The pnmary purpose of this dissertation is to define the function of Psalm 90 and its relationship with regard to adjacent psalms. Keeping this purpose in mind, the dissertation is composed of two main parts. The first part deals with textual notes, structural analysis, the date of the psalm and the possible situation it arose from, and then an attempt is made about the function of the psalm. Concerning the structural analysis, this study reveals that the psalm forms a unity in contrast to the views of Muller and Zenger who have argued for the division of the psalm into two parts. The function that the psalm has within itself is to appeal to Yahweh to intervene in the dilemma the psalmist was facing in the exilic or postexilic situation. However, since the psalm itself does not hint at any clue as to what the actual situation for the appeal was, the study is extended to the examination of the canonical perspective with regard to adjacent Psalms 89 and 91. This consists of the second part, and here Psalm 90 is compared to Psalms 89 and 91 in terms of lexical, thematic, and structural aspects. The study of this part shows that Psalm 90 forms close links with the lament section of Psalm 89 (vv. 39-51) as well as Psalm 91, and the conclusion suggests that Psalm 90 should be interpreted in the light of Psalm 89, thus reflecting the destruction of the Davidic dynasty described in Psalm 89. Concerning the relationship between Psalms 90 and 91, the latter serves as an answer to the former in order to persuade the readers that Yahweh 1s a refuge to those who seek security and protection from him. / Old Testament / Th. M.(Old Testament)

After the invasion of Spain by the Muslims in 711-A. D., Southern Spain and North Africa, from which the invaders had come, were linked in such a way that they could no longer be counted separate countries with separate cultures. There was a steady traffic between the two, not only in regard to people and merchandise, but in ideas, writings and translations. The Caliph resided sometimes in Andalusia, sometimes in North Africa. In 817, after a revolt of the Christians at Cordoba, Hakam massacred some and deported others to North Africa. Thirty years later, a famine in Spain drove many to emigrate and join the exiles. Later still, in 1126, Ali ben Yusuf beat back the king Alonso and, to punish those Christians of his realm who had been willing to join the king, had them deported from Granada to Morocco, where they were settled in Mequinez and Fez. It was in the latter city, in 1137, that a bishop Michael ibn abd-el-aziz had a copy of the Gospels made for a certain Ali ibn abd-el-aziz. A year after this copy had been made, a further deportation by the son of All ibn Yusuf swelled the ranks of the exiles and emigres. The Christians in North Africa fared quite well. They became soldiers and the Christian militia played no small part in North African history. Some were chosen by the Caliph to join his personal bodyguard and others held good posts at Court. Even the Almohades, strict Unitarians though they, were, allowed churches. to be built. In 1224, when Ferdinand's help was sought by the Almohades in North Africa to quell risings of local Moorish rulers, the Christian king asked in payment not only money and ten Andalusian fortresses, but that a Christian church should be built in Morocco and bells sound the hours of service.

Songs of Praise is a setting of four passages from the Psalms for soprano and chamber orchestra. The text is taken from Psalms 96, 114, 55, and 116 of the New American Standard Version, with each psalm scored as a separate movement. The duration of the work is approximately seventeen and one-half minutes. The instrumentation includes soprano, oboe, strings, and a percussion section of four players incorporating fourteen different instruments. The musical language employed is largely tonal, consisting generally of shifting tonal emphases achieved by exploiting the pitch relationships of traditional tonality. The movements are contrasting in character, according to the text, but generally of the same style. The vocal line predominates throughout spanning two octaves and a minor third from an A below middle C to a high C above the treble clef.

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At the center of this thesis are seven psalms, commonly known as the Penitential Psalms. The Penitential Psalms were often used in connection to corporeal expressions of the sacrament, and though sacramental practices changed, they retained this association, and even became a catalyst for literary change and experimentation. In this thesis, I will show how these psalms were connected to the sacrament of penance throughout the medieval period, and well into the religiously tumultuous sixteenth century. This thesis explores four texts that take up the Penitential Psalms, adapting, refashioning, and reappropriating them to be used in different ways. The Introduction outlines the history of the Penitential Psalms and their interconnectedness with sacramental theology and practice; it further establishes the cultural and theoretical context within which the four examined texts must be considered. These sacramental ties with the Penitential Psalms are not found only in theological writings, but they also infused lay practice and experience, as I will show in Chapter One, where I examine the staunchly Protestant Actes and Monuments by John Foxe. Additionally, I argue that Foxe's accounts of Marian martyrs point to Psalm 51 both as a text of protest and memorialization. Chapter Two then moves to Sir Thomas Wyatt's A Paraphrase of the Penitential Psalms; there I examine the presence of the male body within the work, placing the text within the setting of a visual history that illustrates David's illicit desire for Bathsheba. With this tradition in mind, I examine trajectories of ocularity within the narrative, tracing the redirection of sexual desire. Anne Lock's Meditation of a Pentient Sinner is the center of Chapter Three. Meditation, when considered in relation to the dedicatory epistle, reveals connections to the standardized penitential process, and I argue that Lock presents a modified form of repentance to her reader. The final chapter looks at The Sidney Psalter's Penitential Psalms, which reveal an incoherent view of the penitential body merging with the body of the dead war-hero, Philip. It is within this penitential affect that the penitent displays and partitions his or her own body slipping into an otherness predicated by sin.

The pnmary purpose of this dissertation is to define the function of Psalm 90 and its relationship with regard to adjacent psalms. Keeping this purpose in mind, the dissertation is composed of two main parts. The first part deals with textual notes, structural analysis, the date of the psalm and the possible situation it arose from, and then an attempt is made about the function of the psalm. Concerning the structural analysis, this study reveals that the psalm forms a unity in contrast to the views of Muller and Zenger who have argued for the division of the psalm into two parts. The function that the psalm has within itself is to appeal to Yahweh to intervene in the dilemma the psalmist was facing in the exilic or postexilic situation. However, since the psalm itself does not hint at any clue as to what the actual situation for the appeal was, the study is extended to the examination of the canonical perspective with regard to adjacent Psalms 89 and 91. This consists of the second part, and here Psalm 90 is compared to Psalms 89 and 91 in terms of lexical, thematic, and structural aspects. The study of this part shows that Psalm 90 forms close links with the lament section of Psalm 89 (vv. 39-51) as well as Psalm 91, and the conclusion suggests that Psalm 90 should be interpreted in the light of Psalm 89, thus reflecting the destruction of the Davidic dynasty described in Psalm 89. Concerning the relationship between Psalms 90 and 91, the latter serves as an answer to the former in order to persuade the readers that Yahweh 1s a refuge to those who seek security and protection from him. / Biblical and Ancient Studies / Th. M.(Old Testament)

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This thesis examines the use and function of a specific group of Psalms, the so-called “Royal Psalms,” among the texts of the Qumran library. From the time of their integration into the worship practices of the Israelite people in the obscure past to the Second Temple period and beyond, these Psalms continued to be a source of inspiration to the Jewish people. Though there have been many studies that have analyzed their Sitz im Leben, use, interpretation, and application for many different periods, no study has attempted a thorough analysis of their use among the Qumran documents. Analyses of the use in the Qumran texts of certain individual Royal Psalms exist, but these do not attempt to cover the Royal Psalms as a corpus. The present thesis will analyze the appearance in the Qumran library of the eleven generally-accepted Royal Psalms: Pss 2, 18, 20, 21, 45, 72, 89, 101, 110, 132, and 144. This study explores whether or not these Psalms are to be found in the known Qumran Psalms scrolls, variations or differences as compared to the Masoretic Text, how they are were interpreted in exegetical and other texts, quotations of and allusions to them, and how themes from the Royal Psalms contribute to the structure and theology of non-canonical royal psalms found at Qumran. An understanding of the use of the biblical Royal Psalms in these texts is of value for our comprehension of what happened to the pre-exilic royal traditions as these hymns continued to be used in a post-monarchic society. This dissertation makes an original contribution toward these goals, establishing that there was an interest on the part of the authors of many of the Qumran texts in royal themes although they lived long after the monarchy had ended.

The Book of Psalms has occupied a privileged place in Christianity from its earliest years, but it was not until the sixteenth century that metrical versifications of the Psalms became popular. Because of the notable influence of Martin Luther and John Calvin, the musical phenomenon of metrical psalm singing spread throughout Protestant circles on the European mainland and in Britain. These versifications knew no boundaries among Protestants: reformers and parishioners, kings and laypeople, men and women, young and old memorised and sang the metrical psalms. In England and Scotland, the versifications written by Thomas Sternhold and John Hopkins became the most popular, as editions of these texts were printed in England from 1549 to 1828. The present study considers these metrical versifications and their melodies as they were printed and performed in England and Scotland from their inception until the final Scottish edition appeared in 1640. In particular, this study asserts that the years from 1560 to 1640 saw the development and reinforcement of two distinct ecclesiastical psalm cultures, one in England and the other in Scotland. Though based on a common foundation in the Sternhold and Hopkins texts, English and Scottish metrical psalmody preserved their distinct natures. However, both traditions also influenced their counterparts. The present study considers these cross‐influences and their effect on the tensions between conformity with foreign influences and fidelity to established practice in both countries. This study finally seeks to fill two significant gaps in current scholarship. It first compares the developments in English and Scottish metrical psalmody in the sixteenth and seventeenth centuries. Secondly, it considers the relationships between psalm tunes and their texts, with a closer musical analysis of the tunes than has previously been attempted.

The focus of this work is on parallels between Old Testament and New Testament. We chose specific texts that will help us to show how these two parts of the Bible are connected. We want to examine Paul's use of Psalms in his First letter to Corinth and decide whether his quotations have similar theological context and motifs. We would like to present three main topics that are connecting Paul's use of the Psalms: human wisdom, God's sovereignty and Christ's sovereignty. The first one covers Psalm 94:11 in 1 Cor 3:20, the second one covers Psalms 24, 89 and 50 in 1 Cor 10:26 and the third covers Psalms 8 and 110 in 1 Cor 15:25,27. In addition to quotations we work with allusions which are included in mentioned chapters as well as one other chapter dealing with topic of Exodus in various psalms and Ps 31:25. Our goal is to prove that Paul had theological reasons to use Psalms in his First epistle to Corinth; therefore we conduct an exegesis of the passages above.