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 paintings 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 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, trend within the Fourth Gospel.
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Additional resources for Art and Meaning: Rhetoric in Biblical Literature (JSOT Supplement)
God m u s t t a k e s t r o n g m e a s u r e s t o s e e t h a t man is k e p t in his place. The f a c t t h a t God m u s t act s o decisively t o k e e p his c r e a t u r e s in line re-emphasizes t h e radical victory of alienation. Summary l ' One of t h e main t h e m e s t h e w r i t e r of Genesis 2-3 h a s used to t i e his s t o r y t o g e t h e r is t h e motif o f i n t i m a c y a n d alienation. 2 by: t h e writer's depiction of God's c a r e in f o r m i n g man f r o m t h e d u s t of t h e ground; God's c r e a t i o n of t h e g a r d e n f o r m a n , with i t s t r e e s growing from t h e ground a n d providing man with food; God's f o r m i n g t h e animals f r o m t h e ground in a n a t t e m p t t o c r e a t e a companion f o r man; God's c r e a t i o n of a companion f o r man who is l i t e r a l l y a p a r t of man; and t h e p i c t u r e of m a n a n d woman being one, naked b u t y e t c o m p l e t e l y a t e a s e in o n e another's presence.
Verse 25. 24 to being one flesh does not refer only to sexual relations (nor does it exclude them). 25 the sexual overtones are more pronounced. Throughout the OT there is basically a reserved attitude towards nakedness, with it being presumed that one's nakedness is, with only rare exception, to be shielded from the eyes of others. To expose someone's nakedness was to lay them bare before the world, to make them open and vulnerable, in a most thoroughgoing sense (Gen. 42:9,12; Isa. 20; Ezek. 16:22,39; 23:22-35; Hos.
In the encounter between woman and the serpent, the writer subtly but firmly continues to stress the intimacy between man and woman. 2 n'kl, we may eat). The writer's use of these plural verbs /10/ implies that man and woman are one, that they cannot be dealt with or addressed apart from one another. When woman eats the fruit of the forbidden tree, her first act thereafter is to give some to man, and the writer further stresses the intimacy by using the phrase Pyshh c mh (to her husband with her).