By David J. A. Clines, David M. Gunn, Alan J. Hauser
Biblical authors have been artists of language who created their which means via their verbal artistry, their rhetoric. those twelve essays see which means as finally inseparable from artwork and search to appreciate the biblical literature with sensitivity to the writer's craft. Contents: David Clines, The Arguments of Job's buddies. 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 keyword phrases 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 info for Art and Meaning: Rhetoric in Biblical Literature (JSOT Supplement)
Without the Lord as protector, they became victims of the Egyptians. When they were redeemed, they entered upon the service of God" /16/. This point may be illustrated further. Over twenty times in the text following chapter two, reference is made to various people in Egypt who function as the "servants" of the Pharaoh. " In other words, although Egypt comes to be known as "the house of slavery," although many persons accept the designation of themselves as slaves of the Pharaoh, Yahweh is pictured in the exodus story as one who is determined that his people will not be among their number.
Appropriately, Clements speaks of "no hope of returning to Egypt" /9/. The arrow plunges /10/. II. EXODUS l;8-2;22. INTRA-UNIT KEY WORDS An examination of the first four paragraphs of our text reveals the following words which function as key words within the unit (intra-unit key words). A. ) has been shown by more than one scholar /I I/. l 4 in fact containes the root cbd four times. As will be shown below, this repetition not only singles out the root as the key word of the paragraph in which it appears but it also portends further significance for the root as the story develops.
1-6. " The addition of this clause in 3:6 helps contrast the situation there, where disruption is breaking into the created order, with earlier conditions where the created world was in harmony. 12 As indicated by the phrase c yny shnyhm (the eyes of the two of them). 1-6, where the plural verbs indicate the oneness of man and woman. 7-11 man and woman cannot bear to be seen, either by God, or by one another. E. ), Gesenius' Hebrew Grammar as Edited and Enlarged by the Late E. Kautzsch (Oxford; The Clarendon Press, 1910) 256.