By Timothy J. Sandoval, Carleen Mandolfo, (in Honor of) Martin J. Buss
This assortment comprises stories focussing at the types and genres of biblical literature and on interdisciplinary techniques to biblical interpretation. participants to the amount comprise: J.H.Hayes, J.Kuan, A.Siedlecki, B.Green, M.Miller, R.Bailey, S.Melcher, B.Long, N.Walls, C.Newsom, D.Blumenthal, T.Linafelt, T.Beal, E.Ben Zvi, N.Stipe, N.Habel, F.Gorman, Y.Gitay, J.Lapsley, M.Sweeney, E.Gerstenberger, V.Robbins, D.Jobling, R.Weems, C.Mandolfo, T.Sandoval.
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Extra info for Relating to the Text: Interdisciplinary and Form-Critical Insights on the Bible (JSOT Supplement)
Example text
Attempting to break with a narrowly conceived form-critical approach, Martin used the term 'morphology' to designate his methodology. Diachronic considerations were downplayed; he was one of the first biblical scholars to speak of his interests as synchronic. Various patterns of speech in Hosea were analyzed: narrative and poetry, speech by God (relatively personal and symbolic) and speech by the prophet (relatively impersonal and descriptive), speech addressed to Israel (most frequently positive, except for a few formulations) and speech referring to Israel (most frequently negative), and announcements grounded in human behavior (threatening) and others grounded in a divine decision (supportive).
Nevertheless, Gunkel's desire to contextualize biblical texts in their respective settings in ancient life as well as the recognition that literary and sociological investigations should accompany historical research still (or perhaps again) motivates many biblical scholars today which lends a relevance to this study that goes beyond the level of mere curiosity with regard to the history of biblical interpretation. 1 Thus it becomes immediately evident, that the 'Old Testament' was never intended as a compendium of all preceding literature, but was rather designed for very specific religious purposes.
Like many other emotional expressions in antiquity, mourning over the dead was cast in very specific forms. One fasts, puts ashes on one's head, and puts on sackcloth. Then, according to a custom that also exists among many other peoples, a dirge is sung to the accompaniment of a flute, the dead is praised, and his death is lamented. There were hired mourners who knew well how to mourn. We are particularly well informed about the genre of dirge, since we have David's sublime lament over Saul's and Jonathan's demise (2 Sam.