The most common English translations of the Bible often sound like a single, somewhat archaic voice. In fact, the Bible is made up of many separate books composed by multiple writers in a wide range of styles and perspectives. It is, as Michael Carasik demonstrates, not a remote text reserved for churches and synagogues but rather a human document full of history, poetry, politics, theology, and spirituality. ¾Using historic, linguistic, anthropological, and theological sources, Carasik helps us distinguish between the Jewish Bibleês voicesãthe mythic, the historical, the prophetic, the theological, and the legal. By articulating the differences among these voices, he shows us not just their messages and meanings but also what mattered to the authors. In these contrasts we encounter the Bible anew, as a living work whose many voices tell us about the world out of which the Bible grewãand the world that it created.
Did the Hebrew mind work differently from those of people in the Western tradition of civilization? This long-discredited question still lingers in biblical studies. Theologies of the Mind in Biblical Israel approaches the topic of the Israelite mind from a new direction, exploring how the biblical texts themselves, especially Proverbs and Deuteronomy, describe the working of the mind. It demonstrates that the much-discussed role of memory in the Bible is just one part of a general understanding that in the realm of 'knowledge' God and humanity are rivals.
Did the Hebrew mind work differently from those of people in the Western tradition of civilization? This long-discredited question still lingers in biblical studies. Theologies of the Mind in Biblical Israel approaches the topic of the Israelite mind from a new direction, exploring how the biblical texts themselves, especially Proverbs and Deuteronomy, describe the working of the mind. It demonstrates that the much-discussed role of memory in the Bible is just one part of a general understanding that in the realm of 'knowledge' God and humanity are rivals.
The most common English translations of the Bible often sound like a single, somewhat archaic voice. In fact, the Bible is made up of many separate books composed by multiple writers in a wide range of styles and perspectives. It is, as Michael Carasik demonstrates, not a remote text reserved for churches and synagogues but rather a human document full of history, poetry, politics, theology, and spirituality. Using historic, linguistic, anthropological, and theological sources, Carasik helps us distinguish between the Jewish Bible's voices--the mythic, the historical, the prophetic, the theological, and the legal. By articulating the differences among these voices, he shows us not just their messages and meanings but also what mattered to the authors. In these contrasts we encounter the Bible anew, as a living work whose many voices tell us about the world out of which the Bible grew--and the world that it created.
This work is a study in the attribution, aesthetics and representations of Yahweh’s speeches in the Hebrew Bible. It describes the literary elegance and beauty of the speeches of Yahweh in the Abrahamic narratives. Employing a synchronic reading of the Abrahamic cycle, it underscores the presence of various literary devices in the divine speeches (12:1-9, 13:1-18, 15:1-21, 17:1-27, 18:1-33, and 22: 1-19). Specifically, it engages the high concentration, literary effects and use of metaphors/metaphoric language, similes, alliterations, wordplays, euphemisms, hyperboles, repetitions, allusions and other distinctive literary features in the speeches of Yahweh which are deliberately denied, and glaringly absent in the speeches of the other main characters of the Abrahamic narratives (e.g. Abraham, Sarah, and Hagar). Similarly, it demonstrates the importance of these elevated speeches in the narrative world of Abrahamic epic. Most importantly, it also highlights the ideological significance of these decorated speeches of Yahweh to the original audience of the narrator who presumably identified with their excessive optimism and rhetoric. Consequently, this book is a pioneering work in the contemporary study of stylistics, characterizations and functions of attributed speeches in the Hebrew narratives.
Bach & God explores the religious character of Bach's vocal and instrumental music in seven interrelated essays. Noted musicologist Michael Marissen offers wide-ranging interpretive insights from careful biblical and theological scrutiny of the librettos. Yet he also shows how Bach's pitches, rhythms, and tone colors can make contributions to a work's plausible meanings that go beyond setting texts in an aesthetically satisfying manner. In some of Bach's vocal repertory, the music puts a "spin" on the words in a way that turns out to be explainable as orthodox Lutheran in its orientation. In a few of Bach's vocal works, his otherwise puzzlingly fierce musical settings serve to underscore now unrecognized or unacknowledged verbal polemics, most unsettlingly so in the case of his church cantatas that express contempt for Jews and Judaism. Finally, even Bach's secular instrumental music, particularly the late collections of "abstract" learned counterpoint, can powerfully project certain elements of traditional Lutheran theology. Bach's music is inexhaustible, and Bach & God suggests that through close contextual study there is always more to discover and learn.
Examining the mistreatment of persons with mental disabilities around the world, Michael Perlin identifies universal factors that contaminate mental disability law, including lack of comprehensive legislation and of independent counsel; inadequate care; poor or nonexistent community programming; and inhumane forensic systems.
In the ancient Near East, the distinction between the divine realm and the material world was not always clear. In Mesopotamia, statues, kings, and even cultic utensils could become "gods" in their own right. Certain biblical traditions show this idea as well. Yhwh appears as a human during visitations to Abraham and Jacob (Gen 18:1-2 and 32:25-31). Yhwh also can act through objects (Gen 15:17; 1 Sam 5:1-5). This suggests that, in Israel as in Mesopotamia, a distinction between humans and gods was one of status more than ontology. Throughout the ancient Near East, religious literature included motifs that emphasized divine status, such as power, size, wonder-working ability, and the possession of numinous qualities. In Israel, these divine "status symbols" were frequently storm motifs like cloud, precipitation, and fire. Fire was one of the most common, perhaps because, being vivid and powerful, it shared Yhwh's life-giving, transformative, yet dangerous qualities. In certain narratives, fiery motifs accompany an embodied divine presence. At other times, fiery phenomena are the sole perceptible indications of divine presence. As a motif of divinity, fire can symbolize divine agency even functioning at a distance from Yhwh or shared with a secondary agent like an angel, tool, or weapon. Israel's extensive use of fire in the cult gives witness to similar traditions. Divine fire accompanies each new cultic inauguration in the Hebrew Bible. A tradition in Leviticus suggests that this fire remained continuously burning and served as a "gate" that allowed God to received portions of the cultic offering. In the Hebrew Bible, fire was thus a "status symbol" of divinity, drawn from traditional storm motifs and ancient conventions of divine embodiment. In its vivid ethereal appearance and power to give, transform, and take life, it symbolized the presence and agency of Yhwh, the God of Israel.
Three esteemed Old Testament professors introduce students to the first eighty percent of the Bible-freshly illuminating the text as a rich source of theology and doctrine packed with practical principles for modern times.
Every theology student has to write a research paper, but many do not know how to go about doing theological research. In this brief guide, Michael Kibbe introduces students to the basics of academic research, including how to gather and engage different sources, use online databases and bibliography software, and avoid common mistakes.
A lot can happen in 30 seconds. In the case of the shoot-out at the O.K. Corral, 30 seconds found three men dead, left two men wounded and ultimately captured the imagination of generations of Americans. Wyatt Earp, an against-all-odds hero who was literally the last man standing; Doc Holliday, Earp's unlikely crony; the tragic tale of the Earp family--all of these elements make the story of the O.K. Corral irresistible to a great many people. Hollywood filmmakers were quick to recognize the legend's attraction--and its potential. As early as 1939 (with the production of Frontier Marshal), moviemakers were recreating the gunfight at the O.K. Corral and its attendant happenings in Tombstone, Arizona, on October 26, 1881. The following decades produced various renderings of the story, some more historically accurate than others but all with the American flair for entertainment. This volume examines eight movie renderings of the legendary gunfight. Produced from 1939 to 1994, these movies each use Wyatt Earp and other real-life characters as their sources. The work focuses on the filmmakers' treatment of the history and the skill with which each balances fact with the necessity of entertainment. The ways in which Wyatt Earp is presented in each film and this portrayal's relationship to the period in which the film was made is also examined in detail. Films discussed are Frontier Marshal (1939), Tombstone: The Town Too Tough to Die (1942), My Darling Clementine (1946), Gunfight at the O.K. Corral (1957), Hour of the Gun (1967), Doc (1971), Tombstone (1993), and Wyatt Earp (1994). Period photographs are also included.
Continuing a Gold Medallion Award-winning legacy, the completely revised Expositor's Bible Commentary puts world-class biblical scholarship in your hands. A staple for students, teachers, and pastors worldwide, The Expositor's Bible Commentary (EBC) offers comprehensive yet succinct commentary from scholars committed to the authority of the Holy Scriptures. The EBC uses the New International Version of the Bible, but the contributors work from the original Hebrew and Greek languages and refer to other translations when useful. Each section of the commentary includes: An introduction: background information, a short bibliography, and an outline An overview of Scripture to illuminate the big picture The complete NIV text Extensive commentary Notes on textual questions, key words, and concepts Reflections to give expanded thoughts on important issues The series features 56 contributors, who: Believe in the divine inspiration, complete trustworthiness, and full authority of the Bible Have demonstrated proficiency in the biblical book that is their specialty Are committed to the church and the pastoral dimension of biblical interpretation Represent geographical and denominational diversity Use a balanced and respectful approach toward marked differences of opinion Write from an evangelical viewpoint For insightful exposition, thoughtful discussion, and ease of use—look no further than The Expositor's Bible Commentary.
A cursory glance at Hebrews' critique of Israel's fear at Sinai in Heb 12:18-29 suggests that the author has misunderstood or manipulated his sources. In the Pentateuch, the appointment of Moses as Israel's mediator receives explicit approval (Exod 19:9; Deut 5:28), while Heb 12:25 labels their request for mediation a "refusal" to heed the word of God. This book argues that Hebrews' use of the Sinai narratives resides on a complex trajectory established by four points: the Sinai covenant according to Exodus, the reenactment of that covenant according to Deuteronomy, the call for a NEW covenant according to Jeremiah, and the present reality of that covenant established by God and mediated by Jesus Christ. The basis for Hebrews' critique arises from its insight that while Israel's request established covenant-from-a-distance, Jesus demonstrates that true covenant mediation brings two parties into a single space. The purpose for Hebrews critique lies in its summons to Zion, the mountain on which Jesus sits at the right hand of God as the high priestly mediator of the new covenant.
Including the complete screenplay, the only official book on the making of the new film is a full-color, behind-the-scenes companion to the summer blockbuster. 120 color illustrations.
Profiles twenty-five of the most famous movie monsters, including King Kong, Dracula, Frankenstein, and Godzilla; includes information about the films and special effects, a complete filmography, and a list of the remakes that are available.
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