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 that 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 associates. 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, technique for Rhetorical feedback. John Kselman, A Rhetorical examine 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)
2a. B. 1:15-22 Now a new plan is devised by the king, this one involving more than hard work or bad treatment from bosses. The word 'kill" crackles like a rifle shot on a still evening. The arrow plunges lower than ever before. But again, hope is raised following the initial decree of the king. This time, the plan is thwarted by two midwives. An unidentified deity is mentioned who honors their courage. Again, the plan which was designed to destroy life fails; the arrow rises. But, exactly as has happened in paragraph "A," hope proves fleeting and is followed by additional kinds of oppression.
Rather, each unit within the whole projects a line (or lines) which is sometimes upward, sometimes downward, at times even backward. The course of these lines must be charted; and if we cannot forget the ending of the story which we already know from Sunday School as we read each unit, we will force the lines into a path which we think they ought to follow rather than pursue the lines indicated by the narrator. And then we can no longer be surprised by the text. Yet the element of surprise in a story is essential, for all good authors hope their readers or hearers will allow them to manipulate them a bit, lead them toward false clues, herd them into blind alleys - in short, surprise them with a story line that moves in different directions before arriving at its concluding point.
Verse 23. The writer uses this short piece of poetry to bring to a climax the search for man's czr (helper). The demonstrative pronoun z*t (this) /2/ is used three times in order to single out wo"rnan emphatically as the one who is suited to be man's 23 Art and Meaning companion. The poetry begins with man exclaiming z|t, as if he has been watching a long parade of nominees and now suddenly sees the right one. The next word, hp c m (at last, finally), strengthens the image, declaring man's exasperation over the long wait.