Made available in DSpace on 2016-04-29T14:27:22Z (GMT). No. of bitstreams: 1 Gbedey Mebounou Nyekplola.pdf: 1404323 bytes, checksum: 375fb3d8e2a3eb56289c72e8baf3e196 (MD5) Previous issue date: 2013-04-02 / This thesis is a study on Psalm 139. The principal aim of the research is to present the image of God transmitted by this poem and investigate how mankind, created and known by God can relate to his experience of faith with the struggle for survival in this world, marked by people who insist on injustice and violence due to their wickedness. In order to justify the research on psalm 139, the Hebrew text was chosen, since it is the language in which the text was originally composed. By so doing the guarantee of being close to the first meaning of the text is more assured. Particularly being a language that lays emphasis, on knowledge of other important parallels in the whole canon of the Scriptures, especially other writings (books) that form the Hebrew Bible. In the light of what has been stated above, the Hebrew Concordance of Old Testament has become the most important research tool. Always attentive to the literary-stylistic dimensions of Psalm 139, the study aims to describe the theological dimensions of this biblical prayer. The research progresses along the verses and stanzas that compose the poem, commenting word by word, sentence by sentence and stanza by stanza. Psalm 139 meditates on human existence as determined by God. For someone who feels unjustly treated and threatened in his life. It is interesting to see from this biblical poem, the divine omniscience, omnipresence, divine omnipotence and God's creative act; God, the good shepherd and liberator. This religious perspective offers hope because at the long run GOD is aware of all life experience: being omniscient, powerful and the one who liberates mankind from all sort of danger and slavery / A presente dissertação apresenta um estudo sobre o Salmo 139. O objetivo é, sobretudo, apresentar a imagem de Deus transmitida por este poema e investigar como o ser humano, conhecido por este Deus, pode conciliar sua experiência de fé com sua luta pela sobrevivência neste mundo, marcada pela injustiça e pela violência instauradas por quem insiste na impiedade e até nos crimes de sangue. A pesquisa justifica-se na medida em que é promovida uma leitura do texto hebraico do Salmo 139, língua em que o texto originalmente foi composto. Assim, a aproximação ao sentido primeiro do texto é mais garantida, em especial, por ocorrer uma leitura que insiste no conhecimento dos importantes paralelismos em todo o cânon das Sagradas Escrituras, em especial, nos escritos que formam a Bíblia Hebraica. Desta forma, a Concordância tornou-se o instrumento de pesquisa mais importante. Sempre atento às dimensões literário-estilísticas do Salmo 139, o estudo se propõe a descrever as dimensões teológicas desta oração bíblica. A pesquisa avança junto aos versículos e às estrofes que compõem o poema, comentando palavra por palavra, frase por frase e estrofe por estrofe. O Salmo 139 medita sobre a existência humana enquanto determinada por Deus. Impressiona imaginar, junto ao poema bíblico, a onisciência divina, a onipresença divina, a onipotência criadora de Deus e o agir do Deus libertador e pastor. Para quem se sente injustiçado e ameaçado em sua sobrevivência, esta perspectiva religiosa oferece esperança, pois, finalmente, toda a realidade é ligada a um Deus conhecedor, potente e libertador

Made available in DSpace on 2016-03-15T19:48:36Z (GMT). No. of bitstreams: 1 Israel Sifoleli.PDF: 843828 bytes, checksum: be8c605a0d6b29fb5fbbf9bf112699c8 (MD5) Previous issue date: 2007-08-31 / In this work the author looks for to rescue the reading that Calvin made of the Psalms of lament. It has as intention to present an introduction to the Calvin s hermeneutics. It calls attention for the fact of that although the great contribution of Calvin, its hermeneutics still is, in many aspects, stranger in Brazil. The author makes an attempt to establish the influences on Calvin s thought that had contributed for his hermeneutics. It continues demonstrating the importance of the authority of the Bible for Calvin. After that he presents the main points of Calvin s hermeneutics and for a better understanding, he divides them in presuppositions, principles and approaches. In the last chapter the focus is in an analysis of Calvin s hermeneutics, having the modern study of Psalms as aid. Finally, it presents an attempt of dialogue between Calvin s hermeneutics and contemporary Brazilian Protestantism. This dialogue is presented in the form of some challenges. / Neste trabalho, o autor procura resgatar a leitura que Calvino fez dos Salmos de lamento. Ele tem como propósito apresentar uma introdução à hermenêutica de Calvino. Ele chama atenção para o fato de que apesar da grande contribuição de Calvino, sua hermenêutica ainda é, em muitos aspectos, desconhecida no Brasil. O autor faz uma tentativa de estabelecer as influências sobre o pensamento de Calvino que contribuíram para a sua hermenêutica. Ele prossegue demonstrando a importância da autoridade da Bíblia para Calvino, em seguida, apresenta os pontos principais da hermenêutica de Calvino e, para uma melhor compreensão, divide-os em pressupostos, princípios e enfoques. No último capítulo, se propõe a fazer uma análise da hermenêutica de Calvino de forma mais focada, tendo o estudo moderno dos Salmos como ajuda. Finalmente, ele apresenta uma tentativa de diálogo entre a hermenêutica de Calvino e o protestantismo brasileiro, diálogo este apresentado em forma de alguns desafios.

This is a study of the work of some seventy of the many hundreds of translators of the Bible, in whole or in part, into English during this century. Style, with particular emphasis on diction, is the major concern, though other aspects can be touched on at times, as well as methods of translation. Part one deals with versions of Mark into English prose, and part two with versions of the Psalms into English verse forms. The translations are grouped according to the aims and purposes of the translator and/or the type of language he employs. First a short passage is analysed - generally Mark 1:1-11 or Psalm 23 - and then a larger body of text is examined and the various levels of diction and phrasing are noted with examples cited of each. Some evaluation occurs, set against the criteria of comprehensibility and suitability of the style to the subject-matter, to the style of the original, and to the limitations of the intended audience. Several factors are seen to affect the style of a Bible translation, the most conspicuous being the influence of tradition, the translation method used - formal or dynamic equivalence - or the amount of restructuring necessitated by audience-orientation. The main trend this century is the gradual departure from "Biblical" English and the increased interest in the use of comprehensible contemporary language. A comparison between the versions of Mark and the Psalms shows that their translators seemed to have- different objectives. Translators of Mark were generally more interested in dynamic equivalence, some in reflecting the linguistic level of koiné Greek, and many in audience-orientation. There are also several, however, who preferred to lean toward literalism. Translators of the Psalms into verse forms were not concerned with reflecting the linguistic level but rather the prosodie features of the original Hebrew Psalms. There is less interest both in literalism, audience-orientation and in dynamic-equivalence, except perhaps in versions into rhymed verse or a few of those into free verse. The overall impression gained from this study is that style is of vital importance when it comes to the effectiveness, usefulness and impact of a translation. / digitalisering@umu

The editor's thesis (Ph.D.)--University of North Carolina at Chapel Hill, 1967. / Typescript (v. 1) Hymns, psalms, sacred and secular part-songs. For cantus, altus, tenor, and bassus. German words; editor's commentary in English. "Simler ... wrote many of the poems set to music and some of the music, but in the first edition ... he names Andreas Schwilge as the composer and arranger of the melodies." -- Leaf 30. eContent provider-neutral record in process. Description based on print version record. Bibliography: v. 1, leaves [281]-285.

Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.

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John Donne was indisputably the foremost English preacher of his day. Many studies have focussed on his instructional methods; fewer have concentrated on how he tries to move his hearers. Donne especially liked preaching on the psalms. Since Christian antiquity, the seven psalms known as the penitential psalms have enjoyed a privileged place in church worship. They are central to the sacrament of penance. By Donne's time, changes in the Church of England's sacramental theology had all but eliminated the practice of penance. Nevertheless, Donne considers penance or, as it had become known, repentance, to be a crucial part of believers' lives. With his sermons on the penitential psalms Donne contributes to the vast body of literature surrounding the sacrament of penance, but his contribution is unique. He thinks that since the second person of the Trinity is identified with the Word of God, the institution of preaching God's Word is incarnational. In the sacraments, the priest ushers in the Body of Christ; in the sermon, Donne believes, the preacher's role is similar. For Donne, sermonizing is sacramental in effect. In his sermons he attempts to bring the real presence of God to his listeners. Moreover, his sermons display a "sacramental mimesis": they enact their subject matter by their very words and try to effect change in the listeners as the words are uttered. Further, Donne thinks that since God established all the ordinances of the church, none of them should be ignored. Therefore, Donne's twenty-one sermons on the penitential psalms reveal a preacher who is on the one hand a conservative churchman and on the other a startlingly innovative preacher.

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The objective of this creative project was the exploration of the new genre of Design Cinema, specifically to use typography and motion graphics to tell a story. Design Cinema is best defined as a hybrid form of moving image that falls between motion graphics and filmmaking. The secondary objective was to design and create three significant pieces of work in Design Cinema, which focuses on utilizing typography and graphics in an abstracted story-based environment.The stories illustrated come from the book of Psalms in the New International Version translation of the Bible. These are some of the oldest texts in the world. This body of work, completed in high-definition video, required a process of pre-production (treatment, storyboarding, and planning), production (shooting, lighting, and directing), and post-production (capturing, editing, compositing, and design). Bill Viola, Jem Cohen, and Michel Gondry have impacted the style and structure of my video work. / Department of Art

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.