By David J. A. Clines, Ellen Van Wolde
This quantity honours the detailed contribution to Hebrew Bible experiences over 4 a long time via Cheryl Exum, Professor Emerita of religious study within the collage of Sheffield. Her distinctive pursuits have lain, first, within the sleek literary feedback of the Hebrew Bible, the place her key paintings was once Tragedy and Biblical Narrative: Arrows of the Almighty. Asecond quarter has been feminist feedback of the Hebrew Bible; right here her amazing 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, topic is the Bible and cultural stories, specially the Bible and paintings. Key works right here were a sequence of edited volumes, similar to past the Biblical Horizon: The Bible and the humanities, and The Bible in movie / The Bible and picture. Her fourth region of constant curiosity has been the music of Songs, with many articles culminating in her perceptive observation within the previous testomony Library sequence. during this wealthy quantity, 25 of her associates and co-workers supply her papers on these types of issues. 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 reports are represented through Alice Bach, Hans Barstad, Andrew Davies, David Gunn, Martin O'Kane, John Sawyer and Ellen van Wolde, and literary feedback by means of Michael Fox, Edwin strong, Norman Gottwald, Edward Greenstein, Francis Landy, Burke lengthy and Hugh Williamson.
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Extra info for A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum
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. 1-10; 2 Sam. 1-7). I am in no sense suggesting that Samuel was composed in as few as four steps, but simply that the results of these four out of many steps can be more readily identied and compared. At each new narrative stage, the story of David had not only been developed and expanded, but also set in a still more ancient context.
41. This is similar to the arguments of a number of researchers who attempt to explain the absence of Jerusalem from the Pentateuch. See Amit (2000: 133-40). 42. Kasher (2004: 668-69) emphasizes that ‘in the term nasi (president) are reservations about the historic kings of the house of David, and Ezekiel refers to a leader who is not an absolute king. The longing for and the use of David’s name reflect the reser- 16 A Critical Engagement In the prophecies of the Second Isaiah the house of David is mentioned only once (Isa.
Unless there is a clear indication to the contrary, the action described in the participle mtqdšt should be understood as contemporaneous with the action in the previous main clause ‘[and he lay with her] while she was …’ The hithpael of a Hebrew verb can describe what one does to or for oneself: mtqdšt could mean ‘was consecrating herself’. 2, 5). She might either have been demonstrating that she was qdš, or making herself out to be such. Only once else in the Hebrew Bible can we nd a singular subject of the hithpael of qdš7—and there (Ezek.