Journal articles: 'Psalm 8'

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Hinson-Hasty, Elizabeth. "Psalm 8." Interpretation: A Journal of Bible and Theology 59, no. 4 (October 2005): 392–94. http://dx.doi.org/10.1177/002096430505900406.

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Clark, David A. R. "Psalm 74:8 and November 1938: rereading Dietrich Bonhoeffer's Kristallnacht annotation in its interpretive context." Scottish Journal of Theology 71, no. 3 (August 2018): 253–66. http://dx.doi.org/10.1017/s0036930618000315.

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AbstractFollowing Kristallnacht, Dietrich Bonhoeffer marked the date of the pogrom beside Psalm 74:8 in his personal Bible. This annotation has been frequently cited; however, though scholars have recognised historical implications of associating this psalm text with Kristallnacht, the discourse has yet to examine this annotation thoroughly in the context of Bonhoeffer's figural interpretation of the Psalms during this period. This article will establish the context of Bonhoeffer's figural approach to the Psalter in order to address this question: by connecting Psalm 74:8 with Kristallnacht, what theological claim might Bonhoeffer have been making about the events of November 1938?

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Pitkin, Barbara. "Psalm 8:1–2." Interpretation: A Journal of Bible and Theology 55, no. 2 (April 2001): 177–80. http://dx.doi.org/10.1177/002096430005500207.

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Тимофеев, Борис. "Messianic Meaning in Psalms 2, 8, 44: the View of Diodorus of Tarsus and Theodore of Mopsuestia." Theological Herald, no. 1(36) (March 15, 2020): 98–113. http://dx.doi.org/10.31802/2500-1450-2020-36-1-98-113.

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Цель статьи - реконструкция экзегетических принципов толкования диодором Тарсийским и Феодором Мопсуэстийским мессианских текстов в псалтири. Эти толкователи известны критическим подходом к прямой мессианской интерпретации пророческого провозвестия ветхого завета. Так, с их точки зрения, из всей псалтири только четыре псалма говорят непосредственно о христе и его времени. Это псалмы 2, 8, 44 и 109. поскольку толкования диодора и Феодора на 109й псалом в настоящее время недоступны, автор ограничился сравнительным анализом их комментариев на псалмы 2, 8 и 44. результаты сравнения помогают прояснить детали герменевтических принципов диодора и Феодора и определить их место в древней христианской экзегетической традиции. This article is an attempt to reconstruct the exegetical principles of the interpretation of messianic texts in the Psalms of Diodorus of Tarsus and Theodore of Mopsuestia. These interpreters are known for their critical approach to the direct messianic interpretation of the Old Testament prophetic proclamation. So, for example, from their point of view, of the entire Psalm, only four psalms speak directly about Christ and his time. These are 2, 8, 44, and 109 Psalms. Since the interpretation of Diodorus and Theodore on Psalm 109 is currently unavailable, we restrict ourselves to analyzing their comments on Psalms 2, 8, and 44. The results of the comparative analysis can help to clarify the details of the hermeneutic principles of Diodorus and Theodore and help determine their place in the ancient Christian exegetical tradition.

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Tzoref, Shani. "Psalms of Ascent." European Judaism 54, no. 2 (September 1, 2021): 94–103. http://dx.doi.org/10.3167/ej.2021.540211.

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This article uses Hermann Gunkel’s form-critical approach in studying the fifteen short ‘Psalms of Ascent’ (Psalms 120–134). Jewish tradition as well as subsequent scholarship associates these Psalms with the Biblical Pilgrim festivals in Jerusalem, sung by the pilgrims on their way but later incorporated into cultic rites within the Temple. Gunkel’s analysis identifies templates which serve as frameworks for both simple and complex artistic variations. Using the form-critical approach descriptively rather than prescriptively, the article uses the identification of formal elements primarily as a tool for understanding the language, themes, message and mood of these Psalm texts. A study of King Solomon’s dedicatory prayer (1 Kings 8 and 2 Chronicles 6) in conjunction with Psalm 132 indicates a new locus of performance in a ritual in modern synagogue liturgy.

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Korovin, Vladimir L. "“Three Paraphrastic Odes of Psalm 143”: Religion and Politics in the Poetry Contest of Trediakovsky, Lomonosov and Sumarokov in 1743." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 3 (2022): 40. http://dx.doi.org/10.31857/s160578800020757-8.

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The article clarifies the circumstances of the creation of the first translations of the psalms by V.K. Trediakovsky, M.V. Lomonosov and A.P. Sumarokov, printed in the brochure “Three Paraphrastic Odes of Psalm 143” (St. Petersburg, 1744; published at the end of 1743). As it is known, they were written in connection with their theoretical discussion about Russian versification (on the semantics of the iambic and trochee) and were brought to the public as the results of a poetic contest. In this article attention is focused not on questions of style and metrics, but on the content of these poems and for the first time an explanation is given why three poets had chosen psalm 143 (in the Hebrew numbering 144) for their first transcriptions. It belongs to the “royal” psalms, it is inscribed “Psalm of David about Goliath”, and in the final verses it has two opposite reading options: in the Greek version it is about the temporary well–being of sinners (foreign people), in the Hebrew - about the eternal bliss of the righteous (their own people). The Slavic translation was made from Greek, and the German translation by M. Luther was made from Hebrew. All three poets made interpretations according to the Slavic translation version, showing their loyalty to Orthodox Christianity, and at the same time expressing the hope that the power of the Lutheran Germans in the St. Petersburg Academy of Sciences will soon be put to an end. The allegorical religious and political meaning of the translations of Psalm 143 was revealed in comparison with the German translation and was supposed to sting the enemies of Lomonosov and Trediakovsky at the Academy of Sciences. Three odes were written in August 1743, shortly after the conclusion of the Abo Peace with Sweden (which secured another victory of the Orthodox Russians over the Lutheran Swedes, David over Goliath) and the release of Lomonosov from arrest (where he had been since the end of May due to a conflict with German professors). Аpparently, he was the first who suggested choosing psalm 143 for the poetic contest (later he will make its another interpretation according to the Hebrew version). The publication of the “Three Odes” was part of a set of events for the second anniversary of Elizabeth Petrovna’s accession to the throne, so it was supervised by the Prosecutor General of the Senate, Prince N.Y. Trubetskoy.

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Abernethy, Andrew T. "God as Teacher in Psalm 25." Vetus Testamentum 65, no. 3 (August 3, 2015): 339–51. http://dx.doi.org/10.1163/15685330-12301196.

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There are nearly fifty verses in Psalms where God is the subject of a verb for teaching. Six of these occurrences take place in Psalm 25. Advancing beyond previous research on God as teacher in Psalm 25, this article offers an alternative to the traditional interpretation that Ps 25:4-5 and 8-9 speak of God teaching sinners to enable them to obey torah. The case is made that these verses may be understood as God teaching his people about himself—his ways—by intervening in their circumstances, at times through a word of wisdom, rather than simply teaching them about his demands to help them overcome sin.

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Kim, Jun. "Psalm 8: An Ecological Reading." Korean Journal of Christian Studies 101 (July 31, 2016): 11–30. http://dx.doi.org/10.18708/kjcs.2016.07.101.1.11.

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Crouch, C. L. "Made in the Image of God: The Creation of אדם, the Commissioning of the King and the Chaoskampf of Yhwh." Journal of Ancient Near Eastern Religions 16, no. 1 (June 4, 2016): 1–21. http://dx.doi.org/10.1163/15692124-12341277.

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This article suggests that Genesis 1 and Psalms 8, 18 and 89 reflect a mythological tradition which described the creation of the human king as Yhwh’s counterpart in the divine battle against chaos. The residual royal features of the narrative of the creation of אדם in Genesis 1—the creation of the אדם in the image of god, to exercise dominion—appear in a context of a polemical revision of Yhwh’s Chaoskampf and are suggestive of the older tradition’s inclusion of the king’s commissioning as Yhwh’s representative and earthly counterpart in these activities. Psalm 8 similarly associates the creation of a royal figure with the exertion of authority and dominion over chaos, using the same image of god language as Genesis 1 to describe this figure and to articulate his special relationship with Yhwh. Psalm 18 and especially Psalm 89 affirm the location of the king’s Chaoskampf commission in the midst of Yhwh’s own Chaoskampf activities, with the latter’s use of parental language echoing the image of god language in Genesis 1.

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Fields, C. Ryan. "Giving or Receiving Gifts?" Evangelical Quarterly 92, no. 2 (September 20, 2021): 122–41. http://dx.doi.org/10.1163/27725472-09201002.

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Abstract The severity of difficulties surrounding Paul’s use of Psalm 68:18 in Ephesians 4:8 is well known. I argue that Ephesians 4:8 is best understood as an instance of Paul quoting Psalm 68:18 against a broader canonical backdrop, putting the themes of Psalm 68 in dialogue with other portions of the OT (especially Numbers 8) while engaging in typological and christological reflection on the nature of the church as a diversely gifted community. I make this argument by evaluating seven major interpretive options for understanding Paul’s use of the OT here. I then assess the two most promising options by examining Psalm 68 in its relation to Judges 5 and Numbers 8 and by investigating the extent to which these canonical co-texts might have informed Paul’s appropriation of the psalm, concluding that more attention should be given to the possibility that Paul is engaged in a christological reading of Numbers 8.

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Pikovskiy, Ivan V. "Liturgical theology of psalm 120 (121)." Issues of Theology 3, no. 2 (2021): 159–76. http://dx.doi.org/10.21638/spbu28.2021.203.

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The Songs of Ascents (Psalms 120–134) can be understood as the songs of the pilgrims, historically associated with Sion and symbolically with man’s journey along the road of life. Included in this collection psalm 120 (121) is rather short and does not contain references to historical events of the past. This is why probably it was left without attention in Russian biblical studies. In foreign studies, this poem is often interpreted as a private song of a pilgrim leaving his home, written in the form of a dialogue between father and son (Bob Becking, Arthur Weiser, Klaus Seibold). Following Sigmund Mouvenkel, Hans-Joachim Kraus and Marina Manatti, the author of this article suggests a liturgical approach to the analysis of the psalm 120 (121). The poem contains a rhetorical question from a pilgrim (v. 1), a priest’s answer (v. 2) and words of consolation (v. 3–8). The theology of the psalm focuses the reader’s attention on the role of YHWH, who in relation to man is not only the creator, but also the helper, guardian, stronghold and cover. The peculiarities of the “liturgical theology” of this hymn, according to the author, show that in the present form, psalm 120 is adapted for liturgical performance. Consequently, the psalm was primarily performed in the Jerusalem temple by priests or Levites, and afterwards, it was sung by ordinary Israelites on their way back home.

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van Asselt, Willem J. "“Quid est homo quod memor es ipsius?” Calvin and Cocceius (1603–1669) on Psalm 8." Church History and Religious Culture 91, no. 1-2 (2011): 135–47. http://dx.doi.org/10.1163/187124111x557818.

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This article addresses a controversy between Reformed theologians on the exegesis of Psalm 8 which arose in the Dutch Reformed Church during the late seventeenth century. The followers of the Leiden theologian Johannes Cocceius proposed an eschatological (even apocalyptic) reading of this Psalm which was vehemently contested by the followers of the Utrecht professor Gisbertus Voetius. Both parties appealed to Calvin’s exegesis of this Psalm and argued that their opinions were in continuity with those of Calvin. By comparing Calvin’s exegesis of this Psalm to Cocceius’s explanation, it is possible to illuminate the seventeenth-century debate on this issue. This may also be instructive for explaining the variegated views on Biblical prophecy within the Reformed tradition. At the same time, an investigation of the sources of both theologians enables us to locate them in the history of exegesis.

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Sanctrac, Dragoslava. "Praying the Psalms: How Biblical Prayers Can Enrich Our Personal and Liturgical Prayer Lives." Revista Theologika 33, no. 2 (November 3, 2018): 256–79. http://dx.doi.org/10.17162/rt.v33i2.1119.

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In recent psalm study, new approaches seek to explore how the Psalms enter contemporary life, pastoral care, and worship. This study focuses on the rich use of the Psalms in prayer. From the earliest ages, the Psalms shaped the prayer life of God’s people, including Jesus (Neh 12:8; Matt 27:46; Eph 5:19). Yet in much of Christian practice today, these prayers have become largely neglected. The purpose of this study is to look at the role the praying of the Psalms played in helping God’s people traverse their life journey and grow in their relationship with God, and to explore how our praying the Psalms today can transform our communal and personal prayers, and shape us in the faith of the psalmists.

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Gordley, Matthew E. "Creating Meaning in the Present by Reviewing the Past: Communal Memory in the Psalms of Solomon." Journal of Ancient Judaism 5, no. 3 (May 14, 2014): 368–92. http://dx.doi.org/10.30965/21967954-00503005.

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This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the tradition of Solomonic discourse are also addressed insofar as they contribute to the didactic function of this psalm collection.

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Ribbens, Benjamin J. "The Sacrifice God Desired: Psalm 40.6–8 in Hebrews 10." New Testament Studies 67, no. 2 (March 4, 2021): 284–304. http://dx.doi.org/10.1017/s0028688520000302.

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Scholars often argue that Hebrews uses Psalm 40 in Heb 10.5–10 to emphasise obedience, either stressing Christ's lived obedience on earth or suggesting that obedience replaces sacrifice. However, Hebrews does not use Psalm 40 to highlight obedience but to identify another sacrificial offering. Christ's offering is the cultic offering that pleases God and achieves God's salvific will. While God did not take pleasure in Levitical sacrifices, he did command them and promise that they would achieve certain effects. The first covenant sacrifices achieved atonement and forgiveness because they were shadows that anticipated and participated in Christ's offering.

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Wook Kim, Sun. "Structural and Thematic Similarities between Psalm 78(77 LXX):12–32 and Mark 4:35–8:21 in Light of Spatial Settings and Exodus Imagery." Expository Times 128, no. 7 (October 1, 2016): 334–42. http://dx.doi.org/10.1177/0014524616668107.

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This article explores the intertextual relationships between Psalm 78(77 LXX):12–32 and Mark 4:35–8:21 in terms of their structural and thematic similarities. The spatial settings of the sea and the desert in both texts function as a framework of the narratives in which Mark 4:35–8:21 reflects the Exodus imagery following the pattern of Psalm 78(77 LXX):12–32. In relation to the main theme, Mark has similarity with the Psalm in that as the Israelites fail in their faith despite experiencing God’s mighty works, the disciples show ignorance of who Jesus is despite witnessing his miraculous works.

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Stein, George. "Did the author of Psalm 30 have cyclothymia or bipolar disorder?" British Journal of Psychiatry 195, no. 6 (December 2009): 550. http://dx.doi.org/10.1192/bjp.195.6.550.

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Psalm 30 is a short psalm used as a song for the dedication of the Temple. It contains a description in religious terminology of two abrupt changes of mood which seem to resemble the mood switches of affective disorder. Examples quoted here are verses 30:3–5 and 30:8–12.

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Kruger, P. "'Die Hemel vertel die eer van God': Natuur, Skriftuur en die bidder in Psalm 19." Verbum et Ecclesia 23, no. 1 (September 6, 2002): 111–24. http://dx.doi.org/10.4102/ve.v23i1.1208.

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“The heavens proclaim the glory of God”: Nature, Scripture and the suppliant in Psalm 19 This article investigates the relationship between the different parts of Psalm 19, viz. v 2-7, 8-11 and 12-15. After a translation and colometric analysis, observations are made on the structure of the poem, the wordplay, and the other literary strategies that keep the different parts together, and on the characteristics that mark this composition as a wisdom psalm. Special attention is devoted to the sun imagery which runs like a golden thread through the whole poem.

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WILDER, WILLIAM N. "The Use (or Abuse) of Power in High Places: Gifts Given and Received in Isaiah, Psalm 68, and Ephesians 4:8." Bulletin for Biblical Research 20, no. 2 (January 1, 2010): 185–99. http://dx.doi.org/10.2307/26424295.

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Abstract Explanations for Paul's apparent misquotation of Ps 68:18 in Eph 4:8 abound. I contend that, reading Psalm 68 against an Isaianic backdrop, Paul believed the finale of that psalm (Ps 68:34–35; LXX 67:35–36) to give scriptural expression to the divine gifts of power and might that he saw operative among those who were united to Christ. In Eph 4:8, Paul then employs an adaptive paraphrase of Ps 68:18 (LXX 67:19) to sum up important aspects of the exaltation of Christ in terms drawn from the larger context of that psalm. This in turn evokes a larger Isaianic storyline in which the victory of God and his enthronement (as the Divine Warrior) are replicated in his Messiah and, ultimately, in those believers in whom his Spirit of counsel and might is at work.

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Pulsiano, Phillip. "The Phoenix: Lines 199b-207 and Psalm 101.7-8." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 2, no. 1 (January 1989): 3–6. http://dx.doi.org/10.1080/19403364.1989.11755179.

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Mays, James L. "What Is A Human Being? Reflections On Psalm 8." Theology Today 50, no. 4 (January 1994): 511–20. http://dx.doi.org/10.1177/004057369405000402.

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“Implicit in every proposal about humankind is a diagnosis of the human predicament and a doctrine for its salvation. It is difficult to enter a serious discussion with anyone without hearing the overtones of these proposals. The sciences concerned with humankind have by and large preempted the place in general consciousness that was held in previous centuries by metaphysics, a portentous shift for theology and preaching whose effects are all about us.”

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Auffret, Pierre. "O bonheurs du peuple dont Yhwh est le Dieu Nouvelle étude structurelle du psaume 144." Vetus Testamentum 60, no. 4 (2010): 505–17. http://dx.doi.org/10.1163/156853310x527806.

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AbstractSince the proposals made some time ago by Marc Girard and the author regarding the structure of Psalm 144 were far from converging, it appeared useful to reexamine the Psalm. In order to do so as methodologically as possible, the text of Ps 144 is analyzed in three steps, first by considering the structure of its smallest units (verses 1-2, 3-4, 5-6, 7-8, 9, 10-11, 12-15), then of partial units, and finally of the psalm in its entirety. All this leads to the discovery of the relationship between the first part (verses 1-2 + 3-4) and the last part of the text (verses 10-11 + 12-15), as well as between the central unit (vv 7-8) and these extreme units, while verses 5-6 and 9, around the centre, announce the units of vv 10-11 and vv 12-15. At the end of the article the former proposals are reconsidered.

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Maston, Jason. "“What is Man?” An Argument for the Christological Reading of Psalm 8 in Hebrews 2." Zeitschrift für die neutestamentliche Wissenschaft 112, no. 1 (February 1, 2021): 89–104. http://dx.doi.org/10.1515/znw-2021-0005.

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Abstract Whether the author of Hebrews interpreted LXX Ps 8,5–7 as referring to humanity (the anthropological interpretation) or Christ (the Christological interpretation) has been widely debated. This essay strengthens the case for the Christological interpretation. After discussing the connections between Hebr 1,1–13 and 2,5–9, the article focuses on the citation and interpretation of LXX Ps 8,5–7 in Hebr 2,6–9. I contend that the author identified a three stage pattern in the psalm which he sees replicated in Jesus’ life. The next stage of the argument shows how in 2,10–18 the author only applies two stages to the lives of believers. Believers do not complete the third stage which indicates that, for the author of Hebrews, the psalm is first about Jesus and then applicable to humanity.

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Barbiero, Gianni. "The Two Structures of Psalm 29." Vetus Testamentum 66, no. 3 (June 21, 2016): 378–92. http://dx.doi.org/10.1163/15685330-12341238.

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Against various proposals to remove vv. 3b, 7, 9c and 11 from Psalm 29 as late additions, the author affirms the substantial integrity of themt. According to him, the psalm is composed of five strophes, each consisting of two rhythmic verses (1-2, 3-4, 5-7, 8-9, 10-11). They form two complementary structures, one with a central pivot (introduction, 1-2; body, 3-9; conclusion, 10-12), and the other a linear one (praise of God in the cosmos, 1-4; praise of God in the land of Israel, 5-9; resumption of the cosmic praise, 10; resumption of the praise of Israel, 11). It is in the interaction of these two structures that the unity of the psalm is grasped.

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Joerstad, Mari. "Sing Us the Songs of Zion: Land, Culture, and Resistance in Psalm 137, 12 Years a Slave, and Cedar Man." Horizons in Biblical Theology 40, no. 1 (April 12, 2018): 1–16. http://dx.doi.org/10.1163/18712207-12341363.

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Abstract This article reads Psalm 137 in light of colonial appropriation of land and culture, contextualizing the violence of verses 8 and 9 as a response to exile and as a method of protecting Judean cultural practices. Two modern art pieces serve as points of comparison: Steve McQueen’s film 12 Years a Slave, and Joe David’s totem pole Cedar Man. The article concludes by considering how the violent language of Psalm 137 may guide contemporary ethical reflection.

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Dirgaprimawan, Bernadus. "A Parody of Psalm 8 in Job 7:17-19." Jurnal Teologi 7, no. 1 (May 25, 2018): 1–8. http://dx.doi.org/10.24071/jt.v7i1.1200.

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Van der Watt, J. G. "Die gebruik van die metafore in Psalm 80 (79 -LXX) in vergelyking met Johannes 15: 1-86." Verbum et Ecclesia 20, no. 2 (August 10, 1999): 455–64. http://dx.doi.org/10.4102/ve.v20i2.612.

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The dynamics of metaphor, which are found in John 15:1-8, are compared with the dynamics of metaphor in Psalm 79 (LXX). This is done against the background of the dominance of the ancient Greek philosphical tradition in considering metaphors in ancient texts. It is shown that the dynamics of metaphor in John 15 and Psalm 79 (LXX) are based on the same characteristics. This implies that more care should be taken in identifying the roots of the dynamics of metaphor in ancient literature.

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Ириней, (Пиковский),. "The covenant of the Lord with David in Psalm 132 (131)." Библейские схолии, no. 1(2) (June 15, 2022): 84–106. http://dx.doi.org/10.31802/bsch.2022.2.1.005.

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Псалом 131 (132 по Масоретскому тексту) является одним из наиболее ярких поэтических библейских гимнов, воспевающих власть царя на Сионе. Его содержание напоминает молитву Соломона при освящении храма (3 Цар. 8, 25; 9, 4-5), а его присутствие в сборнике «песен восхождения» (Пс. 119 - 133) - о послепленном литургическом употреблении. Многие комментаторы трактуют данный псалом как пророчество о безусловной незыблемости трона Давида, не принимая во внимания возможные исторические предпосылки появления данного гимна. В настоящем исследовании анализируется процесс переинтерпретации ключевых выражений псалма, связанных с «заветом», по мере фиксации библейского текста в разных периодах истории Древнего Израиля. Применяемый историко-филологический метод экзегезы позволяет увидеть, как минимум две ключевые мысли, которые явно или имплицитно присутствуют в псалме. Во-первых, автор псалма пишет о требованиях к потомкам Давида, при которых они могут претендовать на вечность своего царствования. Во-вторых, к «завету» с Давидом присоединяется обещание Господа поселиться на Сионе. А это значит, что любые «мессианские» толкования из текста данного псалма должны учитывать высокую роль храма, который в послепленный период был важен не менее, чем ожидаемый Мессия. Psalm 132 (131 according to the Septuagint) is one of the most striking poetic biblical hymns, glorifying the power of the king in Zion. Its content resembles the prayer of Solomon during the consecration of the temple (1 Kings 8, 25; 9, 4-5), and his presence in the collection of “Songs of Ascend” (Psalm 120 - 134) refers to post-exilic liturgical use. Many commentators interpret this psalm as a prophecy about the unconditional inviolability of the David’s throne, without taking into account the possible historical prerequisites for the appearance of this hymn. In this study I want to analyze the process of re-interpreting the key expressions of the psalm associated with the “covenant” in the different periods of the Israel history. The historical-philological method of exegesis witch I use allows to see at least two key thoughts that are explicitly or implicitly present in the psalm. Firstly, the author of the psalm writes about the requirements for the descendants of David, under which they can pretend to the eternity of their reign. Secondly, the Lord’s promise to settle in Zion should be considered as an addition to the “covenant” with David. So, this means that any “messianic” interpretations of the psalm 132 (131) should take into account the high role of the temple, which in the post-exilic period was no less important than the expected Messiah.

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Holt, Else Kragelund. "Stat op i Gry, min Gud! Tre gammeltestamentlige salmer, gendigtet af Grundtvig." Grundtvig-Studier 47, no. 1 (January 1, 1996): 77–96. http://dx.doi.org/10.7146/grs.v47i1.16226.

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Grundtvig 's version of Three Old Testament HymnsBy Else Kragelund HoltThe article seeks to demonstrate the significance of Grundtvig’s interpretative use of the old Testament in Sangværk /. The methodological inspiration for the study is not to be found in the ongoing Grundtvig research, but in Old Testament exegesis, especially in the shape of Tradition History and Wirkungsgeschickte.The questions raised are not primarily why Grundtvig did so and so with his Old Testament Vorlage, but rather what he did with it. The material of the investigation is three hymns from the Easter part of the Sangværk. According to Grundtvig, SV #206, / de gyldne Himmel-Sale (»In the Golden Halls of Heaven«), was written »after the 16th Psalm of David«. On the basis of its form, this psalm should be designated as a psalm of confidence, i.e. a psalm expressing trust in the Lord’s will to take care of those faithful to him, while life will be burdensome to the godless. The Psalmist presents himself as a man obedient to God (v.2), a man who knows that the Lord has given him counsel (v.7), and that He will not let him meet an untimely death (v. 10). One might expect Grundtvig to use Ps 16 as an expression of the Christian’s joy of life, but this is not what he does. Presumably inspired by Christian Vi’s Danish Bible, he reproduces Ps 16 as a heavenly dialogue between the Father and the Son. The Father consults the Son about how mankind can be delivered. Whereas Ps 16 depicts God as the support of man, Grundtvig uses the words of the psalm as a prediction of Christ supporting the Father’s plan of deliverance. In stanza six the speaker changes: Jesus praises the Father for the help that He will show him, when He is to fight Death. Ps 16, 9-10 becomes a prediction of Jesus’ victory over Death, and Ps 16, 11, correspondingly, a prediction of the Ascension. Grundtvig uses Ps 16 »prophetically«, reinterpreting the Old Testament motif of the guidance of the Lord in a different context. Where Ps 16 has an earthly orientation, the perspective of the reproduction becomes cosmic - and, one might add, part of the Easter service in church.SV #207 - O min Gud, min Gud og Fader! (»Oh, My God, My God and Father!«) is said to be »the 22nd Psalm of David, freely translated«. This is the psalm which opens with Jesus’ last words from the Cross: My God, my God, why hast thou forsaken me? The Old Testament psalm is a personal lament. Vv. 2-22a describe the despair of one, abandoned by God and community, vv. 22b-31 are the praise of a man whose cries have been heard.Grundtvig does not overtly take up the theme of the Passion. Rather he reproduces the psalm very closely, as if to make it usable as a hymn for the Danish church. Nevertheless, a personal adaptation is detectable. First, the hymn talks to God as a father - a divine metaphor, which is not used in the Book of Psalms at all. Here the words from the Cross are traceable. Another vestige of the Passion can be found in the beginning of the hymn, where the poet asks »my God and Father« to »stay with me now«. It seems as if the worshipper has not yet been abandoned, but that he knows that he will be, like Jesus in Gethsemane. Finally, Grundtvig identifies the enemy from whom the worshipper asks to be saved, as Death.In SV #209 - Stat op i Gry, min Gud! stat op! (.Arise at Dawn! My God, Arise.) Grundtvig again translates the Old Testament psalm very closely. PS 68 is a rather martial psalm of thanksgiving for a royal victory, and Grundtvig uses it to portray the victorious resurrection of Christ. Literally between the lines, Grundtvig puts christological interpretations, using allusions to Christmas for instance, and to the Word that bears a giant’s strength. In stanza four Grundtvig changes the reference of the Old Testament psalm to the Wanderings in the Wilderness as a metaphor of fertility and creation (vv. 8-9), using, instead, the stream rising in Eden (Gen 2,4) which he interprets as baptism.What can be concluded is that Grundtvig at the same time re-writes and reinterprets the Old Testament poetry more or less in the tradition of how the Old Testament was re-interpreted in the New.

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Scardia, Daniela. "Tractatus in psalmum 15, 8 (Series altera)." Augustinianum 60, no. 2 (2020): 427–52. http://dx.doi.org/10.5840/agstm202060223.

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The paper focuses attention on Jerome’s interpretation of Ps. 15,8 in Tractatus in psalmum 15. After an introduction dealing with the right way to translate the verse according to Hebraica veritas, which shows his philological skills, he reveals his exegesis. The opening and concluding parts of this exegesis follow closely the Origen’s Homily on Psalm 15, but the long central section about the righteous highlights the particularity of Jerome’s exegesis; he uses other interpretations of Origen’s, but subordinates them to his own concerns to achieve original results. The study offers further proofs in favour of a proposal for dating this text.

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Shnider, Steven. "Psalm xviii: theophany, epiphany empowerment." Vetus Testamentum 56, no. 3 (2006): 386–98. http://dx.doi.org/10.1163/156853306778149593.

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AbstractThe theophany in Psalm xviii includes, together with the storm imagery, images of wings/flight and bows/arrows in a combination appearing nowhere else in the Hebrew Bible Hebrew (HB). On the other hand, in the iconography of the ancient Near East, these motifs are often part of a divine apparition, especially to a king in battle. One of the major examples is the winged disc, which in many cases contains the image of a god armed with a bow. We present a number of examples of the motifs of winged gods and bows from Egyptian and Neo-Assyrian sources, both iconographic and textual. In particular, the Neo-Assyrian parallels relate to the theme of the divine glory, kbd, Akk. melammu, and the divine empowerment of the king which assures his victory in battle. In the context of these examples, the theophany (vss. 8-18) and the battle scene (vss. 30, 33-43) can be understood as two perspectives on a single event involving God and the king. This approach leads us to suggest an emendation in the difficult verses, 35-36.

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Gombis, Timothy. "Cosmic Lordship and Divine Gift-Giving: Psalm 68 in Ephesians 4:8." Novum Testamentum 47, no. 4 (2005): 367–80. http://dx.doi.org/10.1163/156853605774482081.

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AbstractThe use of Psalm 68 in Eph. 4:8 has proved to be one of the most difficult interpretive problems in this enigmatic letter. In this article I will engage and critique a leading interpretive proposal and then offer an alternative reading that exploits the elements of divine triumph and divine warfare in Ephesians, and that satisfactorily accounts for the quotation and elaboration by the writer in vv. 9-10.

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Human, D. J. "Enkele tradisie-historiese perspektiewe op Psalm 83." HTS Teologiese Studies / Theological Studies 51, no. 1 (March 31, 1995): 175–88. http://dx.doi.org/10.4102/hts.v51i1.5772.

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Some tradition historical perspectives on Psalm 83 Psalm 83 forms a poetical unit and is the well constructed poem of an artist. It could be divided into two stanzas which contains a cry for help (2), lament (3-9) and several petitions (10-19). This work reflects different tradition historical allusions. The use of prophetic language is immanent, while the faces of the prophets Isaiah, Jeremiah and Ezekiel are elusively present. Two episodes from the history of the Judges (Judges 4-5; 7-8) are utilised to expose its independent function in this psalm. The occurence of a well known Canaanite tradition is further obvious, while the question into the psalm's apocalyptic relationships is negatively assessed. Single motives like the upliftment of the head (3) and the shepherd/flock image (13) fulfil a definite Junction within the psalm’s context. The poet clearly applied historical traditions, motives and images to express an independent function within its context.

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Kilgallen, J. J. "The Use of Psalm 16:8-11 in Peter's Pentecost Speech." Expository Times 113, no. 2 (November 2001): 47–50. http://dx.doi.org/10.1177/001452460111300204.

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35

Keller, Manfred. "Predigt mit Calvin zu Psalm 8 und Hebräer 2, 5-10." Homiletische Monatshefte 85, no. 3 (December 2009): 150–53. http://dx.doi.org/10.13109/homh.2009.85.3.150.

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36

Judah Kraut. "The Birds and the Babes: The Structure and Meaning of Psalm 8." Jewish Quarterly Review 100, no. 1 (2009): 10–24. http://dx.doi.org/10.1353/jqr.0.0077.

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Corley, Jeremy. "Psalm 110 (109) and Israelite Royal Ritual." Salmanticensis 64, no. 1 (January 1, 2017): 41–71. http://dx.doi.org/10.36576/summa.45851.

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Entre las composi- ciones más oscuras de la Biblia, el Salmo 110 (109) revela el patrón de un ritual de entronización real, comparable, en parte a las cere- monias narradas en el Libro de los Reyes (1 Re 1: 32-53; 2 Reyes 11: 4-20). Este artículo proporciona una exégesis del difícil poema hebreo, observando paralelos con textos reales de Egipto y Mesopotamia. El presente trabajo considera las diferencias en la versión griega del texto. Aunque algunos ecos del Salmo 110 aparecen dentro de la descripción de la investidura de Simón Macabeo como líder cívico y sumo sacerdote (1 Macabeos 14), los macabeos eran sacerdotes que tomaban el poder civil en lugar de reyes que eran nombrados sacer - dotes (Sal 110,4). Por lo tanto, el salmo parece provenir de la pri- mera monarquía, alrededor del tiempo en que todavía era posible decir que “los hijos de David eran sacerdotes” (2 Sam 8:18)

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Cho, Hwi. "An Unsettled Psalm, Yet Its Meaning and Function Recognizable: Nahum 1:2-8." ACTS Theological Journal 29 (October 31, 2016): 11–50. http://dx.doi.org/10.19114/atj.29.1.

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Brown, William P. "Thirsting for God in the Classroom: A Meditation on Psalm 42:1-8." Teaching Theology and Religion 6, no. 4 (October 2003): 187–89. http://dx.doi.org/10.1111/1467-9647.00173.

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Thompson, Thomas L. "From the mouth of babes, strength: Psalm 8 and the book of Isaiah." Scandinavian Journal of the Old Testament 16, no. 2 (January 2002): 226–45. http://dx.doi.org/10.1080/09018320210000405.

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McClelland, Maria G. "The First Hull Mercy Nuns: A Nineteenth Century Case Study." Recusant History 22, no. 2 (October 1994): 199–221. http://dx.doi.org/10.1017/s0034193200001874.

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Preaching in Edinburgh on 8 October 1885 at the clothing ceremony of two Mercy nuns, Fr. William Humphrey SJ, the convert-chaplain of the episcopalian bishop of Brechin, used the following extract from Psalm XLIV as his theme:Hearken, O daughter and seeAnd incline thine ear,And forget thy people and thy father’s houseAnd the King shall desire thy beauty.(v. 11–12)

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Bigalke, Ron J. "12th August: 12th Sunday after Pentecost: 2 Samuel 18.5–9, 15, 31–33 and Psalm 130; 1 Kings 19.4–8 and Psalm 34.1–8; Ephesians 4.25–5.2; John 6.35, 41–51." Expository Times 129, no. 10 (June 11, 2018): 473–75. http://dx.doi.org/10.1177/0014524618775230a.

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Bird, Phyllis A. "“Bone of My Bone and Flesh of My Flesh”." Theology Today 50, no. 4 (January 1994): 521–34. http://dx.doi.org/10.1177/004057369405000403.

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“The examples of Genesis 1 and Psalm 8 alert us to two dangers in appeal to biblical statements as authority for contemporary faith. Both appear to offer general pronouncements about the nature of humankind with universal applicability. In fact, both are concerned with a very limited question—the place of humans within the created order. Both also assume male models as representative of the species.”

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Lee, Anthony W. "“I Am Become a Name”: An Allusion to Psalm 69:8 in Tennyson's ULYSSES." Explicator 76, no. 1 (January 2, 2018): 52–54. http://dx.doi.org/10.1080/00144940.2018.1434473.

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STEWART, TYLER A. "The Cry of Victory: A Cruciform Reading of Psalm 44:22 in Romans 8:36." Journal for the Study of Paul and His Letters 3, no. 1 (2013): 25–45. http://dx.doi.org/10.2307/26426476.

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While Rom 8 has attracted an enormous amount of scholarly attention, Paul's citation of Ps 44:22 in Rom 8:36 has all but escaped the gaze of New Testament scholars. In this essay, a critical survey of prevailing interpretations of Rom 8:36 will suggest that Ps 44:22 must be placed in the context of Paul's argument about participation in Christ in Rom 5–8. Because Rom 8:31–39 displays the features of a peroratio, the passage is explored as such. One of the primary functions of a peroratio was to recapitulate the previous argument. Tracing the argument of Rom 5–8 it is argued here that Paul employs a “logic of participation” that is fundamentally cruciform. Additionally, it is this participation logic that shapes Rom 8:31–39 and the jarring psalm citation. Contrary to previous interpretations, then, this essay argues that Paul's citation of Ps 44 serves a crucial role in recapitulating the logic of participation that pervades Rom 5–8.

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STEWART, TYLER A. "The Cry of Victory: A Cruciform Reading of Psalm 44:22 in Romans 8:36." Journal for the Study of Paul and His Letters 3, no. 1 (2013): 25–45. http://dx.doi.org/10.2307/jstudpaullett.3.1.0025.

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While Rom 8 has attracted an enormous amount of scholarly attention, Paul's citation of Ps 44:22 in Rom 8:36 has all but escaped the gaze of New Testament scholars. In this essay, a critical survey of prevailing interpretations of Rom 8:36 will suggest that Ps 44:22 must be placed in the context of Paul's argument about participation in Christ in Rom 5–8. Because Rom 8:31–39 displays the features of a peroratio, the passage is explored as such. One of the primary functions of a peroratio was to recapitulate the previous argument. Tracing the argument of Rom 5–8 it is argued here that Paul employs a “logic of participation” that is fundamentally cruciform. Additionally, it is this participation logic that shapes Rom 8:31–39 and the jarring psalm citation. Contrary to previous interpretations, then, this essay argues that Paul's citation of Ps 44 serves a crucial role in recapitulating the logic of participation that pervades Rom 5–8.

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Shnider, Steven. "Confronting Job’s Demons." Zeitschrift für die alttestamentliche Wissenschaft 133, no. 4 (November 23, 2021): 529–35. http://dx.doi.org/10.1515/zaw-2021-4007.

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Abstract The theme of demons connects three difficult passages in the Book of Job: Job’s curse on the day of his birth in 3:3–10, Eliphaz’s mocking censure of Job for that curse in 5:6–7, and 38:12–21, God’s challenge to Job for his appeal to demons. A crucial insight is provided by a Talmudic discussion of demons and human suffering, which connects Job 5:6–7 to Psalm 91:5–8.

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Barrick, William. "Exegetical analysis of Psalm 104:8 and its possible implications for interpreting the geological record." Proceedings of the International Conference on Creationism 8, no. 1 (2018): 95–102. http://dx.doi.org/10.15385/jpicc.2018.8.1.12.

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Wójcik, Jerzy. "The First English Printed Psalters — George Joye’s Translations and Their Editions." Roczniki Humanistyczne 67, no. 5 (July 24, 2019): 143. http://dx.doi.org/10.18290/rh.2019.67.5-8.

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The paper discusses four English Psalters which are the work of a prominent, although largely forgotten, English protestant George Joye, whose first English translation of the whole Psalter appeared in Antwerp in 1530. The original publication was followed by two reprints, both of which appeared in London in 1534 and 1544. The fourth publication, which appeared in Antwerp in 1534, was a new translation prepared by Joye on the basis of a different Latin text. The text of Psalm 1 from each of these publications is provided, enabling the comparison of the differences displayed by the texts in question so characteristic of early print.

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Coniglio, Alessandro. "«Gracious and Merciful is Yhwh…» (Psalm 145:8): The Quotation of Exodus 34:6 in Psalm 145 and Its Role in the Holistic Design of the Psalter." Liber Annuus 67 (January 2017): 29–50. http://dx.doi.org/10.1484/j.la.4.2019003.

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Journal articles on the topic 'Psalm 8'

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