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Using the methodological frameworks of form criticism and eco-anthropology, Breitkopf argues that the voice of the character Job undergoes a marked shift from lament to penitence as the book proceeds.

What does the Bible say about money? This unusual volume is a useful resource for researchers, but also a coursebook to be used in the classroom and a comprehensive introduction to biblical economic ethics in general.

In Performing Masculinity, the eminent Bulgarian literary critic Milena Kirova turns her attention to the Hebrew Bible, offering a reworking and condensation of two volumes of essays she published in Bulgarian in 2011 and 2017.

The fourth Balaam oracle (Numbers 24.17-19) appears in four separate Dead Sea Scrolls. But how it is used and understood remains puzzling and challenging.All four scrolls agree that the biblical text is a living artifact and endorse its authority. But they disagree on what it may mean to the audience of their own day. They adjust, rephrase and rework the biblical text according to their own needs and for the benefit of their audience.Following the twists and turns in this process of interpretation and rewriting has two benefits: first, we become more sensitized to the complexity of the processes by which the scriptural text came into being and to the fact that this process did not have a clear-cut end in mind. Rather, it is thanks to a constant reworking of the scriptural text that it remains alive for its readers.Second, in following closely the process of reinterpretation of this particular text we gain a better understanding of the world of Qumran, of the communication strategy of the Scrolls, and of some of their key theological concepts. In particular, Qumran beliefs about a messiah become more vividly tangible.

The books of 1-2 Chronicles, though ostensibly a history work recounting the past, is in reality a challenge to its fourth-century Jewish audience in Babylonia to make a vital decision about their future. They are presented with the choice of remaining in exile, where they have been born, or of uprooting themselves and travelling to their ancestral but unknown land.By introducing unique accounts of exile, such as that of the Reubenite leader Beerah (1 Chron. 5), and by reinterpreting familiar accounts of forced migration, such as the Babylonian exile of 'all Israel', the Chronicler reveals the current state of Israel in exile. As he looks into the future, he inserts pleas for restoration on the lips of Hebrew heroes such as David and Hezekiah, along with stories of transformation, like Manasseh's return from humiliating captivity, to educate his readers about their role in completing the process of restoration for all Israel.Since the exile meant Jerusalem's reduction, the end of the Davidic monarchy, and the scattering of tribal Israel, restoration would mean 'all Israel' reunited in Jerusalem under the levitical priesthood in worship at the rebuilt temple. Cyrus's decree, inspired by Yahweh, had commanded that all God's people 'go up', but Second Temple Israel had stalled somewhere between exile and restoration. Therefore, the Chronicler urges all Diaspora Israel to return home.Previous studies of the exile-restoration theme in segments of Chronicles (mainly 2 Chron. 36) and in Chronicles-Ezra-Nehemiah have led to the distorted view that the Chronicler is proclaiming victory over exile. Heard on his own terms, the Chronicler is rather dissatisfied with Israel's current state of restoration, optimistic that reunion in Jerusalem will conclude the exile, and adamant that 'all Israel' must take responsibility for the nation's sin and judgment-and restoration.

Current research on John the Baptist is fixated on reconstructing the historical John against the religious, social and ideological environment of first-century CE Judaism. The consensus is that this John originally lived and operated within Jewish society without any connection with the fledgling Christian community and was made the Messiah's forerunner only in later Christian tradition.In this study, Nir radically changes the focus for John the Baptist research. All our sources about John, she argues, tell us not about a historical person but lead us invariably to a character who exists essentially in early Christian literature. The Gospels are sources for Christian theology's world of beliefs, ideas and messianic perception in the first century, and its materials about John the Baptist are inevitably the handiwork of Christian tradition and its theological tendencies.Whatever we are told about John, how he looked, the baptism he instituted, the geographical arena of his activity, the speeches he made, his birth and death, is understandable - whether as isolated details or in their integration into a whole picture - only against the background of Christian theology and its Christology.As against prevailing research on John the Baptist, which aims to break through the Gospel tradition and expose his original Jewishness, Nir challenges us to draw lines of separation between John and Judaism, affirming his difference from Judaism.This Christian John, whom we can rightfully call the first Christian believer, is the only John the Baptist we can access.

The study of biblical masculinities is now a clearly recognizable discipline in critical biblical gender studies. This book, the third in a series of SPP volumes that include Men and Masculinity in the Hebrew Bible and Beyond (ed. Ovidiu Creang¿, 2010) and Biblical Masculinities Foregrounded (ed. Ovidiu Creang¿ and Peter-Ben Smit, 2014), takes stock of recent methodological and thematic developments, while introducing fresh new questions, expanding traditional approaches, and adding new texts to the corpus of masculinities in the Hebrew Bible. The volume's introduction (Ovidiu Creang¿) celebrates the rich palette of approaches and disciplinary intersections that now characterize the study of Hebrew Bible masculinities, while calling attention to understudied topics. The next thirteen chapters dig deep into the methodological building-blocks underpinning biblical masculinity (Stephen Wilson); the theoretically essential distinction between queer and non-queer masculinities (Gil Rosenberg); the often-neglected yet essential representation of God's masculinity (David J.A. Clines); the competing masculinities of God, Pharaoh, and Moses in historical and lesbian perspective (Caralie Focht and Richard Purcell); Queen Jezebel's performance of masculinity (Hilary Lipka); Priestly and Deuteronomic fantasies of male perfection (Sandra Jacobs); the problem-ridden masculinity of Moses (Amy Kalmanofsky); the rhetoric of 'queen-making' in the prophetic literature (Susan E. Haddox); Jonah's homosocial masculinity (Rhiannon Graybill); the scribal masculinity of Daniel (Brian C. DiPalma); the ephemeral masculinity of mortal men (Milena Kirova); the masculine agencies in the Song of Songs (Martti Nissinen); and the intertwining of money and masculinity in the Book of Proverbs (Kelly Murphy). In the final chapter, Stuart Macwilliam reflects on methodological opportunities, thematic expansions, and a future direction for biblical masculinities.

Although Obadiah is the smallest book in the Hebrew Bible, its readers are confronted with a variety of challenges-linguistic, historical and hermeneutical. In the present volume the Book of Obadiah is approached from a variety of angles and reading strategies. These approaches sometimes concur, but often contradict one another.¿Bob Becking discusses various grammatical and linguistic problems of the Hebrew text in translating the book for a post-secular audience. Historical questions are the province of Nadav Na'aman. What were the 'events' with which the text seems to cope? Literary-historical issues concern Marvin Sweeney, who sees the book as the end-result of a complex redaction history in which the text was read in connection with and confrontation to the other Minor Prophets.¿Reading from particular positions is the theme of Gerrie Snyman, approaching the book in a South-African context, and asking, Who is vulnerable and who is not? Julia O'Brien takes a gender-specific approach asking, What does it mean that Edom is a brother who breaks the family code? Eric Ottenheijm traces the ways in which the Rabbis understood Obadiah.¿With insights from newly developing fields, Nicholas Werse discusses the violent character of judgment in the book in the light of semiotics, and Bradford Anderson brings to the fore the spatial rhetoric in the book. ¿The authors of this volume offer their readings of the text in a non-exclusive way. No one claims to have found the one and only way to appreciate the message of the prophetic book. It is up to the readers of this volume-and of the Book of Obadiah-to decide how they will read the book in the changing circumstances of life.

Helen Leneman and Barry Dov Walfish, both specialists in biblical reception history, have compiled an unusually rich collection of new essays by experts in their fields. This book is a pioneering attempt to portray and analyse the visions of twentieth- and twenty-first century Jewish artists working in different media-visual art, literature (novels, poetry and short stories), music (opera, oratorio and song), and film-who have retold biblical narratives through their art. Reading these essays together will bring a new appreciation and understanding of what makes the perspective ofthese visual artists, writers, composers and filmmakers on the Hebrew Bible uniquely Jewish.All of these Jewish visions can be considered a form of modern midrash, as the artists imaginatively fill in gaps in the biblical narrative, bringing a modern sensibility to the meanings of the stories.Under the heading 'Biblical Women', the stories of the matriarchs, Hagar, and other biblical women are re-imagined in the visual arts, poetry and music. Several further chapters focus on the story of the Aqedah (Binding of Isaac), as represented in the visual arts, literature and music. Other retellings of biblical narratives through short stories are then examined, while yet other chapters explore the books of Esther and Psalms as envisioned and retold in the visual arts, opera, literature and film.These retellings, analysed and discussed by the authors of this ground-breaking volume, will stimulate the reader to view the texts in new ways or to confront their challenge to personal or traditional interpretations of those texts.

c. 385 pp.£30 / $47.50 / ¿35Scholar's Price£60 / $95 / ¿70List PriceHardback Men and Masculinity in the Hebrew Bible and BeyondEdited by Ovidiu Creang¿The study of masculinity in the Bible is increasingly becoming established as a field of critical inquiry in biblical gender studies. This book highlights a variety of methodological approaches that reveal the complex and multifaceted construction of masculinity in biblical and post-biblical literature. It focuses uniquely and explicitly on men and the world they inhabit, documenting changes in the type of men and masculinities deemed legitimate, or illegitimate, across various social and historical contexts of the ancient Near East. At the same time, it interrogates readers' assumptions about the writers' positioning of male bodies, sexuality and relationships in a gender order created to reflect men's interests, yet in need of constant reorderingIn this volume specific features of biblical masculinity are explored: the masculinity of less favoured sons in Genesis (Susan Haddox); the ideology of Temple masculinity in Chronicles (Roland Boer); the masculinity of Moses (Brian DiPalma); the performative nature of masculinity in the Sinai episode (David Clines); Deuteronomy's regimentation of masculinity (Mark George); Joshua's hegemonic masculinity in the Conquest Narrative (Ovidiu Creang¿); Na'aman's disability in relation to ideologies of masculinity (Cheryl Strimple and Ovidiu Creang¿); Job's position as a man in charge in the Testament of Job (Maria Haralambakis); Priestly notions of sexuality in the covenant of the rainbow and circumcision in Genesis (Sandra Jacobs); Samson's masculinity in terms of male honour (Ela Lazarewicz-Wyrzykowska); the popular depiction of Jeremiah as a 'lamenting prophet' against the book of Jeremiah's male ideology (C.J. Patrick Davis); the gendered interaction of a Bible-study group with Daniel's dreams (Andrew Todd). Finally, David J.A. Clines and Stephen D. Moore offer closing critical reflections that situate the book's topics within a broader spectrum of issues in masculinity.

The relationship between the Hebrew heroes David and Jonathan has caught the attention of popular and scholarly writers alike. Yet there is little agreement about the nature of this relationship that speaks of a love between two men that 'surpasses the love of a man for a woman' (2 Sam. 1.26). Weighing the arguments of scholars including Nissinen, Stone and Zehnder, Heacock produces a meta-critical analysis of the many interpretations of the relationship between David and Jonathan, identifying three dominant readings: the traditional political-theological interpretation, the homoerotic interpretation, and the homosocial interpretation.After outlining the three interpretive approaches, Heacock considers the evidence cited to support each: namely, themes in the David and Jonathan narrative and related biblical texts, ancient political treaties, laws pertaining to homogenital behaviour in the ancient Mediterranean world, and the heroic tales of the Gilgamesh Epic and Homer's Iliad. By applying recent epistemological shifts in knowledge as developed in the interdisciplinary fields of sexuality studies, queer studies and ancient studies, Heacock emphasizes the inescapability of the modern reader's cultural context when reading the narrative, particularly the influence of modern discourses of sexuality.Rather than suggest an alternative historical reading, Heacock turns the debate on its head by abandoning claims to historical veracity and embracing the input of the contemporary queer reader. Using queer theory and reader-response criticism, he offers a reading of the relationship between David and Jonathan through the lens of contemporary gay male friendships. This queer reading not only celebrates manly love in its numerous forms, but also adds a self-critical voice to the discussion that exposes the heteronormative assumptions underlying the questions often asked of the narrative.

This is an interdisciplinary study of the Bible and visuality. It is the first to be written by a historian of visual culture (that is, aspects of culture mediated by visual images) rather than a biblical scholar, and unlike some previous studies, it makes equal partners of image and text. The Bible as Visual Culture also bridges a longstanding gulf between the interpretative traditions, languages, and reading conventions of the two disciplines.The book's central question is: What happens when text becomes an image? In response, the study explores how biblical ideas are articulated in and through visual mediums, and examines ways in which visual culture actively shapes biblical and religious concepts. Using original research material, Harvey's approach develops a variety of new and adaptable hermeneutics to exegete artifacts.The book applies theoretical and methodological approaches-native to fine art, art history, and visual cultural studies but new to biblical studies-to examine the significance of images for biblical exegesis and how images exposit the biblical text. John Harvey draws upon a breadth of fine art, craft, and ephemeral objects made, modified or adopted for worship, teaching, commemoration and propaganda, including painting, print, photography, sculpture, installations, kitsch and websites. These artifacts are studied chiefly in the context of the late-modern period in the West, from a Protestant Christian perspective for the most part.The Bible as Visual Culture is directed to academics and students of biblical studies, theology, religious studies, ecclesiastical history, art history, visual culture and art practice. It provides an accessible introduction to the field, informing newcomers of existing scholarship and introducing new concepts and theories to those already in the field.