F. W. Dobbs-Allsopp, On Biblical Poetry

2017 ◽  
Vol 14 (2-3) ◽  
pp. 377-380
Author(s):  
Chanita Goodblatt
Keyword(s):  
Biblical Poetry

Liturgical Poetry in the Late Antique Near East

2010 ◽  
Vol 1 (3) ◽  
pp. 336-361 ◽  
Author(s):  
Ophir Münz-Manor
Keyword(s):  
Comparative Study ◽  
Late Antiquity ◽  
Near East ◽  
The Other ◽  
Late Antique ◽  
Biblical Poetry ◽  
Contemporary View ◽  
Cultural Dialogue ◽  
The One

The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.

Book Review: The Art of Biblical Poetry

Theology ◽  
1991 ◽  
Vol 94 (758) ◽  
pp. 144-145
Author(s):  
Trevor Dennis
Keyword(s):  
Biblical Poetry

A centrifugal structure in Biblical poetry

Semiotica ◽  
1986 ◽  
Vol 58 (1-2) ◽  
Author(s):  
DANIEL GROSSBERG
Keyword(s):  
Biblical Poetry

The “Spirit of Yhwh” and Samson’s Martial Rage: A Leitmotif of the Biblical Warrior Tradition

2021 ◽  
pp. 1-23
Author(s):  
Dylan Johnson
Keyword(s):  
Historical Context ◽  
Great Power ◽  
Near Eastern ◽  
Biblical Poetry

Abstract In Judg 14–15, the source of Samson’s strength is not his uncut hair, but the רוח־יהוה. A Leitmotif of the biblical warrior tradition, the רוח־יהוה is a corporealized metaphor of fiery anger that envelops Samson and grants him great power. This motif was adapted from early biblical poetry, in which Yhwh’s wrath erupted as a fiery breath (רוח) against his cosmic foes. This study explores how the historical context of Judg 14–15 informs the use of this motif, comparing the רוח־יהוה with similar concepts of martial anger in Near Eastern and Greek warrior traditions. Like Mesopotamian melammu and Greek μηνις, the רוח־יהוה was part of a corporeal code that enabled ancient minds to think about the relations between mortals and divine beings in the context of battle.

Who Is Like God?

2019 ◽  
pp. 75-97
Author(s):  
Lenn E. Goodman
Keyword(s):  
Trial And Error ◽  
Biblical Poetry ◽  
Idea Of God

Chapter 3 voices disappointment in learned efforts to “remythologize” the idea of God. Seeking to take scriptural imagery seriously, such efforts mistake the images for the God they intend. The mixed metaphors characteristic of biblical poetry reveal the elusiveness of the Transcendent and confess more eloquently than dry talk about ineffability how hard it is for words to capture any aspect of divinity. Yet, halting as their tropes may be, biblical poetics mark out a pathway. We must not assume the Torah’s authors, or their audience, spoke more slowly than we do—lest we cultivate a spiritual diglossia in our own minds and fail to integrate what we believe with what we know. Efforts to bring God closer to hand by allowing that He forgets, regrets, or learns by trial and error may hope to elevate our understanding but risk transforming the Mosaic God into a Deweyan “fellow learner.”

Centripetal and Centrifugal Structures in Biblical Poetry (review)

1991 ◽  
Vol 32 (1) ◽  
pp. 104-107
Author(s):  
Brian Peckham
Keyword(s):  
Biblical Poetry
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