By A. K. M. Adam, Samuel Tongue
A few biblical interpreters’ imaginations expand basically so far as outlandish resource theories or esoteric hypothetical audiences. The interpretive energies let out in Glasgow over the last decade or so, in spite of the fact that, have produced a cadre of interpreters who defy the disciplinary mandates of biblical criticisms in favour of studying the Bible with imaginations either cautious and carefree. Infused with literary, political, art-critical, cinematic, liturgical and different pursuits, those essays exhibit interpretive verve free of the anxiousness of disciplines — with heavily saw insights, severe engagement with biblical texts, and vibrant notion from the cultural global during which they're set.
Here there is not any "gap" among global and textual content, however the intimate congeniality of shut, expensive, cozy interpretive buddies.
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Additional info for Looking Through a Glass Bible: Postdisciplinary Biblical Interpretations from the Glasgow School
71 Kuspit, “Social Contract”, 191. 72 See R. Smend, “Über das Ich der Psalmen”, in Zeitschrift für die Alttestamentliche Wissenschaft 8 (1888), 49–147. abstraction on a lament 21 depths of the heavier layers, and puts the power back into God’s hands. It is this layer that reminds the sufferer he can fling his anger around all he wants, but it is God who gives order to the chaos. The End? The stream of hope at the close of the psalm eases the pain(t) of the opening verses and allows us temporarily to forget the immediate source of strife.
4), finally trusting (v. 5) and bursting into song (v. 6). At the middle of this stream of ‘I’s, the voice of the subject shifts to that of the enemy, who threatens to prevail over the speaker (v. 4). The intertwined ‘I’ and flood of personal pronouns create a fusion of patterns and feelings that multiply in a self-driven, action-packed painting. 47 Commentary that finds Ps. 13 to be ‘typical’ diminishes its disruptive nature. In a few swift verses, the lament rages and simultaneously insists on the possibility of salvation from sorrow.
18 Here the Scots allows a fairly direct transposition of the idiomatic phrase חשבה לשבר where most English translations resort to paraphrase. ” popularized by Robert Louis Stevenson in Treasure Island. 19 The Hebrew word מלחים, usually translated ‘sailors’, contains the same letters as the Hebrew word for ‘salt’ ()מלח. Although the etymology is contested, with the argument put forward that it is derived from an Akkadian word for sailor, it is hard to believe that the similarity in sound would not strike a Hebrew speaker’s ear in view of the association between sailors and the salt of the sea.