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A Redactional Study of the Book of Isaiah 13-23 argues that a series of programmatic additions were made to the oracles concerning the nations in Isaiah 13-23 during the late-exilic period by the same circle of writers who were responsible for Isaiah 40-55. These additions were made to create continuity between the ancient oracles against the nations from the Isaiah tradition and the future fate of the same nations as the late-exilic redactor(s) foresaw. The additions portray a two-sided vision concerning the nations. One group of passages depicts a positive turn for certain nations while the other group of passages continues to pronounce doom against the remaining nations. This double-sided vision is set out first in Isaiah 14 surrounding the famous taunt against the fallen tyrant. 14:1-2, before the taunt, paints the broad picture of the future return of the exiles and the attachment of the gentiles to the people of Israel. After the taunt and other sayings of YHWH against his enemies, 14:26-27 extends the sphere of the underlying theme of 14:4b-25a, namely YHWH's judgement against boastful and tyrannical power(s), to all nations and the whole earth. The two sides of this vision are then applied accordingly to the rest of the oracles concerning nations in chapters 13-23. To the nations that have experienced similar disasters as the people of Israel, words of hope in line with 14:1-2 were given. To the nations that still possessed some prominence and reasons to be proud, words of doom in line with 14:26-27 were decreed.
This book argues that a series of programmatic additions were made to the oracles concerning the nations in Isa 13-23 during the late-exilic period by the same circle of writers who were responsible for Isa 40-55. These additions were made to create continuity between the ancient oracles against the nations from the Isaiah tradition.
The book of Isaiah is without doubt one of the most important books in the Hebrew Bible/Old Testament, as evidenced by its pride of place in both Jewish and Christian traditions as well as in art and music. Most people, scholars and laity alike, are familiar with the words of Isaiah accompanied by the magnificent tones of Handel's 'Messiah'. Isaiah is also one of the most complex books due to its variety and plurality, and it has accordingly been the focus of scholarly debate for the last 2000 years. Divided into eight sections, The Oxford Handbook of Isaiah constitutes a collection of essays on one of the longest books in the Bible. They cover different aspects regarding the formation, interpretations, and reception of the book of Isaiah, and also offer up-to-date information in an attractive and easily accessible format. The result does not represent a unified standpoint; rather the individual contributions mirror the wide and varied spectrum of scholarly engagement with the book. The authors of the essays likewise represent a broad range of scholarly traditions from diverse continents and religious affiliations, accompanied by comprehensive recommendations for further reading.
Isaiah 1–39 uses the unique term אלילים—usually translated as “idols”— more than anywhere else in the Hebrew Bible. Using this linguistic phenomenon as a point of departure, Matthew J. Lynch reexamines the rhetorical strategies of First Isaiah, revealing a stronger monotheizing rhetoric than previously recognized. Standard accounts of Israelite religion frequently insist that monotheism reached its apex during the exile, and especially in Deutero-Isaiah. By contrast, Lynch’s study brings to light an equally potent mode of monotheizing in First Isaiah. Lynch identifies three related rhetorical tendencies that emphasize yhwh’s supreme uniqueness: a rhetoric of avoidance, referring to other deities as idols (אלילים) to avoid conferring on them the status of gods (אלוהים); a rhetoric of exaltation, emphasizing yhwh’s truly exalted status in opposition to all that which exalted itself; and a rhetoric of abasement, fully subjugating all other claimants to absolute power—whether human or divine—before the divine king. Succinctly and persuasively argued, Lynch’s book will change how biblical scholars understand the nature and development of Israelite monotheism.
The book of Isaiah is one of the longest and strangest books of the Hebrew Bible, composed over several centuries and traversing the catastrophe that befell the two kingdoms of Israel and Judah in the 8th and 6th centuries BCE. Francis Landy's book tells the story of the poetic response to catastrophe, and the hope for a new and perfect world on the other side. The study traces two parallel developments: the displacement of the Davidic promise onto the Persian Empire, Israel, and the prophet himself; and the transition from exclusively male images of the deity to the matching of male and female prototypes, whereby YHWH takes the place of the warrior goddess. Utopia, Catastrophe, and Poetry in the Book of Isaiah consists of close readings of individual passages in Isaiah, commencing with Chapter One and the problems of beginning, and ending with Deutero-Isaiah, composed subsequent to the Babylonian exile. The volume is arranged thematically as well as sequentially: the first chapter following the introduction concerns gender, the second death, the third the Oracles about the Nations. At the centre there is what Landy calls 'the constitutive enigma', Isaiah's commission in his vision to speak so that people will not understand. This renders the entire book potentially incomprehensible; the more we try to understand it, the greater the difficulty. For Landy, this creates a model of reading and writing, the challenge and the risk of going up blind alleys, of trying to make sense of a disastrous world. Isaiah's commission pervades the book. Throughout there is a promise of an age of clarity as well as social and political transformation, which is always deferred beyond the horizon. Hence it is a book without an ending, or with multiple endings. In the final chapters, the author turns to the central Chapter Thirty-Three, a mise-en-abyme of the book and a prayer for deliverance, and the issues of exile and the possibility of return. Like every poetic work, particularly in an era of cultural collapse, it is a critique of the past and a hope for a new humanity.
The vast homiletic corpus of John Chrysostom has received renewed attention in recent years as a source for the wider cultural and historical context within which his sermons were preached. Scholars have demonstrated the exciting potential his sermons have to shed light on aspects of daily life, popular attitudes, and practices of lay piety. In short, Chrysostom's sermons have been recognised as a valuable source for the study of 'popular Christianity' at the end of the fourth century. This study, however, questions the validity of some recent conclusions. James Daniel Cook illustrates that Chrysostom is often seen as at odds with the congregations to whom he preached. On this view, the Christianity of élites such as Chrysostom had made little inroads into popular thought beyond the fairly superficial, and congregations were still living with older, more culturally traditional views about religious beliefs which preachers were doing their utmost to overcome. Cook argues that such a portrayal is based on a misreading of Chrysostom's sermons and fails to explain satisfactorily the apparent popularity that Chrysostom enjoyed as a preacher. Preaching and Popular Christianity: Reading the Sermons of John Chrysostom reassesses how we read Chrysostom's sermons, with a particular focus on the stern language which permeated his preaching, and on which the image of the contrary congregation is largely based. In doing this, Cook recovers a neglected portrayal of Chrysostom as a pastor and of preaching as a pastoral and liturgical activity, and it becomes clear that his use of critical language says more about how he understood his role as preacher than about the nature of popular Christianity in late-antique society. Thus, a very different picture of late-antique Christianity emerges, in which Chrysostom's congregations are more willing to listen and learn from their preacher than is often assumed.
Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm—patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theological conversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.
Encountering Eve's Afterlives: A New Reception Critical Approach to Genesis 2-4 aims to destabilize the persistently pessimistic framing of Eve as a highly negative symbol of femininity within Western culture by engaging with marginal, and even heretical, interpretations that focus on more positive aspects of her character. In doing so, this book questions the myth that orthodox, popular readings represent the 'true' meaning of the first woman's story, and explores the possibility that previously ignored or muted rewritings of Eve are in fact equally 'valid' interpretations of the biblical text. By staging encounters between the biblical Eve and re-writings of her story, particularly those that help to challenge the interpretative status quo, this book re-frames the first woman using three key themes from her story: sin, knowledge, and life. Thus, it considers how and why the image of Eve as a dangerous temptress has gained considerably more cultural currency than the equally viable pictures of her as a subversive wise woman or as a mourning mother. The book offers a re-evaluation of the meanings and the myths of Eve, deconstructing the dominance of her cultural incarnation as a predominantly flawed female, and reconstructing a more nuanced presentation of the first woman's role in the Bible and beyond.
This book examines the practice of poetry in the devotional Vaiṣṇava tradition inspired by Śrī Kṛṣṇa Caitanya (1486-1533), through a detailed study of the Sanskrit poetic works of Kavikarṇapūra, one of the most significant sixteenth-century Caitanya Vaiṣṇava poets and theologians. It places his ideas in the context both of Sanskrit literary theory (by exploring his use of earlier works of Sanskrit criticism) and of Vaiṣṇava theology (by tracing the origins of his theological ideas to earlier Vaiṣṇava teachers, especially his guru Śrīnātha). Both Kavikarṇapūra's poetics as well as the style of his poetry is in many ways at odds with those of his time, particularly with respect to the place of phonetic ornamentation and rasa. Like later early modern theorists, Kavikarṇapūra reaches back to the earliest Sanskrit poeticians whom he attempts to harmonise with the theories current in his time, to develop a new poetics that values both literary ornamentation and the suggestion of emotion through rasa. This book argues that the reasons of and purposes for Kavikarṇapūra's literary innovations are firmly rooted in his unique Vaiṣṇava theology, and exemplifies this through a careful reading of select passages from the Ānanda-vṛndāvana, his poetic retelling of Kṛṣṇa's play in Vṛndāvana.
Origen is frequently hailed as the most important Christian writer of his period (c.185-c.255 AD), and the first systematic theologian. Origen and Prophecy: Fate, Authority, Allegory, and the Structure of Scripture examines whether there was a system to Origen's thinking about prophecy. How were all of these quite different topics - future-telling, moral leadership, mystical revelation - contained in the single word 'prophecy'? Origen and Prophecy presents a new account of Origen's concept of prophecy which takes its cue from the structure of Origen's thinking about scripture. He claims that scripture can be read in three different senses: the straightforward, or 'somatic' (bodily) sense; the moral, or 'psychic' (soul-ish) sense; and the mystical, or 'pneumatic' (spiritual) sense. This threefold structure, says Origen, underpins all of scripture and is intimately linked through Christ with the structure of the Holy Trinity. This book illustrates how Origen thought about prophecy using the same threefold structure, with somatic (future-telling), psychic (moral), and pneumatic (mystical revelatory) senses. The chapters weave through several centuries of Greek pagan, Jewish, and Christian thinking about prophecy, divination, time, human nature, autonomy and freedom, allegory and metaphor, and the role of the divine in the order and structure of the cosmos.