The issue of the so-called Elohistic Psalter has intrigued biblical scholars since the rise of the historical-critical enterprise. Scholars have attempted to discover why the name Elohim is used almost exclusively within Pss 42-83, and in particular they have attempted to identify the historical circumstances which explain this phenomenon. Traditionally, an original Yhwh was understood to have been replaced by Elohim. Nevertheless, throughout the modern period there remains no convincing account for this data.However, Frank-Lothar Hossfeld and the late Erich Zenger propose that the use of the title Elohim is theologically motivated, and they account for this phenomenon in their redaction-historical work. This investigation builds upon their work (1) by integrating insights from Dell Hymes, William Miles Foley, and Susan Niditch with regard to oral-traditional cultures, and (2) by following the text-linguistic approach of Eep Talstra and Christof Hardmeier and listening to canonical texture as a faithful witness to Israel's religious traditions. In building upon the work of Hossfeld and Zenger, Wardlaw proposes that the name Elohim within the Psalms is a theologically-laden term, and that its usage is related to pentateuchal traditions. First, this study describes the relationship between the book of Psalms and the Pentateuch (i.e., cohesion). Second, this study comments on the dating of the pentateuchal materials within which the relevant phenomena are found. Third, the semantic associations of the name Elohim are identified, as well as their relation to usage within the Psalms.

The issue of the so-called Elohistic Psalter has intrigued biblical scholars since the rise of the historical-critical enterprise. Scholars have attempted to discover why the name Elohim is used almost exclusively within Pss 42-83, and in particular they have attempted to identify the historical circumstances which explain this phenomenon. Traditionally, an original Yhwh was understood to have been replaced by Elohim. Frank-Lothar Hossfeld and the late Erich Zenger propose that the use of the title Elohim is theologically motivated, and they account for this phenomenon in their redaction-historical work. Wardlaw here builds upon their work (1) by integrating insights from Dell Hymes, William Miles Foley, and Susan Niditch with regard to oral-traditional cultures, and (2) by following the text-linguistic approach of Eep Talstra and Christof Hardmeier and listening to canonical texture as a faithful witness to Israel's religious traditions. Wardlaw proposes that the name Elohim within the Psalms is a theologically-laden term, and that its usage is related to pentateuchal traditions.