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This study argues that the gist and movement of the prophecy in the book of Amos can be attributed to Amos himself, who composed a coherent cycle of poetry. His dire predictions came after the Fall of Samaria but before the Fall of Jerusalem. Writing a century later, the author of the book preserved but updated Amos' text by fitting it into a developing literary, historical and prophetic tradition. Amos is used as a test case to show that prophecy originated in the performing arts but was later transformed into history and biography. The original prophecy is a song Amos recited at symposia or festivals. The book's interest focusses on the performer and his times.
The book of Amos holds a unique and central place among the canonical prophetic literature and presents a special array of issues for scholarly discussion. This book provides a thorough and balanced overview of the history of scholarship on the book of Amos, two essays that trace the history of scholarship and offer promising lines for further inquiry, a substantial anthology of readings of the multiple ways Amos has been analyzed and appropriated, an extensive and current bibliography, and notes on doctoral dissertations conducted in recent years. The result is a comprehensive compendium of resources for scholarly writing on the book of Amos.
Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos explores the many-layered relationships female fans build with feminist musicians in general and with Tori Amos, in particular. Using original interview research with more than forty fans of Tori Amos, multiple observer-participant experiences at Amos’s concerts, and critical content analysis of Amos’s lyrics and larger body of work, Adrienne Trier-Bieniek utilizes a combination of gender, emotions, music, and activism to unravel the typecasts plaguing female fans. Trier-Bieniek aggressively challenges the popular culture stereotypes that have painted all female fans as screaming, crying teenage girls who are unable to control themselves when a favorite (generally male) performer occupies the stage. In stunning contrast, admirers of Tori Amos comprise a more introspective category of fan. Sing Us a Son, Piano Woman examines the wide range of stories from these listeners, exploring how Amos’s female fans are unique because Amos places the experiences of women at the center of her music. Tori Amos’s fan base is considered devoted because of the deeply emotional, often healing, connection they have to her music, an aspect that has been overlooked, particularly in sociological and cultural research on gender, emotions and music. Tori Amos’s female fans as a social phenomenon are vital for understanding the multi-layered relationships women can have with female singer/songwriters. At a time when superficial women dominate public media presentations, from the Kardashians to the “Real Housewives,” the relationship between Tori Amos and her fans illustrates the continuous search by women for female performers who challenge patriarchal standards in popular culture. Trier-Bieniek’s research serves as a springboard for further study of women in pop culture whose purpose is empower and provoke their fans, as well as change society.
What, according to the Book of Amos, does it mean to be the people of God? In this book, Andrew M. King employs a Social Identity Approach (SIA), comprised of Social Identity Theory and Self-Categorization Theory, to explore the relationship between identity formation and the biblical text. Specifically, he examines the identity-forming strategies embedded in the Book of Amos. King begins by outlining the Social Identity Approach, especially its use in Hebrew Bible scholarship. Turning to the Book of Amos, he analyzes group dynamics and intergroup conflicts (national and interpersonal), as well as Amos's presentation of Israel's history and Israel's future. King provides extensive insight into the rhetorical strategies in Amos that shape the trans-temporal audience's sense of self. To live as the people of God, according to Amos, readers and hearers must adopt norms defined by a proper relationship to God that results in the proper treatment of others.
Analyses the poetic audiences of the book of Amos by distinguishing the textual addressee from its actual audiences.
DIV Why are words so important to so many Jews? Novelist Amos Oz and historian Fania Oz-Salzberger roam the gamut of Jewish history to explain the integral relationship of Jews and words. Through a blend of storytelling and scholarship, conversation and argument, father and daughter tell the tales behind Judaism’s most enduring names, adages, disputes, texts, and quips. These words, they argue, compose the chain connecting Abraham with the Jews of every subsequent generation. Framing the discussion within such topics as continuity, women, timelessness, and individualism, Oz and Oz-Salzberger deftly engage Jewish personalities across the ages, from the unnamed, possibly female author of the Song of Songs through obscure Talmudists to contemporary writers. They suggest that Jewish continuity, even Jewish uniqueness, depends not on central places, monuments, heroic personalities, or rituals but rather on written words and an ongoing debate between the generations. Full of learning, lyricism, and humor, Jews and Words offers an extraordinary tour of the words at the heart of Jewish culture and extends a hand to the reader, any reader, to join the conversation. /div
Notes -- Comments -- Reinterpretations of the Words of Amos (8:4-14) -- Introduction to 8:4-14 -- Notes -- Comments -- A Vision of Inescapable Destruction (9:1-4) -- Introduction to 9:1-4, the So-Called Fifth Vision -- Notes -- Comments -- The Last Doxology (9:5-6) -- Introduction to 9:5-6 -- Notes -- Comments -- The Turning Point (9:7-10) -- Introduction to 9:7-10 -- Notes -- Comments -- A Hopeful Epilogue (9:11-15) -- Introduction to 9:11-15 -- Notes -- Comments -- Notes -- Index of Subjects -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z -- Index of Authors -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z -- Index of Ancient Sources
New York Times bestselling author Hilary Mantel, two-time winner of the Man Booker Prize, is one of the world’s most accomplished and acclaimed fiction writers. Giving Up the Ghost, is her dazzling memoir of a career blighted by physical pain in which her singular imagination supplied compensation for the life her body was denied. Selected by the New York Times as one of the 50 Best Memoirs of the Past 50 Years “The story of my own childhood is a complicated sentence that I am always trying to finish, to finish and put behind me.” In postwar rural England, Hilary Mantel grew up convinced that the most extraordinary feats were within her grasp. But at nineteen, she became ill. Through years of misdiagnosis, she suffered patronizing psychiatric treatment and destructive surgery that left her without hope of children. Beset by pain and sadness, she decided to “write herself into being”—one novel after another. This wry and visceral memoir will certainly bring new converts to Mantel’s dark genius. “Mesmerizing.”—The New York Times
In Jeremiah 3.1-4.4 the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and their need to change before it is too late. As well as metaphor and gender, another important thread in the tapestry is intertextuality, according to which the historical, political and social contexts of both author and reader enter into dialogue and thus produce different interpretations. But, as Shields shows in her final chapter, it is in the end the rhetoric of gender that actually constructs the text, providing the frame, the warp and woof, of the entire tapestry, and thus the prophet's primary means of persuasion.
This volume provides expert, comprehensive guidance in answering questions about the Hebrew text. While reflecting advances in scholarship on Hebrew grammar and linguistics, the work utilizes a style that can be used for both teaching and self-study.