By David J. A. Clines, Ellen Van Wolde
This quantity honours the particular contribution to Hebrew Bible stories over 4 many years via Cheryl Exum, Professor Emerita of bible study within the college of Sheffield. Her targeted pursuits have lain, first, within the glossy literary feedback of the Hebrew Bible, the place her key paintings used to be Tragedy and Biblical Narrative: Arrows of the Almighty. Asecond region has been feminist feedback of the Hebrew Bible; the following her extraordinary contributions have been Fragmented girls: Feminist (Sub)versions of Biblical Narratives and Plotted, Shot, and Painted: Cultural Representations of Biblical ladies. a newer, and now virtually favorite, subject matter is the Bible and cultural experiences, specially the Bible and artwork. Key works right here were a sequence of edited volumes, reminiscent of past the Biblical Horizon: The Bible and the humanities, and The Bible in movie / The Bible and movie. Her fourth quarter of continuous curiosity has been the track of Songs, with many articles culminating in her perceptive statement within the previous testomony Library sequence. during this wealthy quantity, 25 of her acquaintances and co-workers provide her papers on most of these subject matters. numerous are on or round the music of Songs (Graeme Auld, Fiona Black, David Clines, Sara Japhet, Martti Nissinen, Yair Zakovitch), and themes of feminist curiosity (Yairah Amit, Athalya Brenner, Claudia Camp, Hugh Pyper, Jack Sasson). Cultural reviews are represented by way of Alice Bach, Hans Barstad, Andrew Davies, David Gunn, Martin O'Kane, John Sawyer and Ellen van Wolde, and literary feedback through Michael Fox, Edwin stable, Norman Gottwald, Edward Greenstein, Francis Landy, Burke lengthy and Hugh Williamson.
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Additional info for A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum
A Commentary (OTL; Louisville, KY: Westminster/John Knox Press, 2005). 2. L. McKenzie and T. ), Rethinking the Foundations: Historiography in the Ancient World and the Bible (BZAW, 294; Berlin: de Gruyter, 2000), pp. 23-32 ( = Graeme Auld, Samuel at the Threshold [Aldershot: Ashgate, 2004], pp. 205-11); ‘Tamar between David, Judah and Joseph’, SEÅ 65 (2000), pp. 93-106 ( = Auld, Samuel, pp. 213-24). 22 A Critical Engagement of the book. And the fourth stage is constituted by the messianic songs inserted near beginning, middle, and end (1 Sam.
She spoke to withhold her consent; and so what followed was rape. And she spoke again as she was being thrown out of Amnon’s house. And so we are left wondering whether she would not have made a protest earlier, had she too not been complicit in the initial love-making of preparing heart-cakes for her half-brother. Amnon would not listen to Tamar (v. 14). ‘Was not willing’ (l’ ’bh) is a feature of this chapter (vv. 6 On Amnon’s side, the hatred that followed the snatched liaison was greater than the love which led to it (v.
The Deuteronomistic History (JSOTSup, 15, Sheffield: JSOT Press; original 1981 edition, 1943). M. 2008 Isaiah 40–66: Introduction and Commentary. I. Chapters 40–48; II. Chapters 49–66 (Mikra Leyisra’el; Tel Aviv: Am Oved; Jerusalem: The Magnes Press) (Hebrew). 20 A Critical Engagement Rad, G. von 1963 Genesis: A Commentary (London: SCM Press). Rendsburg, G. 1986 ‘David and his Circle in Genesis xxxviii’, VT 36 :438-46. M. 1989 Genesis Bereshit (The JPS Torah Commentary; Philadelphia: The Jewish Publication Society).
A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum by David J. A. Clines, Ellen Van Wolde