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In this guest-edited issue of Biblical Reception, edited by Diane
Apostolos-Cappadona, contributors examine the reception of the
bible in art. Most of the contributions focus on biblical women, or
on encounters with women in the bible. The volume is roughly
chronological in structure, beginning with two pieces on Eve, one
of which compares representations of Eve with those of the Virgin
Mary, the other which considers how Eve is presented in Islamic
texts and images. Following a contribution on Esther and Sarah the
volume moves on to consider New Testament texts, with notable focus
on women at the peripheries of society (the woman with the
hemorrhage in Mark's gospel and the woman of Samaria). Attention is
also paid to representations of Mary Magdalene and of Judith and
Salome. The volume concludes with a piece on apocalyptic imagery
and the woman clothed with the sun of Revelation 12. Featuring over
50 high quality color images, this volume provides scholarship of
the highest level on biblical art.
The Song of Songs, also known as the Song of Solomon, is an unusual
book to find in the Bible. As the Bible's only love poem, the Song
offers a unique picture of relations between the sexes in biblical
times. Unlike other biblical books, it consists entirely of
dialogue. It looks at love from both a woman's and a man's point of
view, and shows the reader what love is like exclusively through
what lovers say about it. There are few issues in Song of Songs
interpretation that are not open to debate, which makes it a
fascinating book to study. In this Guide, Cheryl Exum provides a
concise survey of the principal questions encountered in Song of
Songs scholarship. She also takes the discussion beyond the
traditional research questions to introduce readers to new and
ongoing areas in Song of Songs research. Bibliographies and
suggestions for further reading at the end of each chapter provide
additional resources for readers interested in pursuing specific
topics and exploring new directions in the study of the Song of
Songs.
This original commentary foregrounds at every turn the poetic
genius of the Song of Songs, one of the most elusive texts of the
Hebrew Bible. J. Cheryl Exum locates that genius in the way the
Song not only tells but shows its readers that love is strong as
death, thereby immortalizing love, as well as in the way the poet
explores the nature of love by a mature sensitivity to how being in
love is different for the woman and the man. Many long-standing
conundrums in the interpretation of the book are offered persuasive
solutions in Exum's verse by verse exegesis.
The Old Testament Library provides fresh and authoritative
treatments of important aspects of Old Testament study through
commentaries and general surveys. The contributors are scholars of
international standing.
This work adopts the direction of the Hebrew script as a metaphor
for the cultural transformation involved in every act of biblical
interpretation. It is a concern that has been evident in much of
the work of David Clines, to whom this volume was presented on his
65th birthday. Clines, who has been associated with the Department
of Biblical Studies in the University of Sheffield for the whole of
his scholarly career, and who was one of the founders and directors
of Sheffield Academic Press for 25 years. The volume includes
thirty-seven essays from established scholars around the world,
covering topics including the Pentateuch prophecy, wisdom, ancient
Israelite history, Greek tragedy and the ideology of biblical
scholarship.
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.
The Song of Songs, also known as the Song of Solomon, is an unusual
book to find in the Bible. As the Bible's only love poem, the Song
offers a unique picture of relations between the sexes in biblical
times. Unlike other biblical books, it consists entirely of
dialogue. It looks at love from both a woman's and a man's point of
view, and shows the reader what love is like exclusively through
what lovers say about it. There are few issues in Song of Songs
interpretation that are not open to debate, which makes it a
fascinating book to study. In this Guide, Cheryl Exum provides a
concise survey of the principal questions encountered in Song of
Songs scholarship. She also takes the discussion beyond the
traditional research questions to introduce readers to new and
ongoing areas in Song of Songs research. Bibliographies and
suggestions for further reading at the end of each chapter provide
additional resources for readers interested in pursuing specific
topics and exploring new directions in the study of the Song of
Songs.
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.
In this guest-edited issue of Biblical Reception, edited by Diane
Apostolos-Cappadona, contributors examine the reception of the
bible in art. Most of the contributions focus on biblical women, or
on encounters with women in the bible. The volume is roughly
chronological in structure, beginning with two pieces on Eve, one
of which compares representations of Eve with those of the Virgin
Mary, the other which considers how Eve is presented in Islamic
texts and images. Following a contribution on Esther and Sarah the
volume moves on to consider New Testament texts, with notable focus
on women at the peripheries of society (the woman with the
hemorrhage in Mark's gospel and the woman of Samaria). Attention is
also paid to representations of Mary Magdalene and of Judith and
Salome. The volume concludes with a piece on apocalyptic imagery
and the woman clothed with the sun of Revelation 12. Featuring over
50 high quality color images, this volume provides scholarship of
the highest level on biblical art.
Aileen Guilding was Professor of Biblical History and Literature in
the University of Sheffield from 1959 to 1965, and was known
especially for her monograph The Fourth Gospel and Jewish Worship:
A Study of the Relation of St. John's Gospel to the Ancient Jewish
Lectionary System (Oxford, 1960), which enjoyed a succes d'estime
in its day as an exceptionally fascinating and learned book. She is
celebrated in Sheffield as the first female professor in the
University; she was also the first woman to hold a chair in
theology or religion in the United Kingdom. After her death at the
age of 94 a conference on themes relevant to her special interests
was held in Sheffield as part of a meeting of the Society for Old
Testament Study, and the papers read there are presented in this
volume, published in the 101st year after her birth."
This is the second volume of the new journal, Biblical Reception
(BibRec), due to be published in November 2013. For the first
volume, click here. Our policy for the journal is this. It is high
time, we believe, for the new and burgeoning field of the reception
of the Bible to have a publication medium of its own. What the
biblical text has meant to its readers down the centuries should be
as much the subject of scholarly attention as any 'original'
meaning. Our new journal is a substantial annual volume covering
all kinds of use of the Bible - in art, literature, music, film and
popular culture, as well as in the history of interpretation.
Papers for the third volume are being solicited, and should be
submitted before April 30, 2014. The preferred length is 5000 to
8000 words; the Sheffield Phoenix Press style sheet may be found at
www.sheffieldphoenix.com/authors.asp. Submissions should contain,
beneath the title, an abstract of c. 250 words, and be sent
electronically to [email protected]. Papers will be peer
reviewed. Editorial Board Diane Apostolos-Cappadona (Washington,
DC), Alan Cooper (New York), James Crossley (Sheffield), Andrew
Davies (Birmingham), Tamara C. Eskenazi (Los Angeles), Philip Esler
(Gloucester), Susanne Gillmayr-Bucher (Linz), John Harvey
(Aberystwyth), Christine Joynes (Oxford), Carol Newsom (Atlanta),
Martin O'Kane (Lampeter), Tina Pippin (Decatur, GA), John F.A.
Sawyer (Durham), Reinhold Zwick (Munster).
Plotted, Shot, and Painted stakes out new territory for feminist
biblical criticism. It considers what happens to biblical women in
popular culture, in art and in film, and it foregrounds questions
about how gender interests affect interpretation and about the
roles and responsibilities of commentators and readers. This second
revised edition contains an additional chapter, 'Lot and his
Daughters', and an expanded chapter on Delilah. Exum's mastery of
biblical scholarship, film criticism, feminist theory, and a vast
literary and artistic repertoire is overwhelming ... a splendid
work of analysis and critical thinking ... The book introduces the
reader to an extraordinarily rich variety of critical experiences,
which far transcends the limitations of conventional biblical
scholarship. Francis Landy, Prooftexts ... a joy to read-still
learned, but also witty and passionate. Here is a new kind of
biblical criticism. We are talking here of things that really
matter, things that have caused hurt to women and also to men, and
things that could be made better ... It is about cinema, art,
literature, popular song, and pornography. In other words, it
places the Bible exactly where it should be, at the heart of our
cultural experience from 'high' art to 'low' art ... David Jasper,
Biblical Interpretation ... essential for all concerned with
literary, feminist, and cultural readings and representation of
biblical texts. W. Lee Humpheys, Religious Studies Review
This will be the first volume of a new journal, Biblical Reception
(BibRec), to be published in November 2012. It is high time, we
believe, for the new and burgeoning field of the reception of the
Bible to have a publication medium of its own. What the biblical
text has meant to its readers down the centuries should be as much
the subject of scholarly attention as any 'original' meaning. Our
new journal will be a substantial annual volume covering all kinds
of use of the Bible - in art, literature, music, film and popular
culture, as well as in the history of interpretation. The first
volume is now in the press. Papers for the second volume are being
solicited. The preferred length is 5000 to 8000 words; the
Sheffield Phoenix Press style sheet may be found at
www.sheffieldphoenix.com/authors.asp. Submissions should contain,
beneath the title, an abstract of c. 250 words, and be sent
electronically to [email protected]. Papers will be peer
reviewed. Editorial Board Alan Cooper (New York), James Crossley
(Sheffield), Andrew Davies (Birmingham), Philip Esler (London),
Susanne Gillmayr-Bucher (Aachen), John Harvey (Aberystwyth),
Christine Joynes (Oxford), Carol Newsom (Atlanta), Martin O'Kane
(Lampeter), Ilana Pardes (Jerusalem), Tina Pippin (Decatur, GA),
Adele Reinhartz (Ottawa), John Sawyer (Perugia), Reinhold Zwick
(Munster)
Can a painting or illustration of a biblical scene help readers
understand the Bible? Conversely, to what extent can knowledge
about a biblical story help viewers appreciate an artist's
portrayal of it? Interpreting biblical art is more than a matter of
asking whether or not an artist 'got it right' or 'got it wrong'.
This lively collection of essays seeks to establish a dialogue
between the Bible and art that sees the biblical text and artistic
representations of it as equal conversation partners. By looking at
texts and canvases from different angles, the nine contributors to
the volume reveal how biblical interpretation can shed important
light on art, how art can contribute significantly to biblical
interpretation and how each has something distinctive to offer to
the interpretative task. Contributions include J. Cheryl Exum on
Solomon de Bray's Jael, Deborah and Barak, Hugh S. Pyper on
depictions of the relationship between David and Jonathan, Martin
O'Kane on the biblical Elijah and his visual afterlives, Christina
Bucher on the Song of Songs and the enclosed garden motif in
fifteenth-century paintings and engravings of Mary and the infant
Jesus, Ela Nutu on differences in the way female and male artists
have represented Judith, Christine E. Joynes on visualizations of
Salome's dance, Heidi J. Hornik on Michele Tosini's Nativity, Way
to Calvary and Crucifixion as visual narratives, Kelly J. Baker on
Henry Ossawa Tanner's The Annunciation and Nicodemus, and
Christopher Rowland on William Blake and the New Testament.
This lively collection of essays seeks to establish a dialogue
between the Bible and art that sees the biblical text and artistic
representations of it as equal conversation partners. By looking at
texts and canvases from different angles, the nine contributors to
the volume reveal how biblical interpretation can shed important
light on art, how art can contribute significantly to biblical
interpretation and how each has something distinctive to offer to
the interpretative task.
Using insights about ancient and modern tragedy, this study offers challenging and provocative new readings of selected Biblical narratives: the story of Israel's first king, Saul, rejected for his disobedience to God and driven to madness; the story of Jephthah's sacrifice of his daughter in fulfillment of his vow to offer God a sacrifice in return for military victory; and the story of Israel's most famous king, David, whose tragedy lies in the burden of divine judgement that falls on his house as a consequence of his sins. The book discusses how these narratives handle such perennial tragic issues as guilt, suffering and evil.
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