Daughter Zion: Her Portrait, Her Response by Mark J. Boda, Carol J. Dempsey, LeAnn Snow Flesher

By Mark J. Boda, Carol J. Dempsey, LeAnn Snow Flesher

This quantity showcases fresh exploration of the portrait of Daughter Zion as she appears to be like in biblical Hebrew poetry. utilizing Carleen Mandolfos Daughter Zion Talks again to the Prophets (Society of Biblical Literature, 2007) as some degree of departure, the members to this quantity discover clone of Daughter Zion in its many dimensions in quite a few texts within the Hebrew Bible. methods used variety from poetic, rhetorical, and linguistic to sociological and ideological. To carry the dialog complete circle, Carleen Mandolfo engages in a dialogic reaction along with her interlocutors.

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5. Mandolfo, Daughter Zion, 19. 6. , 22. MIDDLEMAS: SPEAKING OF SPEAKING 41 cries. Moreover, he never responds to Zion with statements about Yhwh’s goodness or mercy, steadfast love, or divine role as judge, rock, savior, and redeemer. 8 Second, Lam 1–2 transform the lament genre. The first two poems in the book represent a mixing of two genres—the dirge and the lament form common to the Psalter. Drawing on new approaches in form-critical studies, Mandolfo suggests that what otherwise appears as a deterioration in form is actually a creative adaptation responding to alterations in circumstances.

The threat is “foreign overtures,” not simply sexual acts, female behavior, or fertility; the scope is political-economic, rather than narrowly cultic per se. The threat is that imposed by the heavy hand and bruising heel of Assyria, Egypt, Babylon, and by local elites, insofar as they participate. The chart below shows the overlap:28 28. Though in much past discussion the specifically sexual use of a nonspouse was seen as part of the target (idolatry), we can now see that the claim rose from an overliteralizing sense of the ‫ זנה‬language.

William McKane, Jeremiah I–XXV (vol. 1 of A Critical and Exegetical Commentary on Jeremiah; ICC; Edinburgh: T&T Clark, 1986), 34: Swapping deities was not generally done, surely not to exchange a good deity for a bad one. He reports that Kimchi was of the view that the cisterns dug were political alliances, with Egypt in particular (pp. 37, 59)—so, false reliance. 32. Bauer (Gender, 38) characterizes this female figure as refusing a dress code and ultimately as stripped and naked. It seems excessive as a description, though it raises an excellent question about how to read metaphors: as piled up, so that each female bears the burden of what is said of all females (or of another source image), or as more kaleidoscopic, singly tumbling against each other.

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