By David J. A. Clines, Ellen Van Wolde
This quantity honours the specific contribution to Hebrew Bible experiences over 4 a long time through Cheryl Exum, Professor Emerita of bible study within the collage of Sheffield. Her exact pursuits have lain, first, within the glossy literary feedback of the Hebrew Bible, the place her key paintings was once Tragedy and Biblical Narrative: Arrows of the Almighty. Asecond region has been feminist feedback of the Hebrew Bible; right here her awesome contributions have been Fragmented ladies: Feminist (Sub)versions of Biblical Narratives and Plotted, Shot, and Painted: Cultural Representations of Biblical girls. a more moderen, and now nearly favorite, subject matter is the Bible and cultural reviews, in particular the Bible and paintings. Key works the following 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 constant 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 pals and co-workers supply her papers on most of these topics. numerous are on or round the track of Songs (Graeme Auld, Fiona Black, David Clines, Sara Japhet, Martti Nissinen, Yair Zakovitch), and issues of feminist curiosity (Yairah Amit, Athalya Brenner, Claudia Camp, Hugh Pyper, Jack Sasson). Cultural reviews are represented by means 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 strong, Norman Gottwald, Edward Greenstein, Francis Landy, Burke lengthy and Hugh Williamson.
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Additional resources for A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum
It is not easy to suppose that writer and readers of the story of Amnon and Tamar were ignorant of these lines of the Song, or at least of the traditional 4. The possibility of double meaning is noted by Shimon Bar-Efrat, Das Zweite Buch Samuel. Ein narratologisch-philologischer Kommentar (BWANT, 9/16; Stuttgart: Kohlhammer, 2009), p. 128. 28 A Critical Engagement love-poetry and love-language on which the classic Song had drawn. Who knew such poetry? If the prince knew it, then his restating of his counsellor’s advice was all the more erotically fraught.
1 and Judg. 18). It seems to me that the main reason for omitting any explicit mention of David is related to the doubts of the writer vis-à-vis the place and status of the house of David during the period after the destruction, a period of uncertainty about whether there is a future for the Davidic dynasty and whether to see them as the vehicle for the hopes of redemption. The hesitation is therefore mainly a socio-political one of censorship. The destruction of Judah, the destruction of the Temple, the loss of independence and sovereignty, and the life in exile all hurt the status of the members of the Davidic dynasty, who were distanced from the monarchy.
David had insisted after Saul’s death that she return to his house: he did not want any rivals from the family of Saul (III). This king’s daughter regularly takes the initiative. She was already in love with David when her father determined to use his daughter’s love against David (1 Sam. 21). And in the nal Jerusalem scene, she followed up her private scorn by going out to confront the new king. The longest scene concerns David’s escape. His ight from Saul (1 Sam. 19) took him at rst no further than the fragile security of his own house.
A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum by David J. A. Clines, Ellen Van Wolde