Download An Introduction to the Old Testament: The Canon and by Walter Brueggemann PDF

By Walter Brueggemann

During this up-to-date version of the preferred textbook, Walter Brueggemann and Tod Linafelt introduce the reader to the wide theological scope of the outdated testomony, treating probably the most very important matters and techniques in modern biblical interpretation. This essentially written textbook makes a speciality of the literature of the outdated testomony because it grew out of spiritual, political, and ideological contexts over many centuries in Israel's background. masking each booklet within the outdated testomony (arranged in canonical order), the authors show the improvement of theological innovations in biblical writings from the Torah via post-exilic Judaism. This creation invitations readers to have interaction within the development of that means as they enterprise into those undying texts.

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Extra info for An Introduction to the Old Testament: The Canon and Christian Imagination

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When biblical authors wanted to convey feeling or thought, they resorted to verse form. Obvious examples of this formal preference include poetic books like the Psalms and the Song of Songs, where the expression of passion, whether despairing or joyful, is common. We find also in narrative contexts briefer poetic insets that serve to express or intensify emotion. ”—au. ). The book of Job serves as an example on a much larger scale, beginning in the narrative mode and giving precious little insight into Job’s thoughts or feelings.

Biblical Hebrew narrative exhibits a style that often seems simple, even primitive, in comparison with other great works of world literature. And Hebrew poetry, lacking the strict metrical patterns of classical verse or the rhyme of later English poetry, has more often than not gone unrecognized as poetry. Yet once we become aware of the distinctive elements of both biblical narrative style and biblical poetic style, we can begin to appreciate with fresh eyes the rich literary artfulness of the Old Testament.

It is only with the third, very late, repetition of “Here I am” that the tension is resolved and Abraham is no longer caught between these opposing demands on his loyalty. One might say that Abraham’s threefold response provides the underlying armature for the story, marking the beginning, the middle, and the end. Although the single 24 An Introduction to the Old Testament word hinneni is literally repeated each time, it acquires a new depth of meaning—and certainly a new tone—with each repetition.

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