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Examines the dilemma of whether ancient Near Eastern images - while providing unique aspects of the world-views of the cultures from which the Bible arose - can be interpreted in a way that traceably relates them to the biblical text. To avoid the danger of using images merely as illustrations for concepts found in the Bible, one first needs to behold the image with its own right to been seen. The essays within this volume describe the methods developed by Othmar Keel for bringing imagery into a dialogue with texts from the ancient Orient and their own interpretation, including previously unpublished material from Keel. The contributions begin with an overview of the scholarly work of Keel and the development of his aims and methods, including a revision of an article dealing with semiology in the interpretation of art. The book proceeds to address the research history of iconology in art history, presenting the methodology of Erwin Panofsky and one of his influential predecessors, Charles Clermont-Ganneau, in contrast with Keel's three methodological steps leading from iconographic analysis to iconology. Contributors then present two case studies of how Keel's method can be applied to interpret Egyptian and Mesopotamian images, allowing insights into the worldview of an ancient culture and the aim of iconology. The book concludes with a report about how iconographic analysis and iconology is taught on University level.

Vita Daphna Arbel uses critical theories of gender to offer an alternative reading of the multilayered conceptualization of the Song of Song's feminine protagonist: "the most beautiful woman". Arbel treats "the most beautiful woman" as a culturally constructed and performed representation of "woman," and situates this representation within the cultural-­discursive contexts in which the Song partly emerged. She examines the gender norms and cultural ideologies it both reflects and constructs, and considers the manner in which this complex representation disrupts rigid, ahistorical notions of femininity, and how it consequently indirectly characterizes "womanhood" as dynamic and diverse.Finally, Arbel examines the reception and impact of these ideas on later conceptualizations of the Song of Songs' female protagonist with a heuristic examination of Mark Chagall's Song of Songs painting cycle, Le Cantique des Cantiques. These compositions-selected for their diverse depictions of the Song's protagonist, their impact on European art, and their vast popularity and bearing in the broader cultural imagination-illustrate a fascinating dialogue between the present and the past about the "most beautiful woman" and about multiple femininities.

The contributors provide fresh insight into the context surrounding the composition and reception of the Psalms, the relationships between the Psalms, and of early audiences who engaged with the material. Close attention is also paid to specific interpretative problems which emerge in the Psalms, both linguistic and theological. Consequently, there is the creation of a more sophisticated historical reconstruction of how the Psalms were used originally and in subsequent periods, opening up challenges and possibilities for scholars through emphasizing the need in critical Psalms scholarship for vitality and imagination.

This study is designed as a commentary with a difference, where the reading of the prophet's travails is explored in the context of two wider themes: (1) the overt and highly sophisticated intertwining of Jonah's story with an impressively wide range of other biblical texts, often deployed in surprising ways; and (2) the clearly contrarian relationship between God and Jonah which has both vexed and intrigued scholars and lay readers alike for millennia.Underpinning this reading is a twofold thesis: firstly, an argument that many of the puzzles inherent in the book of Jonah can be illuminated in the light of the idea that Nineveh was from the beginning a cipher for the Jerusalem of the author's time; and secondly, that this would have been evident to Jonah's first readers: the class of elite literati amongst the ruling cadre of late Persian or early Hellenistic Judaea.

This volume presents a range of methodologically innovative treatments on ritual action in the Hebrew Bible. They treat a diverse range of ritual phenomena, including space, blessings and oath-taking, from the world of ancient Israel and Judah.The introduction engages with the dominant scholarly models drawn from ritual theory, and the volume explores their applicability to ancient textual material such as the Hebrew Bible. The chapters reflect high-level specialized engagement with specific ritual phenomena through the lens of appropriate theoretical and methodological approaches.