DOCSLIB.ORG

The Language of Love in The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Language of Love in The i THE LANGUAGE OF LOVE IN THE SONG OF SONGS: READING WITH/INTO A VIETNAMESE CHURCH CONTEXT by Thi Ly Tran A thesis submitted in fulfillment of the requirements for the degree of Doctor of Theology Melbourne College of Divinity Kew, Victoria 3101 Australia 2010 ii STATEMENT OF ORIGINALITY I affirm that this thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other institution. To the best of my knowledge this thesis contains no material previously published or written by another person, except where due reference is made in the text of the thesis. Word length: 99.157 words Signed: Date: 10/2/2010 iii ABSTRACT The interrelation of the Bible texts with the culture of its readers has opened an important avenue for biblical interpretation in the Vietnamese context. This thesis began with a reading of the Song of Songs through Vietnamese eyes to discover the love language as found in the Song and convey it to the Vietnamese society and church. As a book in the Bible, the Song is a dialogue between a man and a woman who show their passionate love relationship to each other through various terms. The book is a celebration of the joys of physical intimacy of the lovers, and invites readers to discover diverse expressions of their love relationship as studied in the first chapter of the thesis. The study affirms that the primary meaning of the Song is no more than a human love relationship and sexual desire. However, a historical survey of interpretations of love in the Song, studied in Chapter Two shows that the Song has a rich interpretative tradition with diverse meanings throughout the past two thousand years. The traditional interpretation brings some significant understandings for a spiritual walk with God to the Vietnamese church, such as the love of God for his people or Christ for His church, or personal believers. At the same time, the study also shows that the traditional interpreters are unwilling to recognize the love relationship of the lovers in the Song and thus reject the primary meaning of the text. As discovered in Chapter One, the literal meaning allows the Vietnamese church to compare it with love lyrics in Vietnamese literature. Therefore, the study of Chapter Three discovers similarities through themes of love in which the lovers in both poetries share the same joys of human love and sexuality under various images. The similarities are a bridge to iv bring together the love language of the Song in the Vietnamese cultural context, in the past and present. Finally, the study in Chapter Four explores the love language in the Song in relation to the Vietnamese cultural context and interprets it contextually to seek the cultural theological implications and applications of the language in the present Vietnamese society and church. The exploration provides a good love-relationship paradigm for all lovers to enjoy love and understand its value, also to appreciate the love relationship as in God’s design which is relevant to the real-life situations of the Vietnamese people. It also contributes important knowledge of how to interact directly with the biblical text in their own traditional culture for thousands of years. v TABLE OF CONTENTS Title page i Statement of originality ii Abstract iii Table of contents v Acknowledgements ix Abbreviations xi Introduction 1 Chapter One: The Meaning of Love in the Hebrew Bible and Particularly in the Song 8 1.1 Love in the Hebrew Bible 9 1.1.1 bh;a' “to love” 10 1.1.1.1 Human love 11 1.1.1.2 Human love for God 13 1.1.1.3 Divine love 14 1.1.2 ds,x, “kindness” 18 1.1.2.1 Human ds,x, 19 1.1.2.2 Human ds,x, for God 21 1.1.2.3 Divine ds,x, 22 1.1.3 ~x;r: “to love/to have compassion” 23 1.1.4 dAD “beloved or uncle” 25 1.1.5 [;re “companion” 27 1.1.6 dydIy" “beloved” 28 1.1.7 qv;x' “be attached to, love” 28 1.1.8 Summary 29 1.2 Phrase-level semantics in relating to particular terms of love in the Song 30 1.2.1 The term bh;a' 32 1.2.1.1 Intimacy and passion (1:3 [4]; 2:4) 32 1.2.1.2 Insatiable desire (2:5; 5:8) 36 1.2.1.3 Warnings (2:7 [3:5; 8:4]; 2:15) 39 1.2.1.4 Seeking and finding (3:1, 4) 43 1.2.1.5 Power of love (8:6, 7) 45 1.2.2 The term dAD 50 1.2.2.1 Kisses (1:2, 4; 7:10) 50 1.2.2.2 Mutual belonging (2:16) 55 vi 1.2.3 The terms ytiy"[.r;; hL'K;; and ytixoa] 57 1.2.3.1 Attraction of beauty (1: 9, 15; 6:4) 58 1.2.3.2 Marriage (4:8, 9) 63 1.2.3.3 Erotic and sensuous sense (5:1) 67 1.2.4 Summary 69 1.3 Conclusion 70 Chapter Two: Interpretations of Love in the Song: A Historical Survey 73 2.1 Traditional interpretations 74 2.1.1 Jewish allegorical interpretation 75 2.1.1.1 Aqiba on the Song (100 A.D.) 75 2.1.1.2 Targum on the Song (between 700-800 A.D.) 76 2.1.1.3 Midrash Rabbah (eighth century) 78 2.1.2 Christian allegorical interpretation 80 2.1.2.1 Hippolytus of Rome on the Song (170-235 A.D.) 80 2.1.2.2 Origen (184-253 A.D.) 81 2.1.2.3 Gregory of Nyssa (late in the fourth century) 84 2.1.2.4 Bernard of Clairvaux (twelfth century) 85 2.1.2.5 Martin Luther (fifteenth century) 87 2.1.2.6 Thomas Brightman (seventeenth century) 89 2.1.3 Assessment of the allegorical interpretations 90 2.1.4 Summary 94 2.2 The literal interpretation 95 2.2.1 The precursors of the literal interpretation 96 2.2.1.1 Theodore of Mopsuestia (350-428 A.D.) 96 2.2.1.2 Ibn Ezra (twelfth century) 96 2.2.1.3 John Calvin and Sebastian Chateillon (sixteen century) 97 2.2.1.4 J. G. Von Herder (late eighteen century) 97 2.2.2 Dramatic theory 99 2.2.2.1 Two-character theory (seventeenth century) 100 2.2.2.2 Three-character theory (twelfth century) 102 2.2.3 Contemporary literal interpretations of the Song 104 2.2.3.1 Wedding theory 105 2.2.3.2 Cultic theory 106 2.2.3.3 Funeral theory 109 2.2.3.4 Love poetry 111 2.2.4 Summary 114 2.3 The principles of discovering the meaning of love in the Song 115 2.3.1 The literal meaning of the Song 115 2.3.2 The poetic unity of the Song 117 2.3.3 The logical progression approach 118 2.3.4 Summary 120 2.4 Conclusion 121 vii Chapter Three: The Love Language in the Song and Love Lyrics in Vietnamese Literature 123 3.1 An understanding of love in Vietnamese culture and literature 125 3.1.1 Love in Vietnamese culture 125 3.1.2 Love in the Vietnamese literature: General observations 127 3.1.2.1 The Vietnamese folklore 128 3.1.2.2 The classical poetry 130 3.1.2.3 The new poetry movement 130 3.2 The love language in the Song and love lyrics in Vietnamese literature 132 3.2.1 The nature imagery 133 3.2.1.1 The nature imagery in the Song context 133 3.2.1.2 The nature imagery in the Vietnamese context 142 3.2.2 Love-sickness 152 3.2.3 The dialogue of the lovers 160 3.2.4 The heart and passion of love 169 3.2.5 The signs of love 178 3.2.6 Summary 188 3.3 Conclusion 188 Chapter Four: Cultural and Theological Implications and Applications of the Language of Love in the Song in the Vietnamese Society and Church Context 191 4.1 Exclusive commitment 194 4.1.1 Absolute commitment 195 4.1.2 Loyalty 198 4.2 Erotic nature of love relationship 201 4.2.1 Enjoyment of the love relationship 201 4.2.2 The fulfillment of sexual love 207 4.3 Intimacy and warning 210 4.3.1 Intimacy of love relationship 211 4.3.2 Warnings in love 212 4.4 Full realization of love 216 4.4.1 Recognition of realities in love 216 4.4.2 Communication in love 223 4.5 Beauties of love 225 4.5.1 Beauty of nature imagery in love 226 4.5.2 External and internal beauty 227 4.6 Summary 230 Conclusion 232 viii Appendix 237 Suggested sermon outlines for the Song 237 1. The love relationship in Vietnamese context (Song 1:1-4) 237 2. The realities of life and love relationship (1:5-11) 238 3. Overcome the obstacles (2:8-13) 239 4. The protection of the love relationship (2:14-17) 239 5. The great wedding (3:6-11) 240 6. Indifference and repentance (5:2-8) 241 7. My lover (5:9-16) 242 8. Reconciliation in love (6:1-10) 242 9. The maturing in love (7:1-11 [6:13-7:10 E]) 243 10. Expression of love within the culture and society (8:1-4) 244 11.
Load more

Recommended publications
  • Im Auftrag: Medienagentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected]
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected] FRANK SINATRAS ZEITLOSE MUSIK WIRD WELTWEIT MIT DER KOMPLETTEN KARRIERE UMFASSENDEN JAHRHUNDERTCOLLECTION ‘ULTIMATE SINATRA’ GEFEIERT ‘Ultimate Sinatra’ erscheint als CD, Download, 2LP & limited 4CD/Digital Deluxe Editions und vereint zum ersten Mal die wichtigsten Aufnahmen aus seiner Zeit bei Columbia, Capitol und Reprise! “Ich liebe es, Musik zu machen. Es gibt kaum etwas, womit ich meine Zeit lieber verbringen würde.” – Frank Sinatra Dieses Jahr, am 12. Dezember, wäre Frank Sinatra 100 Jahre alt geworden. Anlässlich dieses Jubiläums hat Capitol/Universal Music eine neue, die komplette Karriere des legendären Entertainers umspannende Collection seiner zeitlosen Musik zusammengestellt. Ultimate Sinatra ist als 25 Track- CD, 26 Track-Download, 24 Track-180g Vinyl Doppel-LP und als limitierte 101 Track Deluxe 4CD- und Download-Version erhältlich und vereint erstmals die wichtigsten Columbia-, Capitol- und Reprise- Aufnahmen in einem Paket. Alle Formate enthalten bisher unveröffentlichte Aufnahmen von Sinatra und die 4CD-Deluxe, bzw. 2LP-Vinyl Versionen enthalten zusätzlich Download-Codes für weitere Bonustracks. Frank Sinatra ist die Stimme des 20. Jahrhunderts und seine Studiokarriere dauerte unglaubliche sechs Jahrzehnte: 1939 sang er seinen ersten Song ein und seine letzten Aufnahmen machte er im Jahr 1993 für sein weltweit gefeiertes, mehrfach mit Platin ausgezeichnetes Album Duets and Duets II. Alle Versionen von Ultimate Sinatra beginnen mit “All Or Nothing At All”, aufgenommen mit Harry James and his Orchestra am 31. August 1939 bei Sinatras erster Studiosession. Es war die erste von fast 100 Bigband-Aufnahmen mit den Harry James und Tommy Dorsey Orchestern.
    [Show full text]
  • Love Is Our Mission
    LOVE IS OUR MISSION The family fully alive Scripture texts from the New American Bible, revised edition © 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C., are used by permission of the copyright owner. All rights reserved. No part of the New American Bible may be reproduced in any form without permission in writing from the copyright owner. Scripture quotations from New Revised Standard Version Bible: Catholic Edition, copyright © 1989, 1993 National Council of the Churches of Christ in the United States of America, used by permission. All rights reserved. English translation of the Catechism of the Catholic Church for use in the United States of America copyright © 1994, United States Catholic Conference, Inc. — Libreria Editrice Vaticana. English translation of the Catechism of the Catholic Church: Modifications from the Editio Typica copyright © 1997, United States Catholic Conference, Inc. — Libreria Editrice Vaticana. Excerpts from the English translation of the Compendium of the Catechism of the Catholic Church copyright © 2006 Libreria Editrice Vaticana. All rights reserved. The exclusive licensee in the United States is the United States Conference of Catholic Bishops, Washington, D.C. and all requests for United States uses of the Compendium of the Catechism of the Catholic Church should be directed to the United States Conference of Catholic Bishops. Every reasonable effort has been made to determine copyright holders of excerpted materials and to secure permissions as needed. If any copyrighted materials have been inadvertently used in this work without proper credit being given in one form or another, please notify Our Sunday Visitor in writing so that future printings of this work may be corrected accordingly.
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • That We May Know the Heart and What It Feels:Love in James Joyce's Ulysses Brad Christopher Perri Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1996 That we may know the heart and what it feels:love in James Joyce's Ulysses Brad Christopher Perri Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Perri, Brad Christopher, "That we may know the heart and what it feels:love in James Joyce's Ulysses" (1996). Retrospective Theses and Dissertations. 14374. https://lib.dr.iastate.edu/rtd/14374 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. i. -l -• V • -:*• pj Tli it we may know the heart and what itfeels: Love inJames Joyce's Ulvsses . < by 1:^ -1 M ..i- -1-. Brad Christopher Perri •:;s 1; i Jj;:. ^ r • 1 - A thesis submitted to the graduate faculty i;. 1 • m t '• i- i: MASTER OF ARTS • V: -V-'M -;X:v>l1.'. i jV *• v^'- -'V Department: English •i.; -4 li Major: English (Literature) II il Major Professor: Douglas M. Catron Iowa State University Ames, Iowa 1996 Pern, Brad Christopher Literature I 1996 u Graduate College Iowa State University This is to certify that the Master's thesis of Brad Christopher Perri has met thethesis requirements ofIowa State University Signatures have been redacted for privacy Ill TABLE OF CONTENTS CHAPTER 1.
    [Show full text]
  • The Mandrake and the Ancient World,” the Evangelical Quarterly 28.2 (1956): 87-92
    R.K. Harrison, “The Mandrake And The Ancient World,” The Evangelical Quarterly 28.2 (1956): 87-92. The Mandrake and the Ancient World R.K. Harrison [p.87] Professor Harrison, of the Department of Old Testament in Huron College, University of Western Ontario, has already shown by articles in THE EVANGELICAL QUARTERLY his interest and competence in the natural history of the Bible. Here he examines one of the more curious Biblical plants. The mandrake is one of the plants which still grows widely in the Middle East, and which has claimed magical associations from a very remote period. It is generally assigned the botanical name of Mandragora officinarum L..1 and is a perennial of the order Solanaceae. It claims affinity with the potato and eggplant, and is closely allied to the Atropa belladonna L.,2 with which it is not infrequently confused by some writers. The modern Arab knows it by a number of names, including Tuffah£ el Majanin (‘Madmen’s Apple) and Beid el Jinn (Eggs of the Jinn), apparently a reference to the ability of the plant to invigorate and stimulate the senses even to the point of mental imbalance. The former name may perhaps be a survival of the belief found in Oriental folk-lore regarding the magical herb Baaras, with which the mandrake is identified by some authorities.3 According to the legends associated with this plant, it was highly esteemed amongst the ancients on account of its pronounced magical properties. But because of the potency of these attributes it was an extremely hazardous undertaking for anyone to gather the plant, and many who attempted it were supposed to have paid for their daring with [p.88] sickness and death.4 Once the herb had been gathered, however, it availed for a number of diseases, and in antiquity it was most reputed for its ability to cure depression and general disorders of the mind.
    [Show full text]
  • 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.
    [Show full text]
  • INS Price 1F-$0.65 HC Not Available from EDRS. Basic Song List, While
    DOCUMENT RESUME ED 048 320 T7 499 843 TITLE Music Appreciation for High School. Curriculum Bulletin, 1969-70 Series, No. 4. INSTITUTICN New York City Board of Education, Brooklyn, N.Y. Bureau of Curriculum Development. PUB DATE 69 NOTE 188p. AVAILABLE ERCM Eoard of Education of the City of Pew York, Publications Sales Office, 110 Livingston Street, Brooklyn, N.Y.11201 ($4.00). Make checks payable to Auuitor, Board of Education FURS PRICE INS Price 1F-$0.65 HC Not Available from EDRS. DESCRIPTORS Bands (Music), Choral Music, Educational Objectives, *"tunic Activities, nisical Instruments, *Music Appreciatlon, *Music Education, Music Reading, Music Theory, Opera, Or-Jlestras, Oriental Music, Teaching Procedures, Vocal Music ABSTRACT Organized flexibly- these 17 unit. outlines are arranged to provide articulation with lower levels, utilization of student-preferred material, and coverage of the most essential instructional aspects of music appreciation in an increasing order of complexity. Each unit outline contains (1)aims and objectives, (2) vocabulary, (3) suggested and alternate lesson topics, (4) procedures,(F) summary concepts, (6) references, (7) audiovis.ial mat, al lists., (8) sample lesson plans, and (9) sample worksheets. The ,ntroducticn includes a sample pupil inventory lorm, an auditory discrimination test(of both performers and symphonic wor%s), and a basic song list, while suppleentary materials conclude the syllabus with lists of popular songs, au%iovisual aids, and recordings; an outline of musical rudimEnts; a sample lesson plan for appreciation and understanding of prograff music; and a bibliography. (JMC) OS DEPARTMENT OF HEALTH, EDUCATION a WAR! OFFICE OF EDUCATIO! !HIS DOCUMENT HIS ND REPRODUCED EXACTLY A: WEND IROM THE PERSON CR ORGANIZATtOH CR161111E10 ItPOINTS Of 011W OR OPINIONS STATED DO NOT KCESSIPILY REPREtrif OFFICIII OFFICE OF FIIKVION POSITION OR POOCH.
    [Show full text]
  • Flannery O'connor's Images of the Self
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 1978 CLOWNS AND CAPTIVES: FLANNERY O'CONNOR'S IMAGES OF THE SELF MICHAEL JOHN LEE Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation LEE, MICHAEL JOHN, "CLOWNS AND CAPTIVES: FLANNERY O'CONNOR'S IMAGES OF THE SELF" (1978). Doctoral Dissertations. 1210. https://scholars.unh.edu/dissertation/1210 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document ' ave been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • 1; Iya WEEKLY
    Platinum Blonde - more than just a pretty -faced rock trio (Page 5) Volume 39 No. 23 February 11, 1984 $1.00 :1;1; iyAWEEKLY . Virgin Canada becomes hotti Toronto: Virgin Records Canada, headed Canac by Bob Muir as President, moves into the You I fifth month flying its own banner and has become one of the hottest labels in the Cultu country. action THE PROMISE CONTINUES.... Contributing to the success of the label by th has been Culture Club with their albums of th4 Basil', Kissing To Be Clever and Colour By Num- bers. Also a major contributor is the break- W. out of the UB40 album, Labour Of Love, first ; boosted by the reggae group's cover of the forth Watch for: old Neil Diamond '60s hit, Red Red Wine. sampl "Over100,000 Colour By Numbers also t albums were shipped in the first ten days band' -the new Images In Vogue video of 1984 alone," said Muir. "The last Ulle40 Tt album only did about 13,000 here. Now, The' albun ... with Labour Of Love, we have the first gold Lust for Love album outside of Europe, and the success ships here is opening doors in the U.S. The record and c; broke in Calgary and Edmonton and started Al -Darkroom's tour (with the Payola$) spreading." Colour By Numbers has just surpassed quintuple platinum status in Canada which Ca] ...Feb. 17-29 represents 500,000 units sold, which took Va. about 16 weeks. The album was boosted and a new remixed 7" and 12" of San Paku by the hit singles Church Of The Poison Toros Mind, now well over gold, and the latest based single, Karma Chameleon, now well over of Ca the platinum mark in less than ten weeks prom This - a newsingle by Ann Mortifee of release.
    [Show full text]
  • Drugs That Can Cause Delirium (Anticholinergic / Toxic Metabolites)
    Drugs that can Cause Delirium (anticholinergic / toxic metabolites) Deliriants (drugs causing delirium) Prescription drugs . Central acting agents – Sedative hypnotics (e.g., benzodiazepines) – Anticonvulsants (e.g., barbiturates) – Antiparkinsonian agents (e.g., benztropine, trihexyphenidyl) . Analgesics – Narcotics (NB. meperidine*) – Non-steroidal anti-inflammatory drugs* . Antihistamines (first generation, e.g., hydroxyzine) . Gastrointestinal agents – Antispasmodics – H2-blockers* . Antinauseants – Scopolamine – Dimenhydrinate . Antibiotics – Fluoroquinolones* . Psychotropic medications – Tricyclic antidepressants – Lithium* . Cardiac medications – Antiarrhythmics – Digitalis* – Antihypertensives (b-blockers, methyldopa) . Miscellaneous – Skeletal muscle relaxants – Steroids Over the counter medications and complementary/alternative medications . Antihistamines (NB. first generation) – diphenhydramine, chlorpheniramine). Antinauseants – dimenhydrinate, scopolamine . Liquid medications containing alcohol . Mandrake . Henbane . Jimson weed . Atropa belladonna extract * Requires adjustment in renal impairment. From: K Alagiakrishnan, C A Wiens. (2004). An approach to drug induced delirium in the elderly. Postgrad Med J, 80, 388–393. Delirium in the Older Person: A Medical Emergency. Island Health www.viha.ca/mhas/resources/delirium/ Drugs that can cause delirium. Reviewed: 8-2014 Some commonly used medications with moderate to high anticholinergic properties and alternative suggestions Type of medication Alternatives with less deliriogenic
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]