AbstractThis article is a social-scientific investigation of the ideology displayed in Psalm 1 and the ideology displayed in Psalm 2. It endeavours to describe the ideological points of contact between the two psalms, so as to determine the possible ideological point of view of the editor who juxtaposed the two psalms to form an introduction to the book of Psalms as a whole. The article concludes that the editor of the Psalms propagated a view of Yahwism as presupposing and necessitating a theocratic society, both nationally and internationally.

AbstractThis article investigates the form and purpose of Psalm 101 from two perspectives: As a unique composition from the late Persian or early Hellenistic period, and in terms of its function within the context of Book IV of the Psalter. It is suggested that it was designed by exponents of wisdom and Torah piety to serve as a ‘royal psalm’ at exactly this location in the Psalter. It was meant to offer support to faithful Yahwists by criticising the apostate Judean aristocracy of its time of origin and serve as a prayer with which Yahweh could be beseeched to establish his righteous rule by judging evildoers and thus vindicating the faithful.

AbstractApplying cognitive linguistics to the text of Psalm 2 is shown to be indispensable for a more comprehensive understanding of this psalm. Studying the poet's use of cognitive concepts such as "heaven" and "earth", as well as his reference to Zion and certain body-parts, makes it possible to reconstruct the psalm as a form of "body-cosmology". In this exegetical structure, Psalm 2 can be described as a liturgical poem which was possibly recited during the anointing ceremonies of the Judean kings. Here, a mere human being is re-created as the "son of Yahweh" to rule as an extension of Yahweh's "god-space" over "that-which-is-below". Any rebellion from within "earthly space" will be dealt with by Yahweh himself.

AbstractShachar is identified primarily as a primary noun that is translated as ‘dawn’ within the Hebrew Bible, yet one must not ignore its mythical dimension. Within the Davidic trilogy Psalms 108–110, Shachar takes on an important function, concerning the unity and the message of the trilogy within Book V (Pss 107–150) of the Book of Psalms. A process of restoration (of honour and identity) and hope is announced within Psalm 108 and started within Psalm 110 for Israel after a time of war and exile. This is demonstrated through the mythical, royal and temporal dimensions of Shachar as two dawns within Psalm 108:3 and Psalm 110:3.

Abstract“Disjunctive parallelism”, in contrast to line-adjacent “conjunctive parallelism”, refers to a perceived parallel line (the “B” colon) that occurs within a text at some point removed from its corresponding “A” line. This stylistic device functions to delineate structural units (strophes, stanzas) of different size within a poetic text and frequently also serves to highlight a certain important motif or theme. Four different types of disjunctive parallelism based on verbal recursion are described and illustrated in part one of this study: Enclosure, Juncture, Aperture, and Closure. Various kinds of supporting feature are also listed – poetic elements that help to confirm the internal compositional boundaries that have been posited. This methodology of textual demarcation is applied in a structural analysis of Psalm 132, which, in addition to its normal linear development, is shown to have a double terraced discourse arrangement that focuses upon Yahweh’s promise to David of an ongoing line of royal descendants in his “dwelling place” of “Zion”. In conclusion, the relevance of this study for evaluating the poetic organization of different Bible translations is pointed out.

AbstractThe authors of the psalms implemented body rhetoric, especially the notion of the ‘whole body’ as the ideal body, in the various genres of psalms, with specific purposes in mind. The whole body as ideal body served as a defining paradigm within the ancient Israelite culture. In this article, the relationship between the embodied God-concept, the ideal societal body and the individual body is investigated in order to determine the purpose of the implementation of this ideology of whole-bodiedness in selected psalm genres. In Psalm 2, the political body as cultural construct plays a prominent role in directing the individual to think of the body in a specific manner. In Psalm 6, the ‘broken body’ drives the lamentation of the psalmist towards recovery. Psalm 29 reflects the poet’s ability to sketch, in hymnic-embodied language, God’s relationship with his creation and his people and the poet’s worship for God’s fullness of existence and activity. Psalm 32, as a psalm of thanksgiving, pictures God as the whole body in terms of the saviour, protector and healer of the broken (sinful) body.