By David J. A. Clines, David M. Gunn, Alan J. Hauser
Biblical authors have been artists of language who created their that means via their verbal artistry, their rhetoric. those twelve essays see that means as eventually inseparable from paintings and search to appreciate the biblical literature with sensitivity to the writer's craft. Contents: David Clines, The Arguments of Job's associates. George Coats, A Moses Legend in Numbers 12. Charles Davis, The Literary constitution of Luke 1-2. Cheryl Exum, A Literary method of Isaiah 28. David Gunn, Plot, personality and Theology in Exodus 1-14. Alan Hauser, Intimacy and Alienation in Genesis 2-3. Charles Isbell, tale strains and keywords in Exodus 1-2. Martin Kessler, method for Rhetorical feedback. John Kselman, A Rhetorical learn of Psalm 22. Kenneth Kuntz, Rhetorical feedback and Isaiah 51.1-16. Ann Vater, shape and Rhetorical feedback in Exodus 7-11. Edwin Webster, development within the Fourth Gospel.
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Extra resources for Art and Meaning: Rhetoric in Biblical Literature (JSOT supplement)
D. 2;ll-22 This paragraph lacks an inclusio with ben comparable to those of the two preceding paragraphs. 22), as well as its function in relating paragraph "D" to paragraphs "B" and "C," I believe that the term is also the key word for the paragraph. III. EXODUS l:8-2;22. INTER-UNIT KEY WORDS As indicated earlier, this first unit of the exodus story introduces words whose significance only gradually becomes fully apparent as the story proceeds. Accordingly, we now extend the discussion by including a survey of several other units in the exodus story which use words introduced in our four paragraphs.
T h e p o e t r y of 3:14-19 gives c l e a r expression t o t h i s state of a l i e n a t i o n , a n d appropr i a t e l y p r e s e n t s t h e p i c t u r e o f man r e t u r n i n g t o t h e ground, f r o m which h e was t a k e n at t h e beginning of t h e narrative. Finally, t h e p e r m a n e n c e of alienation is s t r e s s e d b o t h by t h e c l o t h i n g God m a k e s t o c o v e r man a n d woman's nakedness and by God's decisive m e a s u r e s t o k e e p man o u t o f t h e garden a n d a w a y f r o m t h e t r e e of life.
Furthermore, the phrase cpr mn hMmh forms an inclusio with 3:19. Man is formed by God from the dust of the ground (2:7): after man has disrupted creation he must return to the ground as dust (3:19). Significantly, even though Mmh is used repeatedly in chs. 2 and 3, 2:7 and 3:19 are the only two points where Mmh and cpr are directly associated with one another. As a result, the statement of consequences in 3:19 harks back directly to the time of beginning, making more poignant man's fall. wypch b*pyw nshmt chyym wyhy hMm Inpsh chyh (and he breathed into his nostrils the breath of life, and man became a living creature).