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Chapter 1 begins with a well-known biblical poem, Psalm 23, in order to illustrate two problems facing biblical poetry readers: what are "lines" in (traditionally unlineated) biblical poetry, and why does it even matter? The chapter sets these overarching problems in the context of modern biblical poetry scholarship: the frameworks of parallelism and meter, and the confusion over whether "biblical poetry" is best defined by style or structure. While parallelism and meter are rejected, Robert Lowth's early observation of "conformation" is affirmed: biblical poetry does relate to structure, and it is built from lines that fit to each other, not lines that fit to a meter. This raises the question of how the free-rhythm (unlineated) lines of biblical poetry can be perceived or mentally organized as structural-rhythmic units by the listener or reader. A cognitive approach informed by the theory and method of Reuven Tsur is introduced as the solution.
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An appreciation of the form and artistry of texts is essential to the understanding of their content, and nowhere is this more evident than in the case of biblical poetry. But poetic form is also worthy of appreciation in its own right, and as the studies in this collection show, Hebrew poetry can be seen as a monument to the literary-artistic achievement of the ancients. Great strides have been made in the investigation of the form and structure of the biblical texts, and no new study of the Hebrew Bible can afford to ignore the fruitful work that has been done in this field. This useful collection presents in a handy format an ample harvest of research by many of the world's leading Hebrew Bible scholars who have published their work in the pages of Vetus Testamentum in recent decades. It provides a fascinating reflection of the continuing new discoveries of the richness of the biblical text, which informs the lively present-day study of the Hebrew Bible as world literature.
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Hebrew poetry, Biblical --- Bible. --- Criticism, interpretation, etc.
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Nous ne lisons pas la Bible comme il faut. Une lecture plus appropriée permet de mieux la comprendre et de mieux saisir ce qu'est le christianisme. La tradition catholique considère la Bible comme étant le point de départ de sa théologie ? la tradition protestante refuse par habitude de prendre en compte la manière dont la Bible est écrite afin d'en extraire le "message". Or la forme du texte si particulière ne peut être négligée ni occultée, sans quoi sa compréhension nous échappe. En effet, la Bible possède une teneur poétique indéniable, y compris dans les livres historiques et les prophéties. Jésus lui-même parle souvent de manière poétique, en suivant les normes de la poésie hébraïque. Il convient de lire la Bible, livre extraordinaire, comme nous lisons un poème, sans paraphraser, ni ajouter ni enlever. Personnel et passionné, ce livre invite à redécouvrir la Bible et la foi chrétienne.
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"Noting that Israel's earliest responses to earth-shaking changes were cast in the powerfully expressive language of poetry, Hugh R. Page Jr. argues that the careful collection and preservation of these traditions was an act of resistance, a communal no to the forces of despair and a yes to the creative power of the Spirit. Further, Page argues, the power of these poems to craft and shape a future for a people who had suffered acute displacement and marginalization offers a rich spiritual repertoire for Africana peoples today, and for all who find themselves perennially outside the social or political mainstream. Here Page offers fresh translations and brief commentary on the Bible's fifteen earliest poems, and explores the power and relevance of these poems, and the ancient mythic themes behind them, for contemporary life at the margins"--Publisher's description.
Hebrew poetry, Biblical --- Hebrew poetry, Biblical --- History and criticism --- Bible. --- Black interpretations.
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