By David J. A. Clines, David M. Gunn, Alan J. Hauser
Biblical authors have been artists of language who created their that means via their verbal artistry, their rhetoric. those twelve essays see which means as eventually inseparable from paintings and search to appreciate the biblical literature with sensitivity to the writer's craft. Contents: David Clines, The Arguments of Job's pals. 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 traces and keywords 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)
The latter sentence pointedly omits a direct object but as the next verse shows, it was the Pharaoh whom Moses feared, not God. And even as fear of God becomes the turning point in 1:15-22, the fear of Pharaoh becomes the turning point in 2:11 -22. Again we are introduced to a dramatic counterpoint. " And again the principles in the drama are God and god. Nowhere is this contrast drawn more sharply than in chapter 14. " As in 2:14, the specific direct object is omitted, although again the object of the fear is clear enough from the context.
1:8-14; B. 1:15-22; C. 2:1-10; D. 2:11-22). Then I shall examine the key words used in these four major paragraphs. I shall conclude with an examination of the final three verses of the unit and a discussion of their relationship to the rest of the story through 14:31. I. EXODUS l;8-2;22. STORY LINES A. 1:8-14 This paragraph begins on a note of despair. The unknowing new king, the gang-foremen, the design to oppress, the burdens, the building projects, all testify to the sharp downward thrusting of the arrow /6/.
Now all that remains is for us to hear something like "and Moses killed Pharaoh and became king in his stead" and we will have our expected ending. Instead, of course, we read something shockingly opposite: the "hero" turns tail and runs away! Note again the sharpness of the verbs which describe the actions of Moses in this moment: wayyibrach mosheh (cf. 14:5) ... wayyesheb ... wayyesheb ... wayyo'el m5sheh lashebet 'et-ha'Tsh ("and Moses fled ... and he stayed ... and he sat ... and Moses was content to stay with the man," vv.
Art and Meaning: Rhetoric in Biblical Literature (JSOT Supplement) by David J. A. Clines, David M. Gunn, Alan J. Hauser