestial Crusades and Wars in Heaven: the Biblical Epics of the Late 1500s. (Under the Direction of Dino Cervigni) This dissertation examines two examples of biblical epic literature: Antonino Alfano’s Battaglia celeste (1568) and Erasmus of Valvasone's Angeleida (1590), situating their works and this genre within their ancient, medieval, and early modern context as primordial struggles between the forces of good and evil and the complex cultural reality of post-Tridentine culture. While these two biblical epics have drawn only scant attention, limited mostly to specialized literary circles, biblical epic in general bears out the influence of such classical masterpieces as Homer’s Iliad and Virgil’s Aeneid. At the same time, readers will undoubledly discover these two biblical epic’s relationship to, and likely influence on, John Milton’s masterpiece Paradise Lost. Furthermore, iii Angeleida and Battaglia celeste exemplify the biblical epic genre in their intent to educate and entertain. Likewise, both works develop the primordial and mythical battle between the archangel Michael and Lucifer to explore the timeless theme of conflict between good and evil, virtue and sin, while elucidating and reflecting the political and religious realities of the authors’ rapidly changing world in Italy’s post-Tridentine complicated historical time.