Amy Kalmanofsky applies horror theory to the book of "Jeremiah" and considers the nature of biblical horror and the objects that provoke horror, as well as the ways texts like "Jeremiah" work to elicit horror from their audience.Among the many strategies of persuasive speech, biblical prophets often employ a rhetoric of horror. Prophets use verbal threats and graphic images of destruction to terrify their audience. Contemporary horror theory provides insight into the rhetoric of horror employed by the prophets.Kalmanofsky begins by analyzing the emotional response of horror as reflected in characters' reactions to terrifying entities in the book of "Jeremiah". Horror, she concludes, is a composite emotion consisting of fear in response to a threatening entity and a corresponding response of shame either directed toward one's self or felt on behalf of another. Having considered the nature of horror, she turns to the objects that elicit horror and consider their ontological qualities and the nature of the threat they pose.There are two central monstrous figures in the book of "Jeremiah" - aggressor God and defeated Israel. Both of these monsters refuse to be integrated into and threaten to disintegrate the expected order of the universe. She then presents a close, rhetorical reading of "Jeremiah" 6 and consider the way this text works to horrify its audience. The book concludes by considering fear's place within religious experience and the theological implications of a rhetoric that portrays God and Israel as monsters.Over the last 30 years this pioneering series has established an unrivalled reputation for cutting-edge international scholarship in Biblical Studies and has attracted leading authors and editors in the field. The series takes many original and creative approaches to its subjects, including innovative work from historical and theological perspectives, social-scientific and literary theory, and more recent developments in cultural studies and reception history.

Though the Hebrew Bible often reflects and constructs a world that privileges men, many of its narratives play extensively with the gender norms of the society in which they were written. Drawing from feminist, masculinity and queer studies, Gender-Play in the Hebrew Bible uses close literary analysis to argue that the writers of the Bible intentionally challenge gender norms in order to reveal the dangers of destabilizing societal and theological hierarchies that privilege men and masculinity. This book presents a fascinating argument about the construction and import of gender in the biblical narratives, and will be of great interest to academics in the fields of religion, theology, and Biblical studies as well as gender studies.

Though the Hebrew Bible often reflects and constructs a world that privileges men, many of its narratives play extensively with the gender norms of the society in which they were written. Drawing from feminist, masculinity and queer studies, Gender-Play in the Hebrew Bible uses close literary analysis to argue that the writers of the Bible intentionally challenge gender norms in order to reveal the dangers of destabilizing societal and theological hierarchies that privilege men and masculinity. This book presents a fascinating argument about the construction and import of gender in the biblical narratives, and will be of great interest to academics in the fields of religion, theology, and Biblical studies as well as gender studies.

Fathers, sons, and mothers take center stage in the Bible's grand narratives, Amy Kalmanofsky observes. Sisters and sisterhood receive less attention in scholarship but, she argues, play an important role in narratives, revealing anxieties related to desire, agency, and solidarity among women playing out (and playing against) their roles in a patrilineal society. Most often, she shows, sisters are destabilizing figures in narratives about family crisis, where property, patrimony, and the resilience of community boundaries are at risk. Kalmanofsky discusses the "ideal sister" (represented by Miriam and by Rebecca), sister pairs (Rachel and Leah; Michal and Merav; Israel and Judah), incestuous sisters (Lot's daughters; Abraham's representation of Sarah; Tamar, victim of her brother's rape), and the dynamics of sisterhoods, including the daughters of Adam, Moab, the Land, Israel, Jerusalem, and at last the sisterly solidarity of Ruth and Naomi. In all these narratives, Kalmanofsky demonstrates, the particular role of sisters had important narrative effects, revealing previously underappreciated dynamics in Israelite society.