"This book traces the retelling of the biblical story from Judges 4-5 in ancient retellings of the Bible, visual art, poems, plays, and novels. The books shows how these cultural productions of an old biblical story intersect with broader conversations about the often conflicted, and sometimes violent, relationship between women and men"--
"This book traces the retelling of the biblical story from Judges 4-5 in ancient retellings of the Bible, visual art, poems, plays, and novels. The books shows how these cultural productions of an old biblical story intersect with broader conversations about the often conflicted, and sometimes violent, relationship between women and men"--
Winner of the 2019 SECAC Award for Excellence in Scholarly Research and Publication In The Riddle of Jael, Peter Scott Brown offers the first history of the Biblical heroine Jael in medieval and Renaissance art. Jael, who betrayed and killed the tyrant Sisera in the Book of Judges by hammering a tent peg through his brain as he slept under her care, was a blessed murderess and an especially fertile moral paradox in the art of the early modern period. Jael’s representations offer insights into key religious, intellectual, and social developments in late medieval and early modern society. They reflect the influence on art of exegesis, the Reformation and Counter-Reformation, humanism and moral philosophy, misogyny and the battle of the sexes, the emergence of syphilis, and the Renaissance ideal of the artist.
The striking scene of Judith cutting off Holofernes’s head with his own sword in his own bed has inspired the imaginations of readers for millennia. But there is more to her story than just this climactic act and more to her character than just beauty and violence. This volume offers a comprehensive examination of gender ideologies in the book of Judith, from the hyper-masculine machinations of war and empire to the dynamics of class in Judith’s relationship with her enslaved handmaid. Overall, this commentary investigates the book of Judith through a feminist lens, informed by critical masculinity studies, queer theory, and reception criticism.
In Ethics in the Hebrew Bible and Beyond, Susan Niditch takes soundings among those who have recently approached ethics in the Hebrew Scriptures, their methodological interests, their goals, and their definitions of "ethics" itself. By means of close exegesis of specific passages from the Hebrew Bible and a discussion of the interpretation and application of these ancient texts by post-biblical Jewish writers and other creative contributors from outside the Jewish tradition, this volume explores topics in religious ethics, social justice, political ethics, economic ethics, issues in ecology, gender and sexuality, killing and dying, and reproductive ethics. Certain goals inform all chapters: interest in tracing recurring themes concerning the definition of the good, and the various ways in which Jewish thinkers rely on the more ancient material, interpret, and appropriate it; the links between areas in ethics, for example, between gender and reproductive ethics or war-views and attitudes to political ethics and environmental ethics. Niditch carves out specific biblical texts and themes in order to explore them in depth with special interest in the meanings and messages that emerge from ancient Israelite writers' varied treatments of issues in ethics. Ethics in the Hebrew Bible and Beyond provides a thoughtful discussion of biblical composers' treatment of ethical issues and an engaging overview of the ways in which these texts have been appropriated, in particular by Jewish contributors. This volume serves to challenge readers' own assumptions about biblical ethics, the applicability and the various meanings and messages that might be derived from engagement with key biblical texts.
Much of the content of Judges can be understood only when read together with other parts of the Hebrew Bible. Narratives in Judges comment, criticize, and reinterpret other texts from across what became the canon, often by troubling gender, disrupting stereotypical binaries, and creating a kind of gender chaos. This volume brings together gender criticism and intertextuality, methods that logically align with intersectional lenses, to draw attention to how race, ethnicity, class, religion, ability, sex, and sexuality all play a role in how one is gendered in the book of Judges. Contributors Elizabeth H. P. Backfish, Shelley L. Birdsong, Zev Farber, Serge Frolov, Susanne Gillmayr-Bucher, Susan E. Haddox, Hyun Chul Paul Kim, Richard D. Nelson, Pamela J. W. Nourse, Tammi J. Schneider, Joy A. Schroeder, Soo Kim Sweeney, Rannfrid I. Lasine Thelle, J. Cornelis de Vos, Jennifer J. Williams, and Gregory T. K. Wong provide substantial new and significant contributions to the study of gender, the book of Judges, and biblical hermeneutics in general. This volume illustrates why biblical scholars and students need to take the intersectional identities of characters and their intertextual environments seriously.
The eleven essays in this volume demonstrate how Calvin and the Reformed tradition engage with the Old Testament. The articles address two main areas: Calvin's interpretation of certain Old Testament books, and how Reformed thinkers in the global world study, explain, and apply the teaching of the Old Testament in their own contexts. This volume is the expanded version of the papers presented at the 2019 Calvin Studies Society Colloquium. Contributors include J. Todd Billings, Allison Brown, Thomas J. Davis, Jeff Fisher, Christine Kooi, Maarten Kuivenhoven, Scott Manetsch, Graeme Murdock, G. Sujin Pak, Yudha Thianto, and Michael VanderWeele.
Art as Biblical Commentary is not just about biblical art but, more importantly, about biblical exegesis and the contributions visual criticism as an exegetical tool can make to biblical exegesis and commentary. Using a range of texts and numerous images, J. Cheryl Exum asks what works of art can teach us about the biblical text. 'Visual criticism' is her term for an approach that addresses this question by focusing on the narrativity of images-reading them as if, like texts, they have a story to tell-and asking what light an image's 'story' can shed on the biblical narrator's story. In Part I, Exum elaborates on her approach and offers a personal testimony to the value of visual criticism. Part 2 examines in detail the story of Hagar in Genesis 16 and 21. Part 3 contains chapters on erotic looking and voyeuristic gazing in the stories of Bathsheba, Susanna, Joseph and Potiphar's wife and the Song of Songs; on the distribution of renown among Jael, Deborah and Barak; on the Bible's notorious women, Eve and Delilah; and on the sacrificed female body in the stories of the Levite's wife (Judges 19) and Mary the mother of Jesus.
Nathanael Vette proposes that the Gospel of Mark, like other narrative works in the Second Temple period, uses the Jewish scriptures as a model to compose episodes and tell a new story. Vette compares Mark's use of scripture with roughly contemporary works like Pseudo-Philo, the Genesis Apocryphon, 1 Maccabees, Judith, and the Testament of Abraham; diverse texts which, combined, support the existence of shared compositional techniques. This volume identifies five scripturalized narratives in the Gospel: Jesus' forty-day sojourn in the wilderness and call of the disciples; the feeding of the multitudes; the execution of John the Baptist; and the Crucifixion of Jesus. This fresh understanding of how the Jewish scriptures were used to compose new narratives across diverse genres in the Second Temple period holds important lessons for how scholars read the Gospel of Mark. Instead of treating scriptural allusions and echoes as keys which unlock the hidden meaning of the Gospel, Vette argues that Mark often uses the Jewish scriptures simply for their ability to tell a story.
In this book, Brian Doak analyzes the way biblical authors described the bodies of some of their most iconic male heroic figures, such as Jacob, the Judges, Saul, and David. These bodies represent not mere individuals, but rather also communicate as national bodies.
