Sin, often defined as a violation of divine will, remains a crucial idea in contemporary moral and religious discourse. The apparent familiarity of the concept, however, obscures its origins within the history of Western religious thought. This book examines a watershed moment in the development of sin as an idea-namely, within the language and culture of ancient Israel-by examining the primary metaphors used for sin in the Hebrew Bible. Drawing from contemporary theoretical insights coming out of linguistics and philosophy of language, this book offers a comprehensive look at four patterns of metaphor that pervade the biblical texts: sin as burden, sin as an account, sin as path or direction, and sin as stain or impurity. In exploring the permutations of these metaphors and their development within the biblical corpus, the book offers a compelling account of how a religious and theological concept emerges out of the everyday thought-world of ancient Israel. Key aspects of the approach to metaphor adopted in this book, such as the patterning of metaphor, the notion of metaphorical construal, and how metaphors become lexicalized over time, also have important ramifications for the study of biblical and ancient Near Eastern texts more broadly.

Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture. Village ritualists, international classical pianists, pop idols, and professional mourners -- whether they perform in temples, on concert stages, or in TV shows, Chinese musicians continually express and negotiate their gendered identities. Gender in Chinese Music brings together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how gender is not only manifested in the diverse musical traditions of Chinese culture but also constructed through performing and observing these traditions. Individual chapters examine unique music cultures ranging from those of courting couples in China's heartlands to ethnic minority singers in the borderlands, and from Ming-period courtesans to contemporary karaoke hostesses. The book also features interviews with musicians, music industry workers, and fans talking about gender. With its wide-ranging subject matter and interdisciplinary approach, this volume will be an important resource for researchers and students interested in how music is implicated in the changing notions of masculinity, femininity, and genders "in between." Contributors: RuardAbsaroka, Rachel Harris, Stephen Jones, Frank Kouwenhoven, Olivia Kraef, Joseph Lam, Rowan Pease, Antoinet Schimmelpenninck, Hwee-San Tan, Shzr Ee Tan, Xiao Mei, Judith Zeitlin, Tiantian Zheng. Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London. Rowan Pease is Senior Teaching Fellow at SOAS, University of London. Shzr Ee Tan is Senior Lecturer in Music at Royal Holloway, University of London.