The psalms of the Hodayot tradition (the Thanksgiving Psalms from Qumran) have been customarily divided into two categories: the “Teacher Hymns” written by a leader of the sect at Qumran, and the “Community Hymns” associated with the ordinary members of the sect. These categories are considered problematic because of well-recognized problems pertaining to authorship and to the poor fit of many of the psalms in the categories. I propose a new set of categories for the Hodayot that classify the psalms on the basis of genre. It is my contention that genre offers a better frame of reference because it defines the psalms against the backdrop of the genres of early Jewish psalms and not solely in terms of the sectarian community. To propose new generic categories, I employ John Swales’s rhetorical moves analysis to classify the psalms on the basis of how their formal structures (what he calls “rhetorical moves”) work together to achieve common rhetorical objectives. Swales defines a composition’s genre primarily by its rhetorical objectives rather than a definitional checklist of features. I use rhetorical moves analysis to describe where the Hodayot psalms fall along the spectrum of descriptive and declarative praise in Claus Westermann’s schema for the genres of the biblical psalms. I conclude that there are two interlocking generic categories in the Hodayot: eschatological psalms of thanksgiving and psalms of hymnic confession. These generic categories have overlapping rhetorical strategies consisting of rhetorical moves that work closely together to achieve the primary communicative purpose of praising God descriptively and declaratively. In this respect, they serve the Maskil’s secondary rhetorical objective of instructing the audience in the sectarian discourses of praise and supplication, making the Hodayot tradition a part of the Maskil’s programme of instructing sectarians and evaluating their insight into the divine plan. / Dissertation / Doctor of Philosophy (PhD) / In this thesis I study the Thanksgiving Psalms from Qumran (1QHodayot a ), a collection of Jewish psalms from the Dead Sea Scrolls. The collection is typically divided into two categories: the “Teacher Hymns” written by a leader of a sect, and the “Community Hymns” that are associated with his followers. Scholars agree that these categories are inadequate, but no alternatives have been offered. I propose to use a more flexible approach that can classify all of the psalms by genre. The psalms are classified on a spectrum between two modes of praise by their objectives and strategies of persuasion. I argue that the psalms participate in two interlocking genres (the eschatological psalms of thanksgiving and the psalms of hymnic confession) and that all the psalms enable the speaker (the Maskil/Instructor) to achieve the two objectives of praising God and instructing his audience how to do the same.

Children like it simple, powerful and compelling, don't they? The "spirit" of this book makes the art of thanksgiving for children a simple, powerful yet compelling force. I Did It! I Said Thank You is a collection of short and simple thanksgiving notes for children during this month of thanksgiving and all throughout the year. Through the eyes and heart of a five-year old, we have captured and compiled short focused notes about the true essence of "why" and "what" children are thankful for. We have attempted to organize and compile it into daily reasons for thanksgiving for a whole month to preserve this all important "trigger" for children all around the world. "THANK YOU" is an "eight-letter word" so simple, yet so powerful and profound. Children are taught to include the art of thanksgiving in their quiver of manners and vocabulary. Children can and will learn about the valuable gift of thanksgiving through vivid visual illustrations and the compelling simple thanksgiving notes. This book is written for all children in every nation and every continent who want to simply say THANK YOU to the eternal source of all things precious and for the gift of life. Join us as we explore the world of thanksgiving through the eyes and heart of a kid. Enjoy! / https://dc.etsu.edu/etsu_books/1081/thumbnail.jpg

Made available in DSpace on 2016-08-03T12:20:30Z (GMT). No. of bitstreams: 1 Santa Angela Cabrera.pdf: 405823 bytes, checksum: 839b3afec519db242d7ef380052c9cda (MD5) Previous issue date: 2007-11-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In Latin America we have little bibliography on Psalm 23. Nevertheless, we have a few researchers who are able to dialogue academically with European scholars about our object of study. In spite of the great attractiveness of this text in the pastoral world in our continent, exigetically we have come up short with this Psalm, which has become our justification for making a study of this Psalm. Psalm 23 in enwrapped in the Psalter. It is Hebrew poetry, which is characterized by the repetition of the meaning of its phrases. Its content is between the lines, thanks to the frequent use of images, symbols, and figures. For these and for other reasons, it is difficult to point to its date of origin, but it must be pre-exilic. Our text reveals, as a vital place, a liturgical community. This community is located in the Jerusalem temple. There are there, each in turn, priests, levites, organic intellectuals, in sum, persons who have witnessed up close the controversy of a person who has sought refuge in the temple and who has found a supportive place in the sanctuary. From this we deduce that Psalm 23 was written by someone with poetic sensibility, inspired by the life of the person sheltered. The Psalmist has experience Yahweh s care. There in the temple, in the area of the kingdom of Yahweh, those who threaten him cannot capture him. The reasons for persecution may suggest debt matters and at the same time matters of justice.. Once in the sanctuary, he is lacking for nothing, because his shepherd/ king provides him with what he needs, that is, food, drink, protection, security, dignity and fraternity. The agressors are witnesses of the happy state of their enemy, but they can do nothing to him. For this reason the Psalmist has no fear and, in the presence of Yahweh, finds comfort. Yahweh as shepherd/ king is host to the one he protects. From the innocence of the refugee is born the air of celebration, because the liturgical community celebrates the salvation which has been received. The graces received have for the Psalmist a communitarian repercussion, the good and the solidatiry which he has experienced will come back to those who surround him, not by obligation but as gratitude. For reasons fo security and gratitude the Psalmist wishes to remain in the house of Yahweh.(AU) / Na América Latina temos pouca bibliografia sobre o Salmo 23. No entanto, contamos com alguns pesquisadores que podem dialogar academicamente com cientistas europeus sobre nosso objeto de estudo. Apesar do grande atrativo deste texto no mundo pastoral de nosso continente, o aporte exegético deste Salmo estava em dívida, o que se tem convertido numa de nossa justificação científica para o estudo do Salmo 23. O Salmo 23 se incrusta dentro do saltério. É poesia hebraica, a que se caracteriza pela repetição do sentido de suas frases. Seu conteúdo está nas entrelinhas pelo uso freqüente de imagens, símbolos e figuras. Por estas e outras razões é difícil assinalar sua data de origem, mas deve ser pré-exílico. Nosso texto revela, como lugar vital, uma comunidade litúrgica. Essa comunidade está localizada no templo de Jerusalém. Ali se encontram, por sua vez, sacerdotes, levitas, intelectuais orgânicos; enfim, pessoas que têm testemunhado de perto a controvérsia de uma pessoa refugiada no templo, a que tem achado no santuário um lugar de amparo. Desde aqui deduzimos que o Salmo 23 foi escrito por alguém de sensibilidade poética, inspirado na vida do asilado. O salmista tem experimentado os cuidados de Javé. Ali, no templo, na área do reino de Javé, seus ameaçadores não podem capturá-lo. Os motivos de perseguição podem sugerir assuntos de dívidas e, ao mesmo tempo, assuntos de justiça. Uma vez no santuário, não carece de nada, porque seu pastor/rei lhe fornece o que precisa, isto é, comida, bebida, proteção, segurança, dignidade e fraternidade. Os agressores são testemunhas do estado de felicidade de seu inimigo, mas não podem fazer-lhe nada. Por isso o salmista, não teme e, na presença de Javé, encontra seu consolo. Javé, como pastor/rei, hospeda a seu protegido. Pela inocência reconhecida do refugiado, nasce o ambiente de festa, porque a comunidade litúrgica celebra a salvação alcançada. As graças recebidas têm para o salmista uma repercussão comunitária, o bem e a solidariedade que experimentou voltarão aos que o circundam, não por obrigação e sim por gratidão. Por assuntos de segurança e agradecimento o salmista deseja permanecer na casa de Javé.(AU)