Inaug.-Diss.--Leipzig. / Vita.

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In Biblical Hebrew poetry the common bipartite line-form is sometimes varied to become tripartite, producing lines commonly designated ‘tricola’. Studies of the form or function of tricola have been limited in their value by inconsistent or ambiguous approaches to the colometry of the text. A review of theories of colometry finds the accentual rhythmical approach of Sievers to provide the most consistent and reliable analysis. This approach can be nuanced by the adoption of numerical limits on words and syllables that are commensurate with several other approaches, in order to provide an explicit and consistent basis for assessing colometry. The Psalms of Ascents are taken as a sample corpus of poetic texts and their colometry is assessed on that basis. Particular attention is paid to a detail of Sievers’ theory that identifies a six-stress tripartite line as rhythmically equivalent to a six-stress bicolon. Such a line is designated a ‘para-tricolon’ and is distinguished from a full tricolon that typically has eight or more stresses. Similarly, three different analyses of the macro-structure of each psalm are used to explore how it is structured through the connections between its component cola and lines.The internal syntactic and semantic structure of each tripartite line is analysed in order to facilitate an assessment of its function within the structure of the psalm and to contribute to a general characterisation of tripartite lines. The significance of enjambment is particularly explored as a distinguishing factor between different line-forms and as a means of uniting non-parallel cola.It is evident that no single defining characteristic of a tripartite line exists. The semantic and syntactic structures of tripartite lines both vary widely. However, clear differences are apparent between the form and function of para-tricola and those of tricola.

Psalms slip from cries of imprecation and lament to divine answer, from quoting the accusations and slander of the enemies to testifying to the character of Yahweh, from reflexive commands to communal imperatives. As these constructed voices and addressees oscillate, they create dialectics of distance and proximity, play with center and periphery, and fluctuate between presence and absence. The poetic devices of biblical Hebrew poetry allow for multiple voices to be heard and evoke experiences. The goal of this dissertation is to demonstrate, by using a lyric poetic approach, that voicing— especially shifts in voicing—contributes to the meaning of a psalm and lyric sequence. The Psalter calls to be read as lyric poetry, a voiced genre that is heard and overheard. The vocality of the Psalter invites hearers to listen to the dynamism of shifting voices, which create dialectics of distance and proximity, presence and absence. The three chapters of analysis explore the vocalic nature of lyric poetry. These chapters address twenty-five psalms in the Hebrew Psalter. The analyses of the ten individual psalms are sorted into two chapters based on the nature of the voicing they feature: psalms that feature shifts in addressee (Pss 23, 28, 32, 76, and 146) and psalms that featured shifts in both speaker and addressee (Pss 12, 46, 52, 91, and 94). The third chapter of analysis explores vocality in a lyric sequence, the Songs of the Ascents (Pss 120-134). The interpretation of these ten individual psalms as well as the fifteen-psalm lyric sequence demonstrate how the vocality of these lyric poems contribute to the construction of meaning and the cohesion of its respective text. This study makes contributions to biblical scholarship in two main areas: 1) it advances the conversation on voicing in Hebrew lyric poetry and 2) it applies a lyric approach to biblical Hebrew poetry. / Thesis / Doctor of Philosophy (PhD)

Teilw. zugl.: Tübingen, Univ., Diss., 2004

Essa pesquisa tem como objetivo analisar a tradução dos salmos na NTLH (Nova Tradução na Linguagem de Hoje), a qual segue o princípio da equivalência dinâmica ou funcional de Eugene Nida, em que o sentido prevalece sobre a forma. Investigamos como essa tradução lida com textos poéticos, abundantes em figuras de linguagem e onde aspectos formais geram sentido. Para isso, descrevemos a teoria de Nida e as críticas pertinentes da teoria de tradução, aspectos da Poesia Hebraica e finalizamos com o estudo da tradução de alguns salmos feita pela NTLH. / This research aims at analyzing the translation of the Psalms in NTLH (Nova Tradução na Linguagem de Hoje), which adopts Eugene Nidas principles of Dynamic Equivalence or Functional Equivalence, in which sense prevails over form. We investigate how this translation deals with poetic texts that abound with figures of speech and in which formal aspects generate sense. Therefore, we describe Nidas theory and some of its pertinent criticism; aspects of Hebrew Poetry; and, finally, we analyze some of the Psalms translations in NTLH.

Ao lidar com uma parte considerável da Bíblia Hebraica, o leitor precisa estar a par do que é Poesia Hebraica Bíblica, suas características, peculiaridades e nuances a fim de entender e apreciar o texto. Mas como os Hebreus não deixaram nenhum manual de poética, o debate sobre a poesia da Bíblia Hebraica envolve desde sua presença no texto até suas características gerais e específicas. No presente trabalho, apresenta-se uma breve discussão sobre a Poesia Hebraica Bíblica no cenário acadêmico atual. Também são expostas as características dessa poesia, com ênfase no paralelismo. / When dealing with most part of the Hebrew Bible, the reader must be aware of what is biblical Hebrew poetry, its characteristics, peculiarities and details in order to understand and appreciate the text. Since there isn\'t a Hebrew manual of poetics, the debate about the biblical Hebrew poetry comprises from its presence in the text to its general and specific characteristics. The following research presents a brief discussion about Hebrew Bible in the current academic scenario, as the characteristics of this kind of poetry with an emphasis in parallelism.

Ao lidar com uma parte considerável da Bíblia Hebraica, o leitor precisa estar a par do que é Poesia Hebraica Bíblica, suas características, peculiaridades e nuances a fim de entender e apreciar o texto. Mas como os Hebreus não deixaram nenhum manual de poética, o debate sobre a poesia da Bíblia Hebraica envolve desde sua presença no texto até suas características gerais e específicas. No presente trabalho, apresenta-se uma breve discussão sobre a Poesia Hebraica Bíblica no cenário acadêmico atual. Também são expostas as características dessa poesia, com ênfase no paralelismo. / When dealing with most part of the Hebrew Bible, the reader must be aware of what is biblical Hebrew poetry, its characteristics, peculiarities and details in order to understand and appreciate the text. Since there isn\'t a Hebrew manual of poetics, the debate about the biblical Hebrew poetry comprises from its presence in the text to its general and specific characteristics. The following research presents a brief discussion about Hebrew Bible in the current academic scenario, as the characteristics of this kind of poetry with an emphasis in parallelism.

The poetry of Dahlia Ravikovitch presents as self-writing nestled in the wide embrace of non-linear écriture féminine. Each poem offers a glimpse of the persona: body and soul, the music of her voice and the perspective of her spirit. Together the poems comprise verbal self-portraits of a lovelorn soul, torn between impulses to fully remember and deliberately forget. Through years of love, life, disappointment, bouts of depression and renewed promise, Dahlia Ravikovitch continued to compose. Through the crystals of poetry the speaker examines, from varying angles and in multiple refractions of light, those figures of alterity who are her self. For Ravikovitch poetry was the only neutral space in which her self could comfortably exist and, even so, not always. The poet-persona experiences love in unsuitable proportions. She receives too little; she goes ‘overboard’ and ‘out of bounds’ in giving too much. She experiences love, even when accessible, as an affliction. She suffers love. She laments love. The persona performs her malaise through contrasting physical sensations, idiosyncrasies and profound cravings. Her personal thermostat is erratic. She exhibits pronounced wardrobe-predilections. Her throat reacts to a flow of eros and creative vitality or lack thereof. She yearns for pure memory and thirsts for pure essence. The speaker’s gallery displays an elaborate montage of a golden apple endowed with gifts of wisdom, eros, poetry and passion, alongside portraits of a royal chanteuse and a skilled scribe. Crucial brushstrokes illuminate lovers and sinners, souls in flames, shipwrecks, lyric-expressive throats in various states of constriction and release, as well as voices of collective responsibility. Ravikovitch encrypts her poetry with rich resources of biblical, rabbinic, medieval and early modern Hebrew literature. She forwards the linguistic and literary resonance of these layers. She innovates upon their motifs through feats in the dimensions of feminine writing, intertextual engagements and postmodern poetics.

The poetry of Dahlia Ravikovitch presents as self-writing nestled in the wide embrace of non-linear écriture féminine. Each poem offers a glimpse of the persona: body and soul, the music of her voice and the perspective of her spirit. Together the poems comprise verbal self-portraits of a lovelorn soul, torn between impulses to fully remember and deliberately forget. Through years of love, life, disappointment, bouts of depression and renewed promise, Dahlia Ravikovitch continued to compose. Through the crystals of poetry the speaker examines, from varying angles and in multiple refractions of light, those figures of alterity who are her self. For Ravikovitch poetry was the only neutral space in which her self could comfortably exist and, even so, not always. The poet-persona experiences love in unsuitable proportions. She receives too little; she goes ‘overboard’ and ‘out of bounds’ in giving too much. She experiences love, even when accessible, as an affliction. She suffers love. She laments love. The persona performs her malaise through contrasting physical sensations, idiosyncrasies and profound cravings. Her personal thermostat is erratic. She exhibits pronounced wardrobe-predilections. Her throat reacts to a flow of eros and creative vitality or lack thereof. She yearns for pure memory and thirsts for pure essence. The speaker’s gallery displays an elaborate montage of a golden apple endowed with gifts of wisdom, eros, poetry and passion, alongside portraits of a royal chanteuse and a skilled scribe. Crucial brushstrokes illuminate lovers and sinners, souls in flames, shipwrecks, lyric-expressive throats in various states of constriction and release, as well as voices of collective responsibility. Ravikovitch encrypts her poetry with rich resources of biblical, rabbinic, medieval and early modern Hebrew literature. She forwards the linguistic and literary resonance of these layers. She innovates upon their motifs through feats in the dimensions of feminine writing, intertextual engagements and postmodern poetics.