Bøger udgivet af Society of Biblical Literature

With characteristic boldness and careful reassessment of the evidence, MacDonald offers an alternative reconstruction of Q and an alternative solution to the Synoptic Problem: the Q+/Papias Hypothesis. To do so, he reconstructs and interprets two lost books about Jesus: the earliest Gospel, which was used as a source by the authors of Mark, Matthew, and Luke; and the earliest commentary on the Gospels, by Papias of Hierapolis, who apparently knew Mark, Matthew, and the lost Gospel, which he considered to be an alternative Greek translation of a Semitic Matthew. MacDonald also explores how these two texts, well known into the fourth century, shipwrecked with the canonization of the New Testament and the embarrassment at outmoded eschatologies in both the lost Gospel and Papias s Exposition.

The Studia Philonica Annual is a scholarly journal devoted to the study of Hellenistic Judaism, particularly the writings and thought of the Hellenistic-Jewish writer Philo of Alexandria (circa 15 B.C.E. to circa 50 C.E.).

Papers presented at a colloquium held in August, 2008, in M'unster, Germany, by the Institute for New Testament Textual Research and the German Bible Society.

Set published simultaneously in English, German, Italian, and Spanish.

"The present volume emerged from the papers presented at the Society of Biblical Literature meetings in New Orleans (2009) and Atlanta (2010) in a newly formed program unit entitled 'Priests and Levites in History and Tradition'"--P. 5.

Proceedings of meetings of the Prophetic Texts and Their Ancient Contexts Group of the Society of Biblical Literature held in 2007 in Washington, D.C. and in 2008 in Boston, Mass.

This book investigates the discourse on idolatry and images, especially statues, in the writings of the Jewish historian Flavius Josephus, with a particular focus on his numerous accounts of a contentious and at times iconoclastic relationship between Jews and images. Placing this narrative material within a wider comparative context, both Jewish and non-Jewish, demonstrates that the impression of strict aniconism uniform and categorical opposition to all figurative art emerging from Josephus is in part a rhetorical construct, an effort to reframe Jewish iconoclastic behavior not as a resistance to Roman domination but as an expression of certain cultural values shared by Jews and Romans alike. Josephus thus articulates in this discourse on images an idea of Jewish identity that functioned to mitigate an increasingly tense relationship between Romans and Jews in the wake of the Jewish revolt against Rome.