The relationship of the biblical tradition to golden calf worship seems to be entirely negative. In the Torah and the Book of Kings, harsh criticism is wielded against the golden calf the Israelites made in the wilderness (Exod 32; Deut 9:7-10:11) and the calves erected by Jeroboam ben Nebat (1 Kgs 12:26-33) at Dan and Bethel during his reign over the Northern Kingdom of Israel. Hence, the question arises as to whether Jeroboam in truth set up the golden calves in order to buck the postulates of the Israelite religion of his time; that is, was Jeroboam's golden calf really meant to lure Israel into worship of other gods or idolatry? The research into the background and factors which motivated negative attitudes towards the Golden Calf will provide an insight as to when prohibition of images in the Israelite religion became crystallized and how it was indispensable in proclamation of the monotheism of YHWH.

This monograph on biblical linguistics is a highly specialized, pragmatic investigation of the controversial question of "foregrounding"-the deviation from some norm or convention-in Old Testament narratives. The author presents and examines the two main sources of pragmatic foregrounding: events or states deviating from well-established schemata, structures of reader expectation that can be manipulated by the narrator to highlight specific "chunks" of discourse; and evaluative devices, which are used by the narrator to indicate to the reader the point of the story and direct its interpretation. Cotrozzi critiques the particular evaluative device known as the "historic present", a narrative strategy that employs the present tense to describe past event. He tests two main theories that support this device by using a cross-linguistic model of the historical present drawing upon a variety of languages. Cotrozzi ultimately refutes these theories with a thorough examination and detailed refutation. He concludes with a study of a particular Hebraic verb as a particular marker of represented perception, a technique whereby the character's perceptions are expressed directly from its point of view.

In the Song of Songs the son of David, King in Jerusalem, overcomes hostility and alienation to renew intimacy between himself and his Bride. This most sublime Song sings of a love sure as the seal of Yahweh, a flashing flame of fire many waters could never quench. James M. Hamilton Jr, in this latest addition to the popular Focus on the Bible series, pours fresh light on this inspiring and uplifting book.

Traditions at Odds explores the Pentateuch's literary influence on other biblical texts. There exist a number of content discrepancies between pentateuchal and non-pentateuchal texts that treat the same subject. Through a detailed analysis, the author argues that the discrepancies are not alterations of pentateuchal material, as is generally argued, but rather indications of independent traditions. Thus, much of biblical literature was written outside of the Pentateuch's purview. Corroborating evidence is found in literature from the Second Temple Period, which also exhibits a lack of conformity to the Pentateuch. After demonstrating this independence, this study explores its implications on the composition of biblical texts and the process of canonization. Marked by an interdisciplinary approach, the study incorporates recent theoretical developments in literary and ideological criticism, as well as ritual, historiography and textual citation. It not only provides a broader base of study, but serves to address a deficiency in biblical studies: most studies of intertextuality operate with little theoretical grounding, while studies in ritual or historiography are based on models from the late 19th/early 20th centuries.

This study focuses on the Chronicler's special interest in Levite singers. It takes into consideration the socio-ideological milieu of the Jerusalem temple community in the Persian period and the Mesopotamian elite professional norms and practices that nourished the singers and their music. It also explores the conception of the earthly temple as representative of its heavenly counterpart, and looks at the way in which this shaped the Chronicler's theological frame of reference. The work is divided into two parts. Part I examines the Mesopotamian scribal-musical background, to which Ko attributes the rise of music in Chronicles. Part II considers the Chronicler's ideological perspective, the language of the temple and the educational, scribal, and liturgical services of Levite singers. By focusing on the characterisation of the Levite singers in the light of their Mesopotamian counterparts, Ko shows how they sought to foster cosmic stability according to the terms of the Davidic covenant.

Kamrada's study analyses three narratives concerning the greatest heroic figures of the biblical tradition: Jephthah's daughter, Samson and Saul, and includes a consideration of texts about King David. All three characters are portrayed as the greatest and most typical and exemplary heroes of the heroic era. All three heroes have an exceptionally close relationship with the deity all die a traditionally heroic, tragic death. Kamrada argues that within the Book of Judges and the biblical heroic tradition, Jephthah's daughter and Samson represent the pinnacle of female and male heroism respectively, and that they achieve super-human status by offering their lives to the deity, thus entering the sphere of holiness. Saul's trajectory, by contrast, exemplifies downfall of a great hero in his final, irreversible separation from God, and it also signals the decline of the heroic era. David, however, is shown as an astute hero who founds a lasting dynasty, thus conclusively bringing the heroic era in the Deuteronomistic history to a close.

While recent Old Testament scholarship has seen a steady rise in the prominence of narrative approaches to the text, little such work has been done on the book of Joshua. This book offers a narrative treatment of the conquest accounts, with specific attention given to the characterization of Joshua. The method employed is eclectic, including poetic analysis, structural study, delimitation criticism, comparative literary analysis, and intertextual reading. Joshua's characterization has received inadequate scholarly attention to date, largely because he is seen as a pale character, a mere stereotype in the biblical history. This two-dimensional reading often leads to the conclusion that Joshua is meant to represent another character in the history. But this approach neglects the many aspects of Joshua's character that are unique, and does not address the text's presentation of his flaws. On the other hand, some scholars have recently suggested that Joshua's character is significantly flawed. This reading is similarly untenable, as those features of Joshua's leadership that it portrays as faulty are in fact condoned, not condemned, by the text itself. Close examination of the conquest narratives suggests that Joshua's character is both complex and reliable. To the degree that Joshua functions as a paradigm in the subsequent histories, this paradigm must be conceived more broadly than it has been in the past. He is not merely a royal, prophetic, or priestly figure, but exercises, and often exemplifies, the many different types of leadership that feature in the former prophets.

This study of the book of Daniel examines the ideology of divine and human rule in Daniel's historical resumes or reviews found in chaps 2, 7, 8, 9, 10-12. It seeks to uncover the concerns that motivate the resumes and the strategies the resumes use to resolve cognitive and experiential dissonance. Willis argues that the source of dissonance in Daniel stems not from failed prophecies (as has been commonly argued), nor do the visions function as symbolic theodicies to address a contradiction between divine power and divine goodness in the face evil. The study proposes, instead, that the historical resumes address profound contradictions concerning divine power and presence in the face of Hellenistic/Seleucid rule. These contradictions reach a crisis point in Daniel 8's depiction of the desecration of the temple (typically Daniel 8 is seen as a poor replica of the triumphant vision of divine power found in Daniel 7). This crisis of divine absence is addressed both within the vision of chap 8 itself and then in the following visions of chaps 9, and 10-12, through the use of narrative (both mythological narrative and historical narrative).

"The title, Old Testament, creates difficulties of its own. If it is "Old" and we are people of the "New", surely we may properly let it fade away into history? Besides, it seems very unlike the New Testament, even contradictory: all those wars when Jesus is the Prince of peace; all those commandments to obey when we are not under law but under grace. And can the God of the Old Testament be a God of love like the Father, Son and Holy Spirit?" These are the questions that Alec Motyer, a life long lover of the Old Testament, seeks to answer starting with the conviction that Jesus is the fulfilment of the Old Testament Scripture. This is for the Christian who wants to know what the Old Testament has to do with the New Testament and why the Christian should read it. A comprehensive survey of the Old Testament organised around its authors and major characters, the theme of this book is that the Holy Spirit chose, fashioned and equipped the biblical authors to convey distinctive truths through each of them.'

The story of Samson and Delilah in Judges 16 has been studied and retold over the centuries by biblical interpreters, artists, musicians, filmmakers and writers. Within these scholarly and cultural retellings, Delilah is frequently fashioned as the quintessential femme fatale - the shamelessly seductive 'fatal woman' whose sexual treachery ultimately leads to Samson's downfall. Yet these ubiquitous portrayals of Delilah as femme fatale tend to eclipse the many other viable readings of her character that lie, underexplored, within the ambiguity-laden narrative of Judges 16 - interpretations that offer alternative and more sympathetic portrayals of her biblical persona. In Reimagining Delilah's Afterlives as Femme Fatale, Caroline Blyth guides readers through an in-depth exploration of Delilah's afterlives as femme fatale in both biblical interpretation and popular culture, tracing the social and historical factors that may have inspired them. She then considers alternative afterlives for Delilah's character, using as inspiration both the Judges 16 narrative and a number of cultural texts which deconstruct traditional understandings of the femme fatale, thereby inviting readers to view this iconic biblical character in new and fascinating lights.

This book is concerned with ascertaining the value of having two versions of the same monarchic history of Israel within the Hebrew Bible (focusing on the books of Kings and Chronicles). It is furthermore concerned with how the book of Chronicles is read in relation to the book of Kings as Chronicles is so often considered to be a later rewritten text drawing upon an earlier version of the Masoretic Text of Samuel and Kings. The predominant scholarly approach to reading the book of Chronicles is to read it in light of how the Chronicler emended his source texts (additions, omissions, harmonizations). This approach has yielded great success in our understanding of the Chronicler's theology and rhetoric. However, Cook asserts, it has also failed to consider how the book of Chronicles can be read as an autonomous and coherent document. That is, a diachronic approach to reading Chronicles sometimes misses the theological and rhetorical features of the text in its final form. This book shows the great benefit of reading these narratives as autonomous and coherent by using the Solomon narratives as a case study. These narratives are first read individually, and then together, so as to ascertain their uniqueness vis-a-vis one another. Finally, Cook addresses questions related to the concordance of these narratives as well as their purposes within their respective larger literary contexts.

David Janzen argues that the Book of Chronicles is a document with a political message as well as a theological one and moreover, that the book's politics explain its theology. The author of Chronicles was part of a 4th century B.C.E. group within the post-exilic Judean community that hoped to see the Davidides restored to power, and he or she composed this work to promote a restoration of this house to the position of a client monarchy within the Persian Empire. Once this is understood as the political motivation for the work's composition, the reasons behind the Chronicler's particular alterations to source material and emphasis of certain issues becomes clear. The doctrine of immediate retribution, the role of 'all Israel' at important junctures in Judah's past, the promotion of Levitical status and authority, the virtual joint reign of David and Solomon, and the decision to begin the narrative with Saul's death can all be explained as ways in which the Chronicler tries to assure the 4th century assembly that a change in local government to Davidic client rule would benefit them. It is not necessary to argue that Chronicles is either pro-Davidic or pro-Levitical; it is both, and the attention Chronicles pays to the Levites is done in the service of winning over a group within the temple personnel to the pro-Davidic cause, just as many of its other features were designed to appeal to other interest groups within the assembly.

In this book Barbara Green demonstrates how David is shown and can be read as emerging from a young naive, whose early successes grow into a tendency for actions of contempt and arrogance, of blindness and even cruelty, particularly in matters of cult. However, Green also shows that over time David moves closer to the demeanor and actions of wise compassion, more closely aligned with God. Leaving aside questions of historicity as basically undecidable Green's focus in her approach to the material is on contemporary literature. Green reads the David story in order, applying seven specific tools which she names, describes and exemplifies as she interprets the text. She also uses relevant hermeneutical theory, specifically a bridge between general hermeneutics and the specific challenges of the individual (and socially located) reader. As a result, Green argues that characters in the David narrative can proffer occasions for insight, wisdom, and compassion. Acknowledging the unlikelihood that characters like David and his peers, steeped in patriarchy and power, can be shown to learn and extend wise compassion, Green is careful to make explicit her reading strategies and offer space for dialogue and disagreement.

The books of Ezekiel and Daniel are rich in imagery that is taken up afresh in the New Testament. Echoes of Ezekiel-with its words of doom and hope, vision of a new temple, and scroll-eating prophet-are especially apparent in the book of Revelation. Daniel is most notable in supplying terminology and imagery for Jesus of Nazareth's favored self-description as "Son of man," a phrase also found in Ezekiel. The four beasts of Daniel find their counterparts in the lion, ox, man, and eagle of Ezekiel and Revelation. It is no wonder these books, despite the difficulties in interpreting them, took hold on the imagination of the early church. In this Ancient Christian Commentary on Scripture volume, over forty church fathers are cited in the commentary on Ezekiel, some of whom are here translated into English for the first time, but pride of place goes to four significant extant works: the homilies of Origen and Gregory the Great, and the commentaries of Jerome and Theodoret of Cyr, thus bridging East and West, North and South. A similar array of fathers are found within the commentary on Daniel. Extensive comments derive from the works of Theodoret of Cyr, Hippolytus, Jerome, and Isho'dad of Merv, providing a wealth of insight.

If Zechariah's vision report (Zechariah 1.8-6.8) reflects the seer's visionary experience, how does that impact our understanding of the gradual growth of the text? Lena-Sofia Tiemeyer builds on the work done in her previous book Zechariah and His Visions (Bloomsbury-T&T Clark, 2014), to demonstrate that the visionary material forms the primary textual layer. The oracular texts constitute chronologically later interpretations. Zechariah and/or later authors/editors sought guidance in the earlier vision accounts, and the oracular material reflects these endeavours. Tiemeyer's investigation is guided by the question: what is the latter material doing with the former? Is it enforcing, contradicting, or adding to it? Using a ratio composed of the difference between the intratexts and intertexts of Zech 1-8, Tiemeyer shows how this ratio is higher in the oracular material than in the visionary material. This difference points to the different origin and the different purpose of the two sets of material. While the earlier vision report draws on images found primarily in other biblical vision reports, the later oracular material has the characteristics of scribal interpretation. By drawing on earlier material, it seeks to anchor its proposed interpretations of the various vision accounts within the Israelite textual tradition. It is clear that the divine oracles were added to give, modify, and specify the meaning of the earlier vision report.

This volume explores multiple dimensions of prophetic texts and their violent rhetoric, providing a rich and engaging discussion of violent images not only in prophetic texts and in ancient Near Eastern art but also in modern film and receptions of prophetic texts. The volume addresses questions that are at once ancient and distressingly-modern: What do violent images do to us? Do they encourage violent behavior and/or provide an alternative to actual violence? How do depictions of violence define boundaries between and within communities? What readers can and should readers make of the disturbing rhetoric of violent prophets? Contributors include Corrine Carvahlo, Cynthia Chapman, Chris Franke, Bob Haak, Mary Mills, Julia O'Brien, Kathleen O'Connor, Carolyn Sharp, Yvonne Sherwood, and Daniel Smith-Christopher.