The Writings: Psalms

Abstract

The WritingsPsalms Thomas Hieke, Fred W. Guyette, Christopher T. Begg, and William J. Urbrock Thomas Hieke Johannes Gutenberg Universität Mainz Fred W. Guyette Erskine College and Seminary Christopher T. Begg Catholic University of America William J. Urbrock University of Wisconsin Oshkosh 2247. [David in the Psalms and 1–2 Samuel] Egbert Ballhorn, "Der doppelte David: Amt und Macht eines Vorbilds," BK 75 (2020) 198-204. First, B. briefly sketches the picture of King David that emerges from reading the Books of Samuel. However, the image which the Psalms present of David differs significantly from that of the OT historical books; the Psalms broaden the picture. Especially the biographical references to David in the headings of certain Psalms trigger this impression: These references connect David's biography and prayer. In the Psalms, one gets the impression of David as a man on the run, a refugee at the lowest point of his career. This picture of a poor, weak David who deeply trusts in God is an invitation for identification. Kingship in the perspective of the Psalter does not rely on power but on trust in God (see Deut 17:14-20 in combination with Psalm 1). Thus, in its treatment of David, the Psalter emerges as a spiritual text on the one hand, while on the other it has political implications as well.—T.H. Google Scholar 2248. [Lament Psalms] Fiona C. Black, "Public Suffering? Affect and the Lament Psalms as Forms of Private-Political Depression," Reading with Feeling: Affect Theory and the Bible, 71-94 [see #2520]. B. poses a fruitful question: What if we could incorporate the psalms of lament into a history of personal and social depression? How might their unique representation of pain and suffering figure in our understanding of depression's cultural legacy? Drawing on Ann Cvetkovich's works, An Archive of Feelings (2003), and Depression: A Public Feeling (2012), B.'s essay explores the idea of depression not only as an interior, individual affliction—as we might typically think of it—but as a complex, affective picture that reveals a publicly produced register of feelings in response to various social and economic forces. Powerful lions are roaring at us, ready to attack (Psalm 22). Ravenous wolves have surrounded the city, looking for prey (Psalm 59). The imagery in these psalms works on both levels—the personal and the political—in a powerful way.—F.W.G. Google Scholar 2249. [Wellness, Illness, and the Psalms] C. L. Crouch, "Wellness, Illness and the Psalms: Biblical and Theological Conversations," HBT 42 (2020) 139-40. As guest editor of this special issue of HBT, C. provides the following opening statement concerning the topic which is its focus: … The four essays in this special issue originated in a conference hosted by the Centre for Bible, Ethics and Theology and held at the University of Nottingham in November 2018. As with other projects of the Centre, the conference sought to facilitate a constructive dialogue and collaborative work between theologians and biblical scholars. In [End Page 830] this instance, two Hebrew Bible/OT scholars and two Christian systematic theologians met to examine contemporary concepts of wellness and illness, using the Book of Psalms as a common conversation partner and foundational text. [p 139, adapted] In the continuation of his introduction, C. offers remarks on each of the four essays that follow; for abstracts of these, see ##2264, 2267, 2274, 2275.—C.T.B. Google Scholar 2250. [The Interpretation of the Psalms in the Oratorio Le Roi David of Arthur Honegger and René Morax] Jean Duhaime and Sylvain Caron, "L'interprétation des psaumes dans l'oratorio Le Roi David d'Arthur Honegger et René Morax," Theoforum 49 (2019) 259-96. The poetic sections of the oratorio Le Roi David by Arthur Honegger and René Morax include "psalms" and "canticles" inspired by the Psalter. In this study, biblical scholar D. and musicologist C. begin by recalling the context in which the oratorio was created (1921–1924), and then proceed to describe the content and structure of the libretto, and present the psalmic fragments it contains. They then analyze Morax's work...