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Relevant bibliographies by topics / Biblical Hebrew poetry

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Academic literature on the topic 'Biblical Hebrew poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Biblical Hebrew poetry"

1

Niccacci, Alviero. "Analysing Biblical Hebrew Poetry." Journal for the Study of the Old Testament 22, no. 74 (June 1997): 77–93. http://dx.doi.org/10.1177/030908929702207404.

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Raz, Yosefa. "Imagining the Hebrew Ode: On Robert Lowth’s Biblical Species." Prooftexts 40, no. 1 (2023): 85–109. http://dx.doi.org/10.2979/ptx.2023.a899250.

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Abstract: The subject of this article is the reception history of biblical genres, or the metapoetics of genre-making. It argues that the seemingly fixed presentations of the genres of biblical poetry in the twentieth century—as in Robert Alter’s classic guide to biblical Hebrew poetry—emerge from an eighteenth-century encounter: the English exegete Robert Lowth’s dramatic attempt to fit Greek and Roman generic models to the Hebrew text. Lowth’s resulting genres, or what he called the “species” of biblical poetry, were shaped both by the parallels he discovered between classical and Hebrew traditions, and by the small and large aberrations he faced in his process of translation. The article focuses on the characterization of a poetic form that never existed: the ancient Hebrew ode. Although, in this case, Lowth fails in his biblical scholarship, his Hebrew ode demonstrates the spirit of his creative project. By fitting Hebrew poetry to neoclassical models, Lowth subtly transformed neoclassical categories and possibilities, opening up new imaginative expanses within the lyrical mode and preparing the way for a more flexible, complex, and emotionally sophisticated Romantic lyric.

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Emerton, J. A., and Elaine R. Follis. "Directions in Biblical Hebrew Poetry." Vetus Testamentum 39, no. 2 (April 1989): 245. http://dx.doi.org/10.2307/1519588.

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Berlin, Adele, Joze Krašovec, and Joze Krasovec. "Antithetic Structure in Biblical Hebrew Poetry." Journal of the American Oriental Society 107, no. 1 (January 1987): 140. http://dx.doi.org/10.2307/602971.

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Williamson, H. G. M., and J. Krasovec. "Antithetic Structures in Biblical Hebrew Poetry." Vetus Testamentum 35, no. 2 (April 1985): 249. http://dx.doi.org/10.2307/1518256.

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Fuller, David J. "Word Order in Biblical Hebrew Poetry." Journal of Biblical Text Research 44 (April 30, 2019): 216–36. http://dx.doi.org/10.28977/jbtr.2019.4.44.216.

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Kugel, James L., and Joze Krasovec. "Antithetic Structure in Biblical Hebrew Poetry." Journal of Biblical Literature 105, no. 4 (December 1986): 704. http://dx.doi.org/10.2307/3261220.

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Crowe, Brandon D. "Book Review: Reassessing Biblical Hebrew Poetry." Expository Times 120, no. 4 (January 2009): 200–201. http://dx.doi.org/10.1177/00145246091200041108.

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Miller, Cynthia L. "A Linguistic Approach to Ellipsis in Biblical Poetry: (Or, What to Do When Exegesis of What Is There Depends on What Isn't)." Bulletin for Biblical Research 13, no. 2 (January 1, 2003): 251–70. http://dx.doi.org/10.2307/26422671.

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Abstract Biblical Hebrew poetry frequently exhibits ellipsis (or, gapping) of the verb, but the precise patterns of ellipsis have not been identified previously. A linguistic approach to ellipsis involves identifying universal features of ellipsis, as well as those features that are specific to Biblical Hebrew. Understanding the shapes of elliptical constructions in Biblical Hebrew provides a powerful exegetical tool for evaluating alternative readings (and hence exegetical understandings) of difficult verses (e.g., Ps 49:4 and Prov 13:1).

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Weber, Beat. "Toward a Theory of the Poetry of the Hebrew Bible: The Poetry of the Psalms as a Test Case." Bulletin for Biblical Research 22, no. 2 (January 1, 2012): 157–88. http://dx.doi.org/10.2307/26424751.

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Abstract This article is intended to be an exegetically useful foundation for a theory of Biblical Hebrew (lyrical) poetry, with the center of gravity in the psalms. I take up the research on poetry of pioneer linguists and literary theorists Bühler-Jakobson and Lotman and its application to Biblical Hebrew poetry by, among others, Alter, Berlin, and Nel. I describe "repetition" (or recurrence) as the basic phenomenon. It subsumes not only parallelismus membrorum but also other forms of poetic and structural equivalence. This characteristic feature of biblical poetry establishes a multidimensional network of intra- and extratextual connections that produces a compaction and polysemy not found in the same density and complexity in other literary genres. Important insights are exemplified by three psalms that I have selected for their appropriateness (Pss 3, 13, and 130). The purpose is to elucidate the theory and make it useful for the exegesis of lyrical biblical texts.

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Dissertations / Theses on the topic "Biblical Hebrew poetry"

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Huddleston, Jonathan Luke. "Translating Biblical poetry." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Lunn, Nicholas P. Heimerdinger Jean-Marc. "Word-order variation in biblical Hebrew poetry : differentiating pragmatic poetics /." Carlisle : Paternoster press, 2006. http://catalogue.bnf.fr/ark:/12148/cb410779456.

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Jeffers, Joshua Aaron. "Ancient Yahwistic poetry the Song of the Sea in Exodus 15 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Maloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.

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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.

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Chester, Clyde Anthony. "The lion has roared a seminar on preaching from Old Testament poetry /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Soltau, Kai P. "A structural analysis of the book of Lamentations." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Ayars, Matthew Ian. "The structure of the poetic text : structural cohesion and foregrounding as the dual rhetorical discourse function of linguistic parallelism in Biblical Hebrew poetry." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620335.

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The present project, by employing Roman Jakobson's conceptualisation of parallelism and literary linguistic analysis, argues that linguistic parallelism occurring at all levels of language (from phoneme to syntagmeme) in biblical Hebrew poetry has a dual rhetorical discourse function of foregrounding and structural cohesion. It is proposed that patterned grammatical-syntactic continuity and deviation at a colometric level creates poetic unity that harmonises the poem’s internal diversity and poetic variation across macrostructural levels that fosters foreground semantic components of the text. As the poetic text moves forward as a discourse, the diversity created by grammatical-syntactic deviation becomes patterned with a regular form of sequence that creates structural cohesion within the poem as discourse. After outlining the state of current research on biblical Hebrew poetry and exploring Jakobson’s poetics and their relevance to this project, the heart of the work is a detailed analysis of each poetic line in Psalms 113–118. These were chosen as a representative sample in order to test the validity of the model.

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Leatherman, Donn Walter. "An analysis of four current theories of Hebrew verse structure /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35906.

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This dissertation tests and evaluates four current theories of the verse structure of biblical Hebrew poetry. These theories are: the counting of minimal units, such as poetic feet, stresses or syllables, practiced in various forms since antiquity, and recently employed by D. N. Freedman, F. M. Cross and others, the analysis of poetic line-forms proposed by Terence Collins, the syntactic structural analysis proposed by M. O'Connor, and the semantic analysis practiced by Willow van der Meer, Johannes de Moor and a group of scholars associated with the Kampen School of Theology. All of these theories purport to identify and explain the fundamentals of biblical Hebrew verse structure. Each of these theories is presented comprehensively. These presentations include a review of literature relevant to the field of Hebrew verse structure studies in general, and to these four current theories of verse structure in particular.
These four theories are applied to four poetic passages from the Hebrew Bible: Judges 5:2--31, Isaiah 5:1--7, Lamentations 1 and Psalm 126. These applications show how each of these theories describes the verse structure of each of the poems. Following this, the theories and their applications to these passages are compared to determine which, if any, of these theories are effective in distinguishing poetry from prose, distinguishing one poem from another, predicting the form of a poem, and prescribing rules for the composition of poetry. The strengths and weaknesses of each theory are identified. In addition, the reasons for the failure of these theories to provide an adequate description of the verse structure of biblical Hebrew poetry are indicated.

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David, Alun Morris. "Christopher Smart and the Hebrew Bible : poetry and biblical criticism in England (1682-1771)." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321555.

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Books on the topic "Biblical Hebrew poetry"

1

R, Follis Elaine, ed. Directions in biblical Hebrew poetry. Sheffield, England: JSOT Press, 1987.

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1939-, Richards Kent Harold, ed. Interpreting Hebrew poetry. Minneapolis: Fortress Press, 1992.

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Alter, Robert. The Art of Biblical Poetry. New York: Basic Books, 1985.

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1807-1880, Adams William, ed. The spirit of the Hebrew poetry. New York: Rudd & Carleton, 1985.

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Dion, Paul-Eugène. Hebrew poetics. 2nd ed. Mississauga: Benben Publications, 1992.

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Korpel, Marjo C. A. The structure of classical Hebrew poetry: Isaiah 40-55. Leiden: Brill, 1998.

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Lahav, Shalom. Shirah ba-Miḳra. Netanyah: ha-Agudah le-ṭipuaḥ ḥevrah ṿe-tarbut, teʻud u-meḥḳar, 1999.

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Kim, Chung Choon. Isŭrael siin chŏngsin. Sŏul: Hanʾguk Sinhak Yŏnʾguso, 1988.

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Kim, Chung Choon. Isŭrael siin chŏngsin. Sŏul: Hanʼguk Sinhak Yŏnʼguso, 1988.

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Lahav, Shalom. Shirah ba-Miḳra. Netanyah: Agudah le-ṭipuaḥ ḥevrah ṿe-tarbut, teʻud u-meḥḳar, 1999.

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Book chapters on the topic "Biblical Hebrew poetry"

1

Bekkum, Wout Jac. "Qumran Poetry and Piyyut: Some Observations on Hebrew Poetic Traditions in Biblical and Post-Biblical Times." In Zutot 2002, 26–33. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-010-0199-1_3.

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Dobbs-Allsopp, F. W. "2. The Bible in Whitman." In Divine Style, 63–110. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0357.03.

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The chapter takes up the topic of biblical quotations, allusions, and echoes in Whitman’s writings, albeit with a very specific end in view. G. W. Allen pioneered this line of research in his “Biblical Echoes,” which remains the single largest published collection of biblical quotations, allusions and echoes in Whitman. This sampling alone establishes Whitman’s knowledge and use of the Bible, and the direct quotations from the Bible make clear Whitman’s use of the KJB translation in particular. Allen also ably emphasizes the “elusive” nature of Whitman’s allusive practice in Leaves as it pertains to the Bible. My own point of departure is the (modest amount of) research carried out on this topic since Allen’s foundational study. I begin by elaborating a number of general observations that entail from these more recent studies, not a few of which contrast with emphases placed by Allen (e.g., the prominence of the Hebrew Bible/Old Testament in Whitman’s collages from the Bible). The main part of the chapter focuses on the important period from 1850-55. A survey of Whitman’s writings (both poetry and prose) from this period reveals a plethora of biblical language, imagery, themes, characters, and imitations of all sorts, and this allusive practice turns out to be a very tangible way of tracking one dimension of Whitman’s evolving poetic theory—“no quotations.” At the time of the three free-verse poems from the spring and summer of 1850, Whitman could still freely embed quotations from the Bible in his poems. But by the time of the early notebooks and poetry manuscripts, and then in the 1855 Leaves, Whitman’s new poetics is firmly in place: no more direct quotations, a concerted trimming away of some biblical trappings, and a tendency to work-over allusions to the point that they become, as B. L. Bergquist says, “more ‘elusive,’ more hidden.” The survey includes close scrutiny of Whitman’s prose writings (mostly journalistic in nature) from 1850-53 and the early pre-Leaves notebooks and unpublished poetry manuscripts.

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Dobbs-Allsopp, F. W. "4. Parallelism." In Divine Style, 223–84. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0357.05.

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Galway Kinnell observes that Whitman is “the greatest virtuoso of parallel structure in English poetry.” G. W. Allen’s early essay, “Biblical Analogies,” successfully establishes the presence and significance of parallelism in Whitman, especially as it bears upon the poet’s underlying prosody, and the likelihood that the Bible is an important source of Whitman’s knowledge of parallelism. In that analysis, parallelism is understood primarily through Robert Lowth’s biblical paradigm. Unfortunately, that paradigm was already much belated in 1933, then a full 180 years after Lowth’s initial exposition of it. Moreover, Allen’s own explication of the paradigm—mediated at second- and third-hand—is flawed in various ways. And compounding these problems is the fact that the understanding of parallelism in Whitman scholarship more broadly appears to be essentially that of Allen (with a few exceptions), and thus is dated and shot through with problematic assumptions. The overriding ambition of this chapter, then, is to re-situate the study of parallelism in Whitman. The initial part of the chapter is dedicated to explicating Lowth’s paradigm and its critical reception in modern biblical scholarship. This is done because of the foundational role which the biblical paradigm has played in Whitman scholarship and because Hebrew Bible is one of the few disciplines of textual study where parallelism as a literary phenomenon has been robustly theorized. The analytics of parallelism, regardless of its originating textual source, is portable, as Allen rightly perceived. The main body of the chapter, building on the foregoing overview, seeks to discern more precisely what may have devolved from the Bible in Whitman’s understanding and use of parallelism. The final section of the chapter features exploratory observations about how Whitman moves beyond the biblical paradigm he inherits and molds parallelism to suit his own poetic ends.

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"Hebrew Poetry." In Hebrew for Biblical Interpretation, 211–14. SBL Press, 2022. http://dx.doi.org/10.2307/jj.809364.36.

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Isaksson, Bo. "Archaic Biblical Hebrew Poetry:." In Strategies of Clause Linking in Semitic Languages, 109–42. Harrassowitz, O, 2018. http://dx.doi.org/10.2307/j.ctvbd8k5k.9.

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Grosser, Emmylou J. "The Nature of the Biblical Hebrew Poetic Line." In Unparalleled Poetry, 51—C3N23. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190902360.003.0003.

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Abstract Chapter 3, the heart of this book’s cognitive approach, explores the nature of the line in biblical poetry. The term “line” is defined as the basic unit of structure and rhythm in a versification system. The problem with the term “line” for biblical poetry is that the biblical poetic line is not linear, graphically or conceptually. Biblical poetic lines must be reconceptualized not as straight and parallel but as various kinds of segments that create shapes or figures, the line-groupings of biblical poetry. Biblical poetry is compared with English metrical and free-verse poetry to show how the mental realization of lines differs in these versification systems. In biblical poetry, line structure emerges in the part-whole relationship of the line to the line-grouping, through the mental process of segregating lines and integrating line-groupings.

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Linafelt, Tod. "3. Reading biblical poetry." In The Hebrew Bible as Literature, 50–68. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780195300079.003.0004.

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Dobbs-Allsopp, F. W. "The Free Rhythms of Biblical Hebrew Poetry." In On Biblical Poetry, 95–177. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199766901.003.0003.

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"TABLE OF BIBLICAL CITATIONS." In Hebrew Poetry from Late Antiquity, 167–71. BRILL, 1998. http://dx.doi.org/10.1163/9789004332430_016.

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Orton, David E. "Index of Biblical References." In Poetry in the Hebrew Bible, 239–53. BRILL, 2000. http://dx.doi.org/10.1163/9789004493582_019.

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Conference papers on the topic "Biblical Hebrew poetry"

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Jasim MOHAMMED, Ahmed, and Hussein Ismael KADHIM. "THE IMPACT OF THE JEWISH FAITH IN MODERN HEBREW POETRY "SHABBAT FOR EXAMPLE." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-14.

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This study is an attempt to shed light on a central and important issue in the lives of any nation or society or group of people, and it is the issue of "faith". One of the most important foundations in the Jewish faith is the "Sabbath" or day of rest for the Jews, which they respect and sanctify from all the other six days of the week. This study discusses the different representations of Saturday in Hebrew poetry. This study examined different representations of the theme of Saturday in Hebrew poetry with special emphasis on the significance of these representations shaped their worldview of the Jews on the topic flowing. Saturday is a day of rest and weekly holy people of Israel, the first deadline dates prescribed in the Torah. When there was a regular basis every seven days, on the seventh day a week. Saturday is the start of Friday's end, a little before sunset - the time called "Saturday Night", and tip the next day, with nightfall - long known as "Saturday". Jewish Saturday is considered the most sacred date. Saturday observance is one of the central commandments in Judaism; According to Judaism, this is the first commandment given to man, on the day he removed and weighed against all the commandments of the Torah. Judaism Saturday symbolizes the creation of the world by God and the holiness constant since the world was created by God. Reasons for the mitzvot and customs specific biblical command to sit origin consecrate this day and strike him from work, God's act of creation after the completion of the six days of creation. Saturday is used only for rest and refraining from doing work, and has been caught during today's Bible Holiness, pleasure, study Torah and elation. Observance of the Saturday, according to Judaism, is a practical admission creation of the world, reinforces the belief and non-observance leads to weakening of the Jewish faith, as well as keeping the Saturday brings a person to the Creator and secrete more physical nuns. Israel was set Saturday to officially rest. Sanctity of "on Saturday" is based - according to tradition - the thinking that thought that the God who created the heavens and the earth in six days, and Ahri-cc, he rested on the seventh day his work which he worked it, and he ordered them to stop all this day according craft books mentioned several books of the Bible. At the beginning of this study will be discussed at the origin of the word "Sabbath" (Saturday) in the Hebrew language, and the meaning of the word "Sabbath" in the Bible, Then, will be discussed on the types Saturday among the Jews, except they have a regular Sabbath day three ten types of Saturdays, expressing the various events and occasions and have various rituals and special customs. Too, will be discussed on the customs and rituals that the Jews do them during the entry to his departure on Saturday. Even so, it is during this study for some changes in different terms to Saturday, which the Jews call them the Sabbath. These names were used most by the Hebrew writers in modern times in their songs and stories that written in honor of this day, and Hebrew poets wrote poetry on Saturday: Bialik wrote the song "Saturday queen", poet Amir Gilboa wrote the song "Cch Cmo Sani the up" and others. By analysis of these literary works can be seen that the authors of these works depict through which all customs and ceremonies on Saturday in detail from beginning to end, especially the poet Bialik's poem "Saturday queen". And the end of the study conclusions and sources will come

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