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Journal articles on the topic 'The Songs of the Suffering Servant'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Rugwiji, Temba. "THE SALVIFIC TASK OF THE SUFFERING SERVANT IN ISAIAH 42:1-7:." Journal for Semitics 23, no. 2 (November 21, 2017): 289–314. http://dx.doi.org/10.25159/1013-8471/3492.

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The theme of salvation is central in the servant songs. In Isaiah 42:1-7, the theme of salvationprefigures the significant task of the suffering servant. First, this essay commences with a critical analysis of Isaiah 42:1-7. This analysis will shed light on the context from which the text emerged in an effort to decipher salvific themes in the text. Second, the study maintains that Yahwehâ€™s exclusivist proclamation in the Old Testament (hereafter OT)is revised in order to also include non-Jews in his salvific programme of the universe. Third, the term salvation is defined as depicting liberation in the OT. Liberation comprises various facets, including but not limited to political freedom, economic emancipation, democracy, justice, poverty eradication, and equal rights, amongst others. Fourth, this essay will explore divergent views on the identity of the suffering servant in the servant songs, such as Jeremiah, Cyrus, Jacob/Israel, and Jesus. The Christian view of the suffering servant will also be considered.Fifth, this article will discuss servant leadership in our contemporary context, in which Nelson Mandela as a representative example of a servant leader is explored. The overall objective of this research is to identify some salvific tasks of the suffering servant in the first servant song in order to inspire, inform and legitimise socio-political transformation1 in our contemporary society.

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2

Page, Sydney H. T. "The Suffering Servant between the Testaments." New Testament Studies 31, no. 4 (October 1985): 481–97. http://dx.doi.org/10.1017/s0028688500012042.

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Traditionally Christians have interpreted Isaiah 52. 13–53. 12 as a prophecy of the passion of Christ,1but modern biblical scholars have disagreed about how this identification of the suffering servant with Jesus arose. In particular, those who have investigated the question of whether Jesus saw himself as occupying the role of the servant have reached conflicting conclusions.2In the background of this discussion is another contentious issue, namely, whether a messianic interpretation of the suffering servant had already been adopted in pre-Christian Judaism. Representative of a negative response to this question is H. H. Rowley, who writes: ‘There is no serious evidence … of the bringing together of the concepts of the suffering servant and the Davidic Messiah before the Christian era.’3A much more positive assessment is given by Jeremias, who has championed the view that the first and fourth servant songs were consistently interpreted messianically in Palestinian Judaism, and that it is highly probable that a messianic interpretation of the sufferings of the servant was associated with this.4

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3

Jóźwiak, Magdalena. "Sługa Jahwe w interpretacji św. Hieronima." Vox Patrum 67 (December 16, 2018): 167–76. http://dx.doi.org/10.31743/vp.3395.

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In the history of exegesis three general models of the interpretation of the Servant of Yahweh Song can be outlined. The first one is a collective interpretation that considers the Servant to be Israel – the People of God – or its faithful part. The second interpretation was called by the scholars an individual interpretation according to which the Servant is an individual. The third one is a mixed interpretation. The Servant of Yahweh is a king who represents the nation. In this article we searched for an answer to the question who is the said Servant of Yahweh according to St. Jerome. Having analysed selected passages of St. Jerome’s commentary on the Servant Song it is not difficult to notice that the author of the Vulgate prefers the model of individual interpretation. More precisely, in his opinion the Servant of Yahweh is Jesus Christ whose suffering has a redeeming virtue.

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4

Middlemas, Jill. "Did Second Isaiah write Lamentations iii?" Vetus Testamentum 56, no. 4 (2006): 505–25. http://dx.doi.org/10.1163/156853306778941700.

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AbstractIn recent years, textual analyses of Lamentations have increasingly noted correspondences with Isaiah xl-lv. The alignment of the two has resulted in various proposals about influence with the recent work of Patricia Willey noticeable in its claim that the Lamentations iii geber provided the paradigm for the Suffering Servant figure of the third and fourth songs (Isa. lii, liii-liv). This article considers this discussion anew with the intent to ascertain the provenance of the Lamentations geber and his relationship to Second Isaiah. After a close analysis of some of the more persuasive correspondences between the two figures, it becomes clear that the geber fits uncomfortably in the book of Lamentations. Furthermore, his persona functions as a corrective to the responses to disaster found so prominently outside of chapter iii. The parenetic section which follows the geber's lament in vv. 22-39 defines the sufferer and uses his experience to teach sanctioned views of the deity and the human person. Bearing in mind the way the geber acts to admonish and teach in Lamentations leads to the view that the suffering figure has more commonality with images and thought stemming from the Golah community. The paper explores the implications for understanding a Golah view placed at the heart of Lamentations for interpreting the material.

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5

Park, Sung-Ho. "The Suffering Servant Jesus : Christian Interpretation (Interpretatio Christiana) of the Early Church on the Fourth Servant Song (Isa 52:13-53:12)." Canon&Culture 11, no. 1 (April 30, 2017): 169–211. http://dx.doi.org/10.31280/cc.2017.04.11.1.169.

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6

Story, Cullen. ""Another Look at the Fourth Servant Song of Second Isaiah"." Horizons in Biblical Theology 31, no. 2 (2009): 100–110. http://dx.doi.org/10.1163/019590809x12553238842989.

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AbstractThis essay argues for a contextual exegetical reading of the servant songs in Second Isaiah. By reading the songs in the literary context of references to the "second exodus" and hymns of celebration, several conclusions can be drawn. There are three servant figures in the four servant songs: one servant (Israel) in need of redemption, one servant (Second Isaiah) who proclaims redemption, and one servant (the Messiah) who procures redemption. This servant of the fourth song is not the prophet himself or Israel but a servant figure whose sacrifice will break the yoke of Babylon.

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7

Wilcox, Peter, and David Paton-Williams. "The Servant Songs in Deutero-Isaiah." Journal for the Study of the Old Testament 13, no. 42 (October 1988): 79–102. http://dx.doi.org/10.1177/030908928801304205.

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8

Wilks, John G. F. "The Suffering Servant and personhood." Evangelical Quarterly 77, no. 3 (April 21, 2005): 195–210. http://dx.doi.org/10.1163/27725472-07703001.

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This article evaluates the proposal that personhood in the Old Testament is understood corporately. Finding no basis for a blurring of identity that loses a sense of individuality, it does identify a strong sense of corporate responsibility for the actions of any one member of the group. While investigation of the identity of the servant in Is. 40–55 also finds difficulty in resolving the individualised and corporate aspects, the challenge to both individuals and communities is to shoulder the responsibilities of the servant, and so experience a fuller personhood.

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9

Davenport, Brian. "Compassion, suffering and servant-leadership: Combining compassion and servant-leadership to respond to suffering." Leadership 11, no. 3 (May 2014): 300–315. http://dx.doi.org/10.1177/1742715014532481.

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10

Cooper, Rabbi Howard. "The Therapist and the Suffering Servant." New Blackfriars 71, no. 842 (October 1990): 456–61. http://dx.doi.org/10.1111/j.1741-2005.1990.tb01440.x.

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11

Huizenga, Leroy Andrew. "The Incarnation of the Servant: The "Suffering Servant" and Matthean Christology." Horizons in Biblical Theology 27, no. 1 (2005): 25–58. http://dx.doi.org/10.1163/187122005x00031.

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12

Brettler, Marc, and Amy-Jill Levine. "Isaiah’s Suffering Servant: Before and After Christianity." Interpretation: A Journal of Bible and Theology 73, no. 2 (March 10, 2019): 158–73. http://dx.doi.org/10.1177/0020964318820594.

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The so-called “Suffering Servant” of Isaiah 52:15–53:12 takes on new meaning in each of his settings, from the exilic or early post-exilic community of Deutero-Isaiah, to the repurposing of this figure by the author of Daniel, mid-second century BCE during the persecutions of Jews by Antiochus IV Epiphanes, through the numerous New Testament citations of and allusions to Jesus as fulfilling Isaiah’s predictions concerning this servant, and on to several post-biblical Jewish understandings of this enigmatic figure. In showing how and why the servant receives such numerous readings, we demonstrate both how readers across the centuries and within different traditions understand Isaiah through their own circumstances, and why Jews and Christians should respect each other’s readings rather than attempt to “prove” the truth of one tradition on the basis of a specific understanding of prophecy.

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13

Heskett, Randall. "Jeremy Schipper, Disability and Isaiah’s Suffering Servant." Theology 116, no. 3 (March 26, 2013): 209–10. http://dx.doi.org/10.1177/0040571x13475404d.

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14

Ginsberg, H. L. "The Oldest Interpretation of the Suffering Servant." Vetus Testamentum 63, no. 10 (2013): 25–28. http://dx.doi.org/10.1163/15685330-99000005.

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15

Siregar, Benget Parningotan. "KAJIAN BIBLIKA 2 KORINTUS 6:4-10: MAKNA PENDERITAAN BAGI HAMBA TUHAN DALAM PELAYANAN." Phronesis: Jurnal Teologi dan Misi 4, no. 1 (June 24, 2021): 100–113. http://dx.doi.org/10.47457/phr.v4i1.131.

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An ideal minister of God should be prepared to take up the cross and deny everything, just as Paul suffered so much in his ministry. However, nowadays many servants are afraid to experience suffering, the problem is they do not want to suffer, are afraid, worry, that is what causes Christ's servants or God's servants not to preach the gospel. So with that, the author is motivated to examine 2 Corinthians 6: 4-10, which describes Paul's suffering to answer the problem of God's servant that is happening in the field. In this study, the authors used a qualitative and descriptive-Bibliological approach. To get data related to the problem of servants of God who are afraid to experience suffering in their ministry. The author also uses literature study to obtain information about the evangelism carried out by the apostle Paul, but the researcher first examines 2 Corinthians 6: 4-10. The results of the interpretation of 2 Corinthians 6: 4-10 are: a servant who is able to show himself as a servant who is ready to suffer, as a good servant must have perseverance in facing suffering, as a servant who is able to endure and continue to serve in the midst of the suffering that occurs in his life.

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Gaventa, Bill. "A Review of “Disability and Isaiah's Suffering Servant”." Journal of Religion, Disability & Health 17, no. 2 (April 2013): 229–31. http://dx.doi.org/10.1080/15228967.2013.782785.

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17

Joachimsen, Kristin. "Steck's Five Stories of the Servant in Isaiah lii 13-liii 12, and Beyond." Vetus Testamentum 57, no. 2 (2007): 208–28. http://dx.doi.org/10.1163/156853307x183712.

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AbstractBernhard Duhm's Servant Song thesis from 1892 has had a paradigmatic status for more than a century. Gottesknecht has become a technical term, Ebed-Jahwe-Lied a genre, Stellvertretung an established theological concept, and "Servant Song Research" a particular discipline within Old Testament scholarship. is article investigates of Odil Hannes Steck's reading. Steck outlines an intra-Isaianic reception of the songs on five levels dating from 539 to 270 BCE. In the original version, the servant of Isa. liii is identified individually as the prophet. On the remaining four redactional levels, the servant is identified collectively as Zion, as those who have returned from exile, as those who remained at home in Judah, and as the true Israel (which includes other peoples). After a presentation of Steck's reading, features of reading related to historicising, theologising, and textualising are discussed. Finally, a narrative reading of Isa. liii is offered, with a focus on the literary trope of personification.

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18

Kim, H. C. Paul, William H. Bellinger, and William R. Farmer. "Jesus and the Suffering Servant: Isaiah 53 and Christian Origins." Journal of Biblical Literature 119, no. 3 (2000): 564. http://dx.doi.org/10.2307/3268427.

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19

Jit, Ravinder, C. S. Sharma, and Mona Kawatra. "Healing a Broken Spirit: Role of Servant Leadership." Vikalpa: The Journal for Decision Makers 42, no. 2 (June 2017): 80–94. http://dx.doi.org/10.1177/0256090917703754.

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Executive Summary A number of empirical studies have suggested that servant leadership can enhance the well-being/emotional health of its followers by creating a positive work climate ( Black, 2010 ; Jaramillo et al., 2009 a; Neubert et al., 2008 ). The followers’ sense of well-being, in turn, has been found to be related to greater organizational commitment ( Cerit, 2010 ; Hale & Fields, 2007 ; Hamilton & Bean, 2005 ; Han, Kakabadse, & Kakabadse, 2010; Pekerti & Sendjaya, 2010 ). Greater the organizational commitment, higher is the employee job satisfaction ( Cerit, 2009 ; Chung, Jung, Kyle, & Petrick, 2010 ; Jenkins & Stewart, 2010 ; Mayer, Bardes, & Piccolo, 2008 ) and lower is the employee turnover ( Babakus, Yavas, & Ashill, 2011 ; Jaramillo, Grisaffe, Chonko, & Roberts, 2009 b). A servant leader—with reported behaviour characteristics such as empathy, compassion, and altruistic calling and healing—builds not only a mentally and emotionally healthy workforce but also inculcates a sense of cohesiveness, collaboration, and sustainable relationships among the followers by understanding and addressing their feelings and emotions. It has been reported that cohesiveness and collaboration in a servant-led organization increases pro-social and altruistic behaviour among followers that improves organizational performance ( Ebener & O’Connell, 2010 ; Ehrhart, 2004 ; Hu & Liden, 2011 ; Walumbwa, Hartnell, & Oke, 2010 ) and overall team effectiveness ( Mayer et al., 2008 ; McCuddy & Cavin, 2008 ; Taylor et al., 2007 ). The significance of understanding and addressing the feelings and emotions of followers and ensuring their well-being becomes evident from the above findings. The aim of this qualitative study is to comprehend how servant leaders understand, empathize with, and address the emotional turmoil of their employees. Orientation for emotional healing is reported to be a unique characteristic of servant leaders. But there is negligible empirical research to understand the way servant leaders alleviate the suffering of their employees. The present study fills this gap. Qualitative methods and techniques from different qualitative methodologies were used for data collection and analysis. We conducted 15 semi-structured interviews with leaders in corporate, education, and government sectors to capture personal accounts about their experiences, reflections, and analysis of their approach to emotional healing. Our results suggest that servant leaders—with their orientation for empathy, compassion, healing, altruistic calling, and listening—adopt a compassionate approach to manage employees’ emotional turmoil. All three parts of the process of compassion, described by Clark (1997) and Kanov et al. (2004) are clearly visible in the narratives of our respondents. The servant leaders, with characteristics of empathy and compassion, are oriented towards the followers’ suffering. This leads to empathic concern and compassion that trigger in them an urge to take action to relieve the followers’ suffering. This action, also termed as compassionate responding, manifests itself in a three-step behaviour: (1) patient listening and discussion; (2) empathetic handling that includes comforting and calming as well as guiding and counselling the suffering employee; and (3) taking personal responsibility and providing support (emotional, social, financial, and administrative). Insight from this study will guide the working managers to understand and practice the process of alleviating the emotional turmoil of employees such that a culture of compassion and benevolence will emerge and sustain for the long-term health and growth of the organization.

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20

Whybray, R. N., and Tryggve N. D. Mettinger. "A Farewell to the Servant Songs: A Critical Examination of an Exegetical Axiom." Journal of Biblical Literature 104, no. 4 (December 1985): 706. http://dx.doi.org/10.2307/3260695.

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21

Brisman, Leslie. "From Metaphor to Theology." Religion and the Arts 19, no. 4 (2015): 295–319. http://dx.doi.org/10.1163/15685292-01904001.

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Theological change suffers under the obligation to seem—and the danger of seeming—both consistent with what has come before and genuinely new. Where does the idea of the suffering servant in Isaiah 53 come from? Leaving aside those acts of warfare and violence against the innocent, which seem more matters of brute aggression than symbolic atonement, we can find well-acknowledged roots for the doctrine of a suffering servant in the practice of symbolic animal sacrifice and in the figure of the prophet who suffers with, and perhaps for, the people. But there is a third root as well that goes back to the language of the divine attributes and to the ambiguous Hebrew idiom of noseh avon, bearing sin or forgiving sin. If the servant of God bears iniquity, he can be imagined not just to remove sin from the head or shoulders of many but also to carry what he removes; he himself can “bear” it. And when all the people in the Gospel of Matthew call down the blood of Jesus on their heads, they “own” (own up to, but also claim for their own) the rich history of ambiguous responsibility and atonement.

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22

Kim, JinHyok. "The Journey of the Suffering Servant: The Vulnerable Hero, the Feminine Godhead and Spiritual Transformation in Endō Shūsaku’s Deep River." Exchange 41, no. 4 (2012): 320–34. http://dx.doi.org/10.1163/1572543x-12341236.

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Abstract This study aims to investigate how the Biblical view of the Suffering Servant transforms a basic pattern of the hero’s journey into a narrative of spiritual growth in modern literature. In this article, especially, I will examine the novel Deep River by the 20th-century Japanese Catholic novelist, Endō Shūsaku, paying special attention to his use of Jungian archetypes. Unlike the beautiful and gracious Holy Mother of Christian belief, the image of Endō’s feminine divinity is what we think as ordinary, depressing, shameful, and even ugly. As the very embodiment of this motherly divine Love, the hero of the novel eventually figures out that his journey should be structured analogously to the narrative of the Suffering Servant. This hero helps people discover the mother-like God and invites them into their own spiritual journey in which they accept the vulnerability, ineffectiveness and helplessness of human existence.

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23

Kankkunen, Päivi, and Anne Vaajoki. "Songs for silent suffering: could music help with postsurgical pain?" Pain Management 4, no. 1 (January 2014): 1–3. http://dx.doi.org/10.2217/pmt.13.65.

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24

Slawik, Jakub. "Exegesis of the Book of Isaiah 61:1–11: Redaction Criticism and Inquiry into the Identity of the Prophet Known as Trito-Isaiah." Collectanea Theologica 90, no. 5 (March 29, 2021): 241–93. http://dx.doi.org/10.21697/ct.2020.90.5.11.

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The exegesis of Isa 61 demonstrated that the chapter is a separate composition, which comprises a framing device in vv. 1–3.10.11, and a middle section in vv. 4–9. This section did not have to originate as a single fragment. From the literary-critical standpoint, the suspect element is v. 3aa, which currently serves to connect Isa 61 with the adjacent chapters 60, and 62. However, it is best to interpret the pericope as a single whole, with the speaker being the prophetic “I,” stylised after the servant-prophet from the Deutero-Isaiah’s Songs of the Servant of the Lord. Behind this “I,” there are probably the tradents of Deutero-Isaiah’s traditions, updating his promises and adding new ones. In that case, the prophet Trito-Isaiah, who was to be reminiscent of the earlier prophets, speaking before the people, never existed. That, however, does not alter the fact that the tradents did consider themselves to be the servant of the Lord, and regarded their mission to be a prophetic one.

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25

Laam, Kevin. "Marvell’s Marriage Songs and Poetic Patronage in the Court of Cromwell." Explorations in Renaissance Culture 42, no. 1 (March 15, 2016): 59–86. http://dx.doi.org/10.1163/23526963-04201003.

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This paper examines the marriage songs that Andrew Marvell produced in 1657 for the wedding masque of Mary Cromwell, specifically, how they express Marvell’s long-time pursuit of patronage, and more broadly, how they showcase the increasingly courtly predilections of the Protectoral household and government. Marvell represents the politics and personalities behind the marriage in ways that suggest an acute awareness of Cromwell’s growing aristocratic and dynastic ambitions. As a newly appointed civil servant, Marvell also uses the occasion to reflect upon his experience as the beneficiary of the Protector’s largesse. Marvell is a silent but active player in the masque, using it to negotiate his position as a poet in the Cromwellian court.

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26

Dick, France. "Book Review: The Suffering Servant: Isaiah 53 in Jewish and Christian Sources." Theology 109, no. 848 (March 2006): 126–27. http://dx.doi.org/10.1177/0040571x0610900210.

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27

Collins, John J., Israel Knohl, and David Maisel. "The Messiah before Jesus: The Suffering Servant of the Dead Sea Scrolls." Jewish Quarterly Review 91, no. 1/2 (July 2000): 185. http://dx.doi.org/10.2307/1454790.

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Doble, Peter. "Luke 24.26, 44—Songs of God’s Servant: David and his Psalms in Luke-Acts." Journal for the Study of the New Testament 28, no. 3 (March 2006): 267–83. http://dx.doi.org/10.1177/0142064x06063238.

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Schuller, Eileen M. "The Messiah Before Jesus: The Suffering Servant of the Dead Sea Scrolls (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 21, no. 1 (2002): 153–56. http://dx.doi.org/10.1353/sho.2002.0121.

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Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (July 31, 2005): 121–36. http://dx.doi.org/10.4102/lit.v26i2.231.

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The issue this article attempts to explore is whether a form of oral art – political songs – played a part in achieving democracy in South Africa, and, if so, how this aim was achieved. In this regard it should be kept in mind that political songs form part of the large, vibrant body of oral art in South Africa. An aspect of oral art that is particularly relevant to political songs is that it is often performed to be efficacious, that is, it is performed to achieve a desired result. Equally important is the attribute of performance. It is obvious that the political song derived much of its power from the dynamics of performance. Political songs evolved from church hymns with obscure references of suffering to power singing with an overt and belligerent political message. The conclusion arrived at is that political songs played a vital role in forging democracy from below.

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Butting, Klara. "A Transforming Path – The Pilgrims’ Songs." European Judaism 54, no. 2 (September 1, 2021): 104–12. http://dx.doi.org/10.3167/ej.2021.540212.

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This article introduces the composition of the Pilgrim Psalms (120–134). Psalm 122 plays a key role in this. Jerusalem, the destination of the trip, will be a stop on the way. The pilgrimage to the place of faith becomes a path to the points of suffering in society. The background comes into view with Psalm 123, a psalm lacking an expression of trust, the low point of the entire trip. It begins the spiritual work that always occurs in places of faith: The language of power and the language of religion have become intermingled and perverted perceptions of God. Psalm 123 counteracts this misunderstanding of God by addressing God. In Psalm 123 the power and nature of prayer can be experienced intensely. Prayer is the discovery of God’s surrender to us humans and an act of freedom in relation to the existing balance of power.

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Obielosi, Dominic C. "The Concept of the Servant of God and Isaiah’s Connection: A Politico-Theological Response to Recession." Academic Journal of Interdisciplinary Studies 6, no. 2 (July 26, 2017): 93–102. http://dx.doi.org/10.1515/ajis-2017-0011.

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Abstract To say that Nigeria is yet to be met with great and good news of feats and development since after independence is not an exaggeration. The true face is that the little the colonial masters did before they handed over is what we have enjoyed. Now most of them have dilapidated. There is no sign of a better future. One wonders what happened to Nigerian Telecommunications. There was a time we have phone boots on the streets. With a coin one can conveniently make calls. Fax machines were available in offices for private and public use. One can even send a telegram. To say that GSM and internet replaced them is an escapist manoeuvre. Think of Lagos Main Land Bridges, Niger Bridge, trains etc. People attribute the cause to corruption. The leaders are singled out as corrupt. But who are the leaders? People tend to limit their searchlight to the president, Senators and governors. Evidently, they are not the managers of parastatals. They are not the law enforcement agencies etc. Yet, the truth is still obvious that a good leader can always push his subjects to a set vision and mission. What Nigeria needs is a servant leader. This paper is structured to examine in the main, the concept of the Servant of God, a servant leader as envisioned by Prophet Isaiah in what is popularly known as the Servant Songs. It is the belief of the researcher that a leader of such calibre is what Nigeria needs even in her recession to move forward.

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Judd, Mary. "There’s Something Happening Here: The Positive Impact of Collaborative Songwriting on Veterans Suffering from PTSD." Music and Medicine 12, no. 1 (January 29, 2020): 49. http://dx.doi.org/10.47513/mmd.v12i1.695.

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SongwritingWith:Soldiers (SW:S) is a non profit, coaching-based program that uses collaborative songwriting to build creativity, connections and strengths in order to help improve people’s lives. The results have been positively life changing, even lifesaving, for many. The focus of a recent small pilot study by Harvard Mass General researchers on the impact of SW:S’s collaborative songwriting intervention (CSI) on veterans found the CSI sessions to reduce PTSD (-33%) and Depressive symptoms (-25%), potentially sparking further positive change and movement forward. In full SW:S weekend retreats, 8-12 veterans are paired with highly skilled professional songwriters to turn their military experiences into songs. When not writing songs, the participants attend creative writing workshops, meditation or yoga sessions and other activities to foster further connections and post traumatic growth. More than 400 veterans and family members have attended SW:S events; more than 400 songs have been written, countless lives changed. Feedback from retreat participants reveals post-retreat increases in feelings of hope and optimism (77%), increased creative pursuits (83%), connections with others (78%) and a 100% endorsement for other veterans to attend. Efforts are under wayto expand the study and eventually broaden it to include additional components of the positive psychology, coaching-based program.

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Jafari, Belgheis Alavi, and Liza Schuster. "Representations of exile in Afghan oral poetry and songs." Crossings: Journal of Migration & Culture 10, no. 2 (October 1, 2019): 183–203. http://dx.doi.org/10.1386/cjmc_00002_1.

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In our examination of the representations of exile in Afghan popular culture, we focus in particular on popular poetry and song lyrics in Farsi, one of the national languages of Afghanistan. This article concentrates on the voices of exiles, their self-representation and their descriptions of life far from their homeland. We argue that, in addition to offering catharsis and expressing collective suffering, the verses are also used to urge return and, more recently, to voice complaints to and about host societies, as well as to critique the Afghan government for its failures.

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35

Blenkinsopp, Joseph. "The Sacrificial Life and Death of the Servant (Isaiah 52:13-53:12)." Vetus Testamentum 66, no. 1 (January 21, 2016): 1–14. http://dx.doi.org/10.1163/15685330-12301220.

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The argument presented in this article is that the term ‘asham’ in Isa 53:10 refers to the sacrificial ritual of the guilt offering, that this reference is supported by indications throughout Isaiah 53, and that therefore the suffering and death of this Servant of the lord is to be understood as sacrificial by analogy with the ritual of the guilt or reparation offering in the book of Leviticus. This conclusion, much contested in contemporary scholarship, is supported by a survey of the reception of this text in the period prior to early Christianity.

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May, David M. "Servant and steward of the mystery: Colossians 1:26–27; 2:2; 4:3." Review & Expositor 116, no. 4 (October 21, 2019): 469–74. http://dx.doi.org/10.1177/0034637319879035.

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Paul’s role as servant-steward of the mystery of God was to reveal the object of that mystery, which was Christ. God’s mystery was that Christ’s life, death, and resurrection reshaped and transformed a person’s understanding of history and the future. The mystery also meant the inclusion of gentiles into the community of faith, the suffering of Paul when the proclamation of the mystery was made known, and the presence of Christ in believers, even now.

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Greenberg, G. "Indications of the Faith of the Translator in the Peshitta to the 'Servant Songs' of Deutero-Isaiah." Aramaic Studies 2, no. 2 (July 1, 2004): 175–92. http://dx.doi.org/10.1177/147783510400200202.

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Greenberg, Gillian. "Indications of the Faith of the Translator in the Peshitta to the 'Servant Songs' of Deutero-Isaiah." Aramaic Studies 2, no. 2 (2004): 175–92. http://dx.doi.org/10.1163/000000004781540399.

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Abstract The Peshitta of Deutero-Isaiah includes several passages relevant to the question of the faith of the translator: Jewish or Christian? There are inconsistencies: some differences between MT and P suggest a Christian or messianic nuance; one blunts an anti-Jewish phrase; in another an opportunity to introduce a Christian theme is resisted. The cumulative weight of examples suggests Christian input. The inconsistency could be explained by postulating a Jewish-Christian translator who attempted to play fair by his Vorlage, putting his own convictions and religious literature to the back of his mind, but occasionally failed.

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Moscicke, Hans. "Jesus as Goat of the Day of Atonement in Recent Synoptic Gospels Research." Currents in Biblical Research 17, no. 1 (October 2018): 59–85. http://dx.doi.org/10.1177/1476993x17751295.

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Do the Synoptic passion narratives portray Jesus (and Barabbas) as one (or both) of the goats of the Day of Atonement? This question currently has no consensus in biblical scholarship but four contrasting positions: The evangelists portray (1) Jesus as the abused scapegoat in his maltreatment by the Roman soldiers (Mk 15.16-20 parr.); (2) Jesus as a pharmakos-like scapegoat patterned after Hellenistic motifs of redemptive suffering; (3) Barabbas as the scapegoat and Jesus as the immolated goat (Mt. 27.15-26 parr.); and (4) Jesus as neither goat, but the typological fulfillment of alternative (suffering) figures: Isaiah’s Servant, the Psalms’ Righteous Sufferer, the Son of Man, and the divine warrior. This article reviews and evaluates these four positions, suggesting avenues for future research.

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Troxel, Ronald L. "The Messiah before Jesus: The Suffering Servant of the Dead Sea Scrolls (review)." Hebrew Studies 42, no. 1 (2001): 367–71. http://dx.doi.org/10.1353/hbr.2001.0042.

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Isamah, Tezza Abdu, and Puji Wibowo. "PROFESI AKUNTAN PEMERINTAH DI ‘ZAMAN NOW’: MASIHKAH MENARIK?" INDONESIAN JOURNAL OF ACCOUNTING AND GOVERNANCE 3, no. 2 (March 31, 2020): 1–35. http://dx.doi.org/10.36766/ijag.v3i2.39.

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Student perceptions towards accountant profession have been extensively discussed in many literatures. Along with an increase of central government financial reporting’s (LKPP) quality in Indonesia, bureaucratic sectors, on the other hand, are suffering from the lack of accountants. This research aims to investigate how regular students and civil servant students in Polytechnic of State Finance STAN (PKN STAN) perceive the government accountant profession. By using convenience sampling method, we found 208 respondents who answered our questionnaire adequately. This study suggests both groups agree that government accountants are still needed to support national budget accountability. Regular students are relatively motivated to be government accountants than officer students. Unexperienced students are better-off in knowledge about government accountants, while civil servant students have stronger motivation to permanently work in government sector than regular students. Staff placement policy in Line Ministries/Agencies to accommodate PKN STAN graduates becomes an interesting policy implication in upcoming years.

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Isamah, Tezza Abdu, and Puji Wibowo. "PROFESI AKUNTAN PEMERINTAH DI ‘ZAMAN NOW’: MASIHKAH MENARIK?" INDONESIAN JOURNAL OF ACCOUNTING AND GOVERNANCE 3, no. 2 (March 24, 2020): 1–35. http://dx.doi.org/10.36766/ijag.v3i2.45.

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Student perceptions towards accountant profession have been extensively discussed in many literatures. Along with an increase of central government financial reporting’s (LKPP) quality in Indonesia, bureaucratic sectors, on the other hand, are suffering from the lack of accountants. This research aims to investigate how regular students and civil servant students in Polytechnic of State Finance STAN (PKN STAN) perceive the government accountant profession. By using convenience sampling method, we found 208 respondents who answered our questionnaire adequately. This study suggests both groups agree that government accountants are still needed to support national budget accountability. Regular students are relatively motivated to be government accountants than officer students. Unexperienced students are better-off in knowledge about government accountants, while civil servant students have stronger motivation to permanently work in government sector than regular students. Staff placement policy in Line Ministries/Agencies to accommodate PKN STAN graduates becomes an interesting policy implication in upcoming years.

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Kourakis, Filippos. "Suffering and the Nietzschean affirmation of life in the lyrics of Bad Religion." Punk & Post Punk 9, no. 1 (February 1, 2020): 41–58. http://dx.doi.org/10.1386/punk_00017_1.

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Friedrich Nietzsche wrote that Zarathustra ‘the godless’, whose students ‘remain faithful to the earth, and […] not believe those who speak […] of otherwordly hopes’, was a proponent of a life fulfilled with meaning and creativity, in spite of all the abominable suffering and unavoidable hardships it entails. Ultimately, he wanted to ‘see as beautiful what is necessary in things’ and ‘to be only a Yes-sayer’. This article looks at how the lyrics of one of the most respected and well-known punk rock bands worldwide, Bad Religion, encapsulate the above-mentioned ideas of the German philosopher. Lyrics from several songs of the band’s discography, ranging from 1982 to 2013, are briefly discussed. The themes explored in these songs, examined in parallel with Nietzsche’s ideas, revolve around suffering, nihilism, the afterlife, amor fati, and, finally, affirming life by creating a personal sense of purpose. Whilst Bad Religion’s work is not moralistic (most thoroughly echoed in the line ‘no Bad Religion song can make your life complete’ from the song ‘No Direction’), the lyrics analysed nevertheless demonstrate that the band actively assumes a stance towards life, one which is characterized by creating a sense of purpose through personal expression, emblematized both in the punk attitude per se, as well as in the writings of Friedrich Nietzsche.

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Barrett, Thomas M. "“No, A Soldier Doesn’t Forget”: The Memory of the Great Fatherland War and Popular Music in the Late Stalin Period." Canadian-American Slavic Studies 48, no. 3 (2014): 308–28. http://dx.doi.org/10.1163/22102396-04803004.

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This article examines the fate of lyrical songs of the Great Fatherland War in the post-war, late-Stalin period. Despite a relentless attack by critics, songs that emphasized loss and suffering continued to be written, recorded, and performed after the war. These kept a narrative of individual struggle alive during a period when the Party attempted to impose a state-heavy, heroized interpretation of the war that emphasized the glory of Stalin’s leadership. The article includes analyses of performances by Mark Bernes and Klavdiia Shul’zhenko, traces the continued popularity of songs written during the war, and examines songs of return and memory written in the post-war period. It also makes a plea for increased attention to this neglected era: the tensions between the attempts to restalinize culture in various ways after the war and the need to promote escapism and create culture that was truly popular made for a level of complexity during the post-war period that has been largely neglected by scholars. Since the lyrical songs of the Great Fatherland War secured a public place in Soviet culture, this article also challenges the notion that the so-called cult of the Great Fatherland War was simply bombastic and dehumanizing.

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Mukhamedova, Fatyma Khamzaevna, and Fatima Abdulovna Alieva. "Family and household songs in the Dargin folklore." Litera, no. 7 (July 2021): 99–106. http://dx.doi.org/10.25136/2409-8698.2021.7.36058.

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The subject of this research is the family and household songs as one of the genre varieties of non-ritual lyrics in the Dargin folklore. They are thematically related with family life, household, customs and traditions of the Dargins. Their content reflects the typical aspects of patriarchal family of the prerevolutionary Dagestan, when due to the rigid local customary laws, women were deprived of the right to decide their fate; therefore, multiple songs resemble sadness, sorrow, suffering, and distress of the heroes. This article explores the thematic diversity of family and household songs in the Dargin folklore, their poetics and nature of visual-expressive means; as well as reveals their ideological-aesthetic, artistic, stylistic and compositional functions in poetry. The novelty of this research lies in introduction of Dargin family and household songs into the scientific discourse, as well as description of the uniqueness and poetic means and techniques used therein. Analysis of the songs demonstrated that the poetic system of song lyrics as a whole, and family-household in particular, are characterized by the use of such literary techniques as metaphor, epithet, symbols, contrasts, iteration, etc., which play a significant role in the poetic text, reflecting the emotional state and the depth of feelings of the lyrical heroes.

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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (October 2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.

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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.

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Diawara, Mamadou. "Oral Sources and Social Differentiation in the Jaara Kingdom from the Sixteenth Century: A Methodological Approach." History in Africa 22 (January 1995): 123–39. http://dx.doi.org/10.2307/3171911.

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The dawn of the history of the kingdom of Jaara, during the era of the Jawara dynasty (from the fifteenth to the mid-nineteenth century) is shaped by the story of Daaman Gille and his companions, the most important of whom is Jonpisugo. The lives of these two characters—linked up until their death at Banbagede, where their tombs are only a few hundred meters apart—were the subject of a rich oral literature, all the more noteworthy given the rarity of written documents.In my earlier work (Diawara 1985, 1989, 1990) I discussed the typology of narratives and the specific role of women servants as historians of their social group. The oral sources include family traditions from all social classes, except for recently acquired slaves; the recitals of professional narrators who were by heredity in the service of protector families whose history they proclaimed to the public; the narratives of servants, including the tanbasire, a collection of women's songs from among the royal servants, or the accounts of people who, with their ancestors, had long been slaves (cf. Diawara 1990).Historical chance brings together Daama and Jonpisugo, but their respective social standing differentiates them; just as “friendship” brings together the master and the servant, so the struggle for power leads to the birth of differences in the conception of “the things of the past” among their descendants. How is the past constructed and lived differently by their respective progeny or supposed descendants? What poetic license accrues to the offspring of he who was only a servant, even if he was a royal servant? The response to this question explains the dynamic of a particular servants' oral documentation.

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Nikolchenko, Tamara, and Maria Nikolchenko. "Ukrainian folk songs of the stormy years (songs of captivity of the Second World War)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 62–74. http://dx.doi.org/10.34079/2226-2830-2020-10-19-62-74.

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The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.

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Yoder, Keith L. "In the Bosom of Abraham." Novum Testamentum 62, no. 1 (December 13, 2019): 2–24. http://dx.doi.org/10.1163/15685365-12341650.

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AbstractThis study examines the name and role of the poor man in the parable of the Rich Man and Lazarus in Luke 16:19–31. An intertextual reading through the lens of Septuagint Genesis and Job reveals the character of Lazarus to be a seamless weave of suffering Job and Eliezer the Servant of Abraham. The testings, death and burial, thigh oath, and long journeys in Genesis 22–24, involving the closely bound Abraham and Eliezer, with supplementation from sore-covered Job who experienced sequential reversals between rich to poor, converge as the base literary template for Luke’s Abraham and Lazarus.

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Myrsiades, Linda Suny. "Historical Source Material for the Karagkiozis Performance." Theatre Research International 10, no. 3 (1985): 213–25. http://dx.doi.org/10.1017/s0307883300010890.

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Karagkiozis, or Greek shadow puppet theatre, is a theatrical form that reflects nineteenth-century Greek oral culture. It utilizes a variety of national and regional costumes, dialects, and manners. Having developed in Greece during the period of that nation's modern history, it expresses the continuity of Greek culture and carries its themes, scenes of daily life, and characters. It retains, moreover, vestiges, or perhaps more accurately resurgences, of the pagan as well as the Christian past. Folk characters and types from folk plays and tales – the quack doctor, old man, old woman, devil Jew, Vlach, Moor, Gypsy, swaggering soldier, old rustic, jesting servant, trickster, parasite, stuttering child, ogre, dragon, bald-chin, and the great beauty – are its types as well. Popular folk dances, regional songs, and heroic poetry and ballads appear throughout Karagkiozis performances.

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