Literarily

Don’t just read the Bible literally—read it Literarily. A lot of times, we treat Scripture like it’s all the same from Genesis to Revelation. After all, it only has one Author. Isn’t it just one big book, identical from beginning to end? While it’s true that the Bible is unified, it is also diverse. The Bible can be grouped according to key categories, called genres, that help us to read and properly interpret the Scriptures. An understanding of these genres, and the literary themes and devices used within them, makes all the difference when encountering God’s Word. Long-time Bible teacher Kristie Anyabwile discovered as she prepared her lessons that a single inductive approach doesn’t do justice to the variety of genres that make up the Word of God. Because Scripture is a collection of writings that spans 1,500 years, many literary styles are represented and each must be taken into account for the fullest understanding of God’s Word. Kristie shows you the immense value of studying the Bible literarily—that is, according to the literary style presented in a particular book, chapter, or passage. In Literarily, Kristie will take you through these eight distinct genres: Law History Prophecy Poetry Gospels Epistles Wisdom Apocalyptic The Bible is an epic story that God has revealed to us through diverse genres and literary features. Its message and method are both meant to transform our hearts. Our goal as interpreters isn’t to meld the Scriptures into a bland conglomerate, but to recognize the multiple forms in which God’s Word comes to us. In so doing, we’ll encounter the ongoing story of Jesus’s redemption and learn how He calls His people to live in our complex world today.

Generically, theologically, and concerning content, Mark and Joseph and Aseneth are quite different. The former is a product of the nascent Jesus movement and influenced by the Greco-Roman Bioi (“Lives”). It details the life, ministry, death, and resurrection of a wandering Galilean. The latter is a Hellenistic Jewish narrative influenced by Greek romances and Jewish novellas. It expands the laconic account of Joseph's marriage to Aseneth in Genesis 41 into a full-fledged love and adventure story. Despite these differences, Elder finds remarkable similarities that the texts share. Elder uses both texts to examine media and modes of composition in antiquity, arguing that they were both composed via dictation from their antecedent oral traditions. Elder's volume offers a fresh approach to the composition of both Joseph and Aseneth and Mark as well as to many of their respective interpretive debates.

The 1969 film Ma Nuit chez Maud catapulted its shy academic film director Eric Rohmer (1920–2010) into the limelight, selling over a million tickets in France and earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of films examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer was almost fifty years old when Maud was released and had already had a career as the editor of Cahiers du Cinéma, a position he lost in a political takeover in 1963. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer’s remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, color, and narrative. Alongside the application of a theoretical rigor to his own films, Rohmer’s interviews also discuss directors as varied as Godard, Carné, Renoir, and Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews, such as a debate Rohmer undertakes with Women and Film concerning feminism, alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time.

This volume is the first complete analysis of the apocryphal gospel fragment P.Oxy. 840 since its initial discovery nearly a century ago. The various palaeographical and historical questions raised by this apocryphal story are examined, particularly its descriptions of first-century ritual purity practices and its relationship to early Jewish-Christian communities.

Stella greets Christopher when he shrinks and falls through the cracks in the school floor due to boredom. The two decide to look around and discover some classrooms where children are actively participating in their education and enjoying learning.

Among the world's religions, Christianity and Judaism are the most symmetrical. But in our day of religious tolerance, a tendency to overlook the vital differences between the two religions in the name of good will can undermine constructive Jewish-Christian dialogue. In this book, Bruce D. Chilton describes early Christian thought and Jacob Neusner describes early Judaic thought on fundamental issues such as creation and human nature, Christ and Torah, sin and atonement, and eschatology. At the end of each chapter, each assesses the other's perspective, and a final chapter explains why the authors believe theological confrontation--not just comparison--defines the task of interfaith dialogue today.

Concerned with the nature of the medium and the borders between fact and fiction, reflexivity was a ubiquitous feature of modernist and postmodernist literature and film. While in the wake of the post-postmodern “return to the real” cultural criticism has little time for discussions of reflexivity, it remains a key topic in narratology, as does fictionality. The latter is commonly defined opposition to the real and the factual, but remains conditioned by historical, cultural, discursive, and medium-related factors. Reflexivity blurs the boundaries between fact and fiction, however, by giving fiction a factual edge or by questioning the limits of factuality in non-fictional discourses. Fictionality, factuality, and reflexivity thus constitute a complex triangle of concepts, yet they are rarely considered together. This volume fills this gap by exploring the intricacies of their interactions and interdependence in philosophy, literature, film, and digital media, providing insights into a broad range of their manifestations from the ancient times to today, from East Asia through Europe to the Americas.