By Harry P. Nasuti
At a time while the point of interest of Psalms examine has more and more shifted from the form-critical matters of Hermann Gunkel and his fans, Defining the Sacred Songs argues for the continuing significance of style as an interpretative class within the post-critical period. Drawing on insights from the Psalms' lengthy interpretative culture, Nasuti is ready to deliver a clean point of view at the position that the style definition of those texts performs in either modern scholarship and the lifetime of the groups that use them. the result's a greater appreciation of the unusual energy of the Psalms and a brand new un. Read more...
summary: At a time whilst the point of interest of Psalms examine has more and more shifted from the form-critical matters of Hermann Gunkel and his fans, Defining the Sacred Songs argues for the continuing significance of style as an interpretative class within the post-critical period. Drawing on insights from the Psalms' lengthy interpretative culture, Nasuti is ready to carry a clean viewpoint at the position that the style definition of those texts performs in either modern scholarship and the lifetime of the groups that use them. the result's a greater appreciation of the ordinary strength of the Psalms and a brand new un
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Additional resources for Defining the sacred songs: genre, tradition, and the post-critical interpretation of the Psalms
17–19). In 16:21, the accusation “you slaughtered my (LXX: your) children” refers not to the ﬁrstborn, although it is followed by µtwa ryb[hb (as is 20:26 as well), which is the language used for ﬁrstborn (cf. Exod 13:12; 34:19). Rather, it refers to sacriﬁcing before Molek, despite the absence of either the word Molek or the term vab ‘by ﬁre’ here (compare Ezek 23:37: “and their sons . . they have also set apart to them [to the idols] for food”). ” It is clear that the historical surveys and the accusations regarding crimes for which the exiles were not responsible were meant to explain and justify the destruction of the temple.
26 Scholars who paid no heed to the complexity of the term tended to deﬁne Ezekiel as the founder of apocalypticism. Others claimed that Ezekiel had some of the qualities of this movement, but they did not consider him one of its representatives, certainly not one of its founders. 27 This second 26. The term ‘apocalypse’ ajpokaluv yiÍ, appears at the beginning of Revelation and is typical of this work, the ﬁrst two verses of which (1:1–2) express its character. The term, as a noun and as a verb deriving from it, appears again on a few occasions in the New Testament (Matt 16:17; Gal 1:12; Eph 3:3–5).
Verse 17 is not the opening of a new unit. Johannes Lindblom considers chap. 13 to be one of the examples of what he calls a “ﬁctitious speech,” because “we can hardly imagine that Ezekiel once assembled all the false prophets of Israel and prophesied doom against them” (Prophecy in Ancient Israel [Oxford: Blackwell, 1962] 153). In his view, such “speeches” are prevalent with Ezekiel. The appellation “ﬁctitious speech” is certainly appropriate, though not because of Lindblom’s reasons, because he believes that the “ﬁctitious speeches” were also delivered in public, “not in their present form, but in another way” (p.