This book traces the diverse ways in which overlooked forms of cultural media, existing outside the sphere of 'popular culture, interact with the Bible. Supporting the theory that there is no singular 'Bible' and that biblical literacy is demonstrated in a multitude of ways outside of biblical text alone, those who contribute to this book explore precisely how which multiple 'cultural Bibles' co-exist simultaneously, in various forms which represent, allude to, perpetuate, challenge or subvert biblical narratives and the Bible. Such perspectives demonstrate the means by which the Bible continues to inform culture outside of the religious. Beginning with an introductory analysis of the Bible in visual cultural media - including definitions of what 'culture', 'subculture', 'counterculture' and 'popular culture' mean in this respect - the contributors explore the myriad methods in which cultural media represents, alludes to, challenges, questions and troubles biblical narratives. By discussing topics gathered under depictions of sex and gender, troubling and whitewashed representations, biblical allusions in subcultural media, and subverting or challenging biblical authority, this volume offers new studies on subcultural representations of the Bible which seek to interrogate, perpetuate and/or challenge dominant cultural ideas of what the Bible is, and who it is for.

Central to understanding the prophecy and prayer of the Hebrew Bible are the unspoken assumptions that shaped them-their genres. Modern scholars describe these works as "poetry," but there was no corresponding ancient Hebrew term or concept. Scholars also typically assume it began as "oral literature," a concept based more in evolutionist assumptions than evidence. Is biblical poetry a purely modern fiction, or is there a more fundamental reason why its definition escapes us? Beyond Orality: Biblical Poetry on its Own Terms changes the debate by showing how biblical poetry has worked as a mirror, reflecting each era's own self-image of verbal art. Yet Vayntrub also shows that this problem is rooted in a crucial pattern within the Bible itself: the texts we recognize as "poetry" are framed as powerful and ancient verbal performances, dramatic speeches from the past. The Bible's creators presented what we call poetry in terms of their own image of the ancient and the oral, and understanding their native theories of Hebrew verbal art gives us a new basis to rethink our own.

Central to understanding the prophecy and prayer of the Hebrew Bible are the unspoken assumptions that shaped them-their genres. Modern scholars describe these works as "poetry," but there was no corresponding ancient Hebrew term or concept. Scholars also typically assume it began as "oral literature," a concept based more in evolutionist assumptions than evidence. Is biblical poetry a purely modern fiction, or is there a more fundamental reason why its definition escapes us? Beyond Orality: Biblical Poetry on its Own Terms changes the debate by showing how biblical poetry has worked as a mirror, reflecting each era's own self-image of verbal art. Yet Vayntrub also shows that this problem is rooted in a crucial pattern within the Bible itself: the texts we recognize as "poetry" are framed as powerful and ancient verbal performances, dramatic speeches from the past. The Bible's creators presented what we call poetry in terms of their own image of the ancient and the oral, and understanding their native theories of Hebrew verbal art gives us a new basis to rethink our own.