Foreword by A. Schenker S. C. Daley's book, The Textual Basis of English Translations of the Hebrew Bible, moves us beyond existing uncertainties about the textual basis of modern Bible translations to a fresh understanding of the text-critical constitution of well-known English translations of the past four hundred years. Most translations depart from the Masoretic Text selectively, and in-depth analysis of their textual decisions leads (1) to the identification of distinct periods in the textual history of the English Bible, (2) to a classification of the translations by eclectic type, and (3) to the observation that each translation is ultimately unique from a text-critical perspective. The study then revisits the topic of the text to be translated in Bibles intended for the wider public.

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• 6.75-point print size

In Re-Imagining Abraham: A Re-Assessment of the Influence of Deuteronomism in Genesis Megan Warner revisits the tradition that Genesis was edited by editors sympathetic to the theology of the Deuteronomist. On the basis of close, contextual readings of the four passages most commonly attributed to (semi-)Deuteronomistic hands, Warner argues that editorial use of Deuteronomistic language and themes points not to a sympathy with Deuteronomistic theology but rather to a sustained project to review and even subvert that theology. Warner's 're-imagining' of Abraham demonstrates how Israel's forebear was 're-imagined' in the post-exilic context for the purpose of offering the returning exiles a way forward at a time when all the old certainties, and even continued relationship with Yahweh, seemed lost.

In Jeremiah 3.1-4.4 the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and their need to change before it is too late. As well as metaphor and gender, another important thread in the tapestry is intertextuality, according to which the historical, political and social contexts of both author and reader enter into dialogue and thus produce different interpretations. But, as Shields shows in her final chapter, it is in the end the rhetoric of gender that actually constructs the text, providing the frame, the warp and woof, of the entire tapestry, and thus the prophet's primary means of persuasion.