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• Abstract • Introduction • The structure of Habakkuk 3: Modern critical opinions • The structure of Habakkuk 3: Ancient perspectives • General orientation • The Greek Minor Prophets from Nahal Hever • The Twelve Prophets Scroll from Wadi Murabba at • Masoretic Manuscripts and the Biblia Rabbinica • Structural patterns and dominant motifs in Habakkuk’s הלפת • Inclusio as dominant structural pattern • Communication patterns • YHWH the warrior and personal prayer or confession as focal points • Conclusion • Acknowledgements • Competing interests • References • Footnotes • Addendum 1 Habakkuk 3 is one of the most controversial texts in the Hebrew Bible.
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Jdc 5 [Judges]; Dtn 33, 2–5.26–29; Ps 68) bestimmtes Korpus (V.3–15) und einen von der Ich-Rede des Propheten dominierten Rahmen V.2.16–19. 151) A typical example of the demarcation of the structure of the text from a redaction-historical perspective is provided by Avishur (191–205).a lament about the people’s present plight, accompanied by an invocation or supplication to God to deliver the people from their distress.
Incorporated in such lamentations after the invocation to God is a hymn describing God’s mighty deeds …
Adherents of the former approach recognise various later additions to the chapter whilst adherents of the latter emphasise its literary unity.
‘in anger’ The hymn consists of two units ‘which differ from one another thematically and structurally, despite their common theme, God’s mighty deeds’ (Avishur 198).This study evaluates this evidence and reads Habakkuk 3 in the light of the units demarcated in ancient manuscripts.It raises awareness of interesting structural patterns in the poem, calls for a rethinking of traditional form critical categories, and opens avenues for an alternative understanding of the pericope.The theme of the first (3:3–6) is the divine revelation at Sinai and is reminiscent of texts like Deuteronomy 33:2–3; Judges 5:4–5 and Psalm 68:8–9.It begins and ends with a reference to mountains (cf.
Habakkuk 3:3–7 describes the appearance of God from the southeast and nature’s response to the appearance by means of third person verbal forms (Hiebert 19). 14)’ (Andersen 202).passage divides readily into four parts: Habakkuk’s second superscription (3:1); a prophetic prayer and theophany report of God’s advance from the south (3:2–7); a theophany regaling YHWH for his victory over chaos (3:8–15); and a prophetic response (–19). 679)Mathews (20) engages in a ‘performance approach’ to the book of Habakkuk and consequently provides a ‘dramatic division of the book of Habakkuk into acts and scenes’.