|| "The study is published here essentially as it was presented as a doctoral dissertation at The Catholic University of America in 1996"--Page .
|Bibliography, etc. Note:
|| Includes bibliographical references (pages 203-207) and indexes.
|Formatted Contents Note:
|| Preface; Abbreviations; Chapter 1 INTRODUCTION; Purpose and Contribution; The Mourning Rites of the Ancient Near East; The Mourning Rites of Biblical Israel; The Role of the [omitted] in the Mourning Ceremony; Text Editions Used in This Study; Chapter 2 LAMENTATIONS 1; Translation and Critical Notes; The Mourning Ceremony Setting; Poetic Structure and Address; Exegesis; Conclusion; Chapter 3 LAMENTATIONS 2; Translation and Critical Notes; The Mourning Ceremony Setting; Poetic Structure and Address; Exegesis; Conclusion; Chapter 4 ISAIAH 51.9-52.2; Translation and Critical Notes.
The Mourning Ceremony SettingPoetic Structure and Address; Exegesis; Conclusion; Chapter 5 CONCLUSION; Lamentations 1; Lamentations 2; Isaiah 51.9-52.2; Bibliography; Index of References; Index of Authors; A; B; C; D; E; F; G; H; J; K; L; M; N; O; P; R; S; T; W; Y; Z.
|| Commentators are often disturbed by the presence of various speakers in the three poems of Lamentations 1 and 2, and Isaiah 51.9-52.2, the change of speakers being thought to disrupt the flow of ideas. This study shows that a close reading of all three poems in the light of their mourning ceremony setting displays a clear and consistent flow of thought. Purported cases of ''disruption'' now fit into their present context as moments in which different mourners voice their pains and their questions aloud, and bring their incomprehensible sufferings to Yahweh their God and the creator of all.
|Source of Description Note:
|| Print version record.