psalm 118
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2021 ◽  
Vol 3 (3) ◽  
pp. 211-220
Author(s):  
Maria Turilova
Keyword(s):  

In the article we regard a verb in the verse «God is the Lord, and hath appeared unto us. Blessed is he that cometh in the name of the Lord», made of the verses of Psalm 117 (in Greek, Old Church Slavonic, Russian; Psalm 118 in English and some oth.) and included into the texts of the Matins and prayer services. Verbs авити (˫авити) сѧ and просвьтѣти сѧ are used in Old Church Slavonic texts and yavílsya, osiyál, vossiyál are in Russian translations. Verbs with the meanings ‘appeared, showed oneself, discovered oneself, allowed to know Him’ and ‘illuminate, lighten’ are used in the translations of Bible and liturgical texts in other languages. The verse mentioned and related biblical contexts refer to Epiphany. In the article we regard reasons for the choice of words for translation.


2020 ◽  
pp. 186-208
Author(s):  
Ириней (Пиковский)

В данной статье поднимается вопрос авторства и датировки псалма 118 (119 по еврейской традиции). Несмотря на то, что некоторые экзегеты Древней Церкви относили данный псалом к царю Давиду, большинство исследователей настоящего времени придерживаются более поздней датировки. Основанием для этого, как правило, служит близость данного псалма к литературе мудрости периода Второго Храма. При исследовании литургических особенностей 118 псалма в статье выдвигается гипотеза, что псалом исполнялся за богослужением в Иерусалимском храме и был не «учебником для Соломона», а поэтическим восхвалением Бога через созерцание мудрости в Его законе, словах, делах, путях, уставах и откровениях. Особенности древнееврейской лексики позволяют исследователю сделать вывод, что текст 118 псалма является вторичным по отношению к более ранним псалмам эпохи Давида. В то же время он написан в духе Давида и появился раньше основного корпуса литературы мудрости периода Второго Храма. This article raises the issue of authorship and dating of Psalm 119 (118 by Septuagint). Despite the fact that some exegetes of the Ancient Church attributed this psalm to King David, most scholars of the present time adhere to a later date. Quite often this assumption based on the proximity of this psalm to the wisdom literature of the Second Temple period. In the study of the liturgical features of 119 psalm, the author of this article hypothesizes that the psalm was performed during worship in the Jerusalem Temple and was not a «textbook for Solomon», but a poetic praise of God through contemplation of wisdom in His law, words, deeds, ways, charters and revelations. The peculiarities of the Hebrew vocabulary allow the researcher to conclude that the text of psalm 119 is secondary to the earlier psalms of the David era. At the same time, it was written in the David's style and spirit and came into existance before the main part of the wisdom literature of the Bible.


2018 ◽  
Vol 20 (2) ◽  
pp. 17-34
Author(s):  
Petr Mareček
Keyword(s):  

2018 ◽  
Vol 17 (1) ◽  
pp. 24-73
Author(s):  
Dimos Papatzalakis

Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.


2017 ◽  
pp. 247-318
Author(s):  
ERIK H. HERRMANN
Keyword(s):  

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