Through the ages, the book of Ecclesiastes (Qoheleth) has elicited a wide variety of interpretations. Its status as wisdom literature is secure, but its meaning for the religion of the Hebrew Bible and its heirs has been a matter of much debate. The debate has swung from claiming orthodoxy for the book to arguing that the message intended by its author is heterodox, in its entirety. There are a number of passages in the book that present difficulties for any comprehensive approach to the work. Martin Shields here fully acknowledges the heterodox nature of Qoheleth's words but offers an orthodox reading of the book as a whole through the eyes of the author of the epilogue. After a survey of attitudes regarding wisdom in the Hebrew Bible itself, which serves as an orientation to the monograph as a whole, Shields provides a detailed study of the epilogue (Qoh 12:9-14), which he believes is the key to the reading of the remainder of the book. He then addresses various problematic texts in the book in light of this perspective, arguing that the book could originally have functioned as a warning to students against joining a wisdom movement that existed at the time of the book's composition. Qoheleth is presented as a true adherent of this movement, and the divergence of his words from the theism presented in the rest of the Hebrew Bible becomes the basis of the epilogue's critique. Finally, Shields proposes a historical context in which just this scenario may have arisen, showing that the desire of the writer of the epilogue is to correct a wayward wisdom tradition.
Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016
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