This monograph explores the joy theme in Luke- Acts as it relates to the dynamics of rhetoric, narrative and emotion. The Gospel of Luke has been called the "gospel of joy", and the joy theme has also been recognised in Acts. This theme, though, has received relatively little attention in NT scholarship. Joy in Luke-Acts examines the joy theme from a socio-rhetorical vantage point, showing that the joy theme empowers the Lukan rhetoric of reversal. The theme is a primary method in which the narrator seeks to persuade the reader to enter into the values and beliefs that characterise the 'upside-down' world in which YHWH has visited his people in Jesus.

This study takes a Christian perspective on the entire Bible, rather than simply the New Testament. David Wenkel asks: Why did Jesus have to be beaten before his death on the cross? Christian theology has largely focused on Jesus' death but has given relatively little attention to his sufferings. Wenkel's answer contextualizes Jesus' crucifixion sufferings as informed by the language of Proverbs. He explains that Jesus' sufferings demonstrate the wisdom of God's plan to provide a substitute for foolish sinners. Jesus was beaten as a fool - even though he was no fool, in order to fulfill God's loving plan of salvation. This analysis is then placed within the larger storyline of the whole bible - from the Garden of Eden to the story of Israel and beyond.

This study takes a Christian perspective on the entire Bible, rather than simply the New Testament. David Wenkel asks: Why did Jesus have to be beaten before his death on the cross? Christian theology has largely focused on Jesus' death but has given relatively little attention to his sufferings. Wenkel's answer contextualizes Jesus' crucifixion sufferings as informed by the language of Proverbs. He explains that Jesus' sufferings demonstrate the wisdom of God's plan to provide a substitute for foolish sinners. Jesus was beaten as a fool - even though he was no fool, in order to fulfill God's loving plan of salvation. This analysis is then placed within the larger storyline of the whole bible - from the Garden of Eden to the story of Israel and beyond.

Coins have long been a vital part of the discipline of classical studies of the ancient world. However, many scholars have commented that coins have not been adequately integrated into the study of the New Testament. This book provides an interdisciplinary gateway to the study of numismatics for those who are engaged in biblical studies. Wenkel argues that coins from the 1st century were cultural texts with communicative power. He establishes a simple yet comprehensive hermeneutic that defines coins as cultural texts and explains how they might be interpreted today. Once coins are understood to be cultural texts, Wenkel proceeds to explain how these texts can be approached from three angles. First, the world in front of the coin is defined as the audience who initially read and responded to coins as cultural texts. The entire Roman Empire used coins for payment. Second, the world of the coin refers to the coin itself - the combination of inscriptions and images. This combination of inscription and image was used ubiquitously as a tool of propaganda. Third, the world behind the coin refers to the world of power and production behind the coins. This third angle explores the concept of authorship of coins as cultural texts.

Coins have long been a vital part of the discipline of classical studies of the ancient world. However, many scholars have commented that coins have not been adequately integrated into the study of the New Testament. This book provides an interdisciplinary gateway to the study of numismatics for those who are engaged in biblical studies. Wenkel argues that coins from the 1st century were cultural texts with communicative power. He establishes a simple yet comprehensive hermeneutic that defines coins as cultural texts and explains how they might be interpreted today. Once coins are understood to be cultural texts, Wenkel proceeds to explain how these texts can be approached from three angles. First, the world in front of the coin is defined as the audience who initially read and responded to coins as cultural texts. The entire Roman Empire used coins for payment. Second, the world of the coin refers to the coin itself - the combination of inscriptions and images. This combination of inscription and image was used ubiquitously as a tool of propaganda. Third, the world behind the coin refers to the world of power and production behind the coins. This third angle explores the concept of authorship of coins as cultural texts.