Thesis (Th. M.)--Dallas Theological Seminary, 1984. / Typescript. Includes bibliographical references (leaves [62]-69).

Thesis (DLitt)--University of Stellenbosch, 2004. / Bibliography. Also available via the Internet.

Thesis (M.A.B.S.)--Denver Seminary, 2005. / [Gōren] appears in Hebrew letters on t.p. Includes bibliographical references (leaves 149-160).

The linguistic character of the “biblical” Dead Sea Scrolls has been of interest to scholars since the very beginning of scrolls research. However, scholars have disagreed over the nature of the language found in those scrolls. Some argue that the “biblical” scrolls are essential to our understanding of Second Temple Hebrew, while others set these scrolls aside in favour of the non-biblical texts. Yet, no one has undertaken a comprehensive analysis of the “biblical” scrolls, which is essential if we hope to settle this debate. This study fills that void by providing a comprehensive analysis of all the “biblical” DSS. Over forty different features are discussed through a comparison between the “biblical” scrolls and the other major witnesses to the Hebrew Bible. Current linguistic theories, including robust inferential statistical tools, are utilised within the analysis in order to provide conclusions based on sound methodology. This study begins with a global analysis of all the “biblical” scrolls, focusing on a comparison between the plene and defective manuscripts. Through that analysis, this study concludes that there are very few linguistic modernisations found in the “biblical” scrolls. In order to verify this conclusion, five individual scrolls are analysed. Finally, this study closes by providing a qualitative analysis of the “biblical” scrolls and shows their linguistic character to be most consistent with a scribal culture of linguistic stability and textual authority.

Thesis (PhD)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The aim of this study is to make a contribution to the formulation of a set of guidelines for an acceptable poetic translation of a sacred poetic text. To achieve this definition, a thorough review of current translation theory and practice is conducted, a specific model for translating poetry is presented, two English poems are created by using the principles of the model, and these two poems are evaluatively tested against other English translations. Wendland‘s LiFE methodology combines a literary/rhetorical approach, Skopostheorie and functionalist approaches, relevance theory, cognitive linguistics, an equivalence methodology, and a respect for sacred texts. The re-sculpting model builds upon Wendland‘s approach, particularly emphasizing insights gained from analyzing literary translations of non-Biblical texts, a narrow view of translating, and the care needed when working with a sacred text. To create a poetic sacred text, three kinds of guidelines are proposed concerning: project definition, determination of acceptability, and re-sculpting. Project definition – This involves pre-project planning and research. The results of this research will enable one to specify the communicative purpose for the translation (Skopos) and to formulate a range of agreements (translation brief) that guides all aspects of the project. Determination of acceptability – Following Beekman-Callow‘s model, a basic two-fold guideline of source text accuracy and target group acceptability is adopted to avoid extreme literalness and unduly free translating. Other recommendations for achieving this dual guideline are given through strategic planning, collaboration, communication, and effective training. Re-sculpting – A metaphorical term ―re-sculpting‖ was created. The proposed definition of re-sculpting is: ―a moderately re-structured and meaning-based translation of a poetic sacred text based on theological, thematic, and other literary/rhetorical concerns‖. By working within a slightly larger semantic range, a translator has room to be creative. For example, one can re-structure over two or three lines of Hebrew poetry rather than being restricted to a single line. However, very broad re-creations of a text (e.g., restructuring an entire long poem) are not recommended in a re-sculpting approach. A narrow definition of translation is proposed that distinguishes ―translation proper‖ (where a conservative grammatical-historical hermeneutic is applied) from more extreme approaches such as excessive adaptation or excessive paraphrase. Wendland‘s ten step literary/rhetorical method of analysis is applied to Psalm 131 and Psalm 150, and two re-sculpted poems are created. Each of these poems is evaluatively compared with five other English versions, and a survey is conducted to determine how readers rate these various translations. Results of the survey show that both of the re-sculpted poems are viewed as very acceptable and poetic. Although a relatively small sample of readers was used in the survey, it is reasonable to argue, at least tentatively, that re-sculpting appears to be a valid and useful method to consider in the translation of sacred poetic texts. / AFRIKAANSE OPSOMMING: Die doel van die studie is om ʼn bydrae te maak tot die definiëring van riglyne vir die maak van ʼn aanvaarbare vertaling van ʼn godsdienstige poëtiese teks. Vir hierdie doel is ʼn indringende ondersoek na huidige tendense in die teorie en praktyk van vertaling geloods en ʼn model vir die vertaling van poësie geformuleer. Daarna is twee Engelse gedigte in terme van hierdie model geskep en beoordeel in die lig van ander Engelse vertalings van dieselfde twee gedigte. Wendland se LiFE (literêr-funksioneelekwivalente) model kombineer ʼn literêr/retoriese benadering met Skoposteorie en ander funksionalistiese benaderings, relevansieteorie en kognitiewe taalkunde. In die model word ekwivalensie aan die bronteks nagestreef terwyl die aard van ʼn godsdienstige teks gerespekteer word. Die ―resculpting model‖ bou voort op Wendland se benadering. Dit beklemtoon veral die insigte wat verkry word deur die analise van die literêre vertalings van nie-Bybelse tekste, ʼn eng opvatting van vertaling en die sensitiwiteit wat nodig is wanneer ʼn godsdienstige teks vertaal word. Vir die skep ʼn godsdienstige poëtiese teks word drie soorte riglyne voorgestel: definisie van die project, bepaling van aanvaarbaarheid en ―re-sculpting‖. Definisie van die projek – Dit behels voorafbeplanning en navorsing. Die bevindings van die navorsing maak die identifisering van die kommunikatiewe doel (Skopos) van die vertaling moontlik, asook die formulering van ʼn vertaalopdrag. In laasgenoemde word ʼn aantal afsprake wat alle aspekte van die projek rig, geformuleer. Bepaling van aanvaarbaarheid – In navolging van Beekman-Callow word die vermyding van, aan die een kant, ekstreem letterlike en, aan die ander kant, onnodig vrye vertaalkeuses as ʼn basiese tweeledige riglyn vir aanvaarbaarheid beskou. ʼn Verdere manier om aanvaarbaarheid te verseker is deur middel van strategiese beplanning, samewerking, kommunikasie en effektiewe opleiding. ―Re-sculpting‖ – ʼn Model van ―re-sculpting‖ word voorgestel. ―Re-sculpting‖ is ʼn metafoor wat geskep is en wat beskryf kan word as ―ʼn gematigde hergestruktureerde en betekenis-geörienteerde vertaling van ʼn poëtiese godsdienstige teks wat berus op teologiese, tematiese en ander literêre/retoriese oorwegings‖. Deur met ʼn effense breër semantiese horison as een kolon te werk (in Hebreeus, tipies op die vlak van die bi-kolon of tri-kolon), het ʼn vertaler ruimte om kreatief te wees. Herskeppings op ʼn breër vlak (byvoorbeeld, die hele gedig), word nie in terme van hierdie model aanbeveel nie. ʼn Eng definisie van vertaling (wat op grammaties-historiese hermeneutiek berus en waarin waarde geheg word aan historiese geloofwaardigheid) word aanbeveel. Hierdie opvatting van vertaling word onderskei van meer ekstreme benaderings waarin selfs verwerkings en parafrases van 'n bronteks as vertalings beskou word. Wendland se retories/literêre analise in tien stappe word gebruik om Psalm 131 en 150 te ontleed. Twee ―re-sculpted‖ gedigte word geskep. Elk van hierdie gedigte word met vyf ander vertalings vergelyk en ʼn ondersoek word geloods om te bepaal hoe lesers die verskillende vertalings beöordeel. Daar word bevind dat lesers beide hierdie ―re-sculpted‖ gedigte as heel aanvaarbaar en poëties beskou. Alhoewel die relatief klein aantal lesers wat in die ondersoek gebruik is, nie as ʼn verteenwoordige monster beskou kan word nie, is dit redelik om te argumenteer (ten minste voorlopig) dat ―re-sculpting‖ ʼn geldige en nuttige metafoor is om te gebruik in die vertaling van godsdienstige poëtiese tekste.

This thesis attempts to provide an encompassing account for the centuries-old question concerning how aspect and modality are grammaticalized in the verbal system in Biblical Hebrew. To this end, the semantics of the three verb forms qatal, yiqtol, and qotel are investigated by means of a theory-unbiased observation on the Biblical text. It is argued that Biblical Hebrew has an aspectual opposition of the perfective and the imperfective and that the two aspects are encoded by the verb forms qatal and qotel, respectively. Concerning the modal system in Biblical Hebrew, it is suggested that the Biblical Hebrew broadly distinguishes the realis and irrealis and that the irrealis is marked by a single verb form yiqtol. Finally, the verbs occasioned in the Book of Isaiah 52:13-53:12 are thoroughly examined in the light of the present study. The examination on the Isaiah passage consequently ascertains that the present study largely removes the existing obstacles in understanding Biblical Hebrew verb conjugations and lays the significant grounds toward the proper linguistic understanding of the Biblical text. / text

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The portrayal of the divine character in a literary context shows the God in the narrative as he is perceived by the narrator. The chapters which follow focus on the pericopes within the narrative which are concerned with the portrayal of God as a character in the story. The present study reveals a unique image of the God of Israel as portrayed in the narrative. I have devoted chapters 1,2, and 6 to the three pericopes, labelled within the text as "visions of God" (chs. 1: 4-3: 15; 8: 1- 11: 24; 40-48) because they create the ground work for the divine character's activity revealing the narrator's portrayal of the God in the narrative. These three "visions" are strategically arranged at the opening, middle and closing of the narrative. The first "vision" shows God's encounter with Ezekiel while he is in exile. The second "vision" shows the reason for God's activity in the opening "vision" and the basis for all the activity within the narrative. The third "vision" shows that God's actions have not been in vain but will culminate in a reordering of God's place within the cultus. Ezekiel 37 contributes to the narrator's portrayal of the divine character and for this reason I have included it within my analysis in chapter 5. Likewise, in chapter 3, I have included the "divine oracle" of Ezekiel 16 which reveals the depth of the bond of the covenant and its effect on the God of the narrative. Furthermore, in chapter 4,1 have focused on the "divine oracles" in Ezekiel 20 and 36 because of the narrator's emphasis on the profanation and vindication of the name of God. That the narrator has carefully crafted his portrayal of the divine character is evident, and attested to in the construction of the pericopes. My reading and analysis of the text are a critical attempt to show, at least in portions of the text, that the narrator's portrayal of the divine character is an anomaly.

Over recent years cultural geography has refrained the parameters within which landscape and human agency are examined. Textual sources, social conditions, and ideological programmes are all seen as having a bearing on the shape of the environment and the human reaction to it. This thesis considers landscape change on the periphery of Tokyo known before 1868 as Edo) within the general framework of this new cultural geography and the specific context of the history of Japan's largest city. Situated in the northeastern outskirts of the city on the banks of its main river, Miukvjima was before about 1900 a place of recreation and diversion. Its temples, shrines, and ornamental gardens were a favoured site for blossom viewing and, in general terms, for dad, trips from the city centre. Around the turn of the century, however, factories were built, and the area was transformed within a few decades into an industrial periphery specializing in the manufacture of textiles, leather, matches, and other light industrial goods. The thesis contains two principal arguments, The first relates to the process of landscape creation and appreciation It is argued that the Japanese sensibility to space is informed by an innate appreciation of its symbolic content and by an exceptionally close assdciation between place itself and its textual and pictoral representation, The second relates to the process of urban change in the context of a modernising city. it is argued that alternative views of the urban environment arose but that, despite these differing interpretations, open space did not become an arena for contention. By examining the nature and process of urban change as well as perceptions of a chosen environment, the thesis sets out the structural context of rapid social transformation.