By Walter Brueggemann
During this up to date version of the preferred textbook, Walter Brueggemann and Tod Linafelt introduce the reader to the vast theological scope of the previous testomony, treating one of the most very important concerns and strategies in modern biblical interpretation. This sincerely written textbook specializes in the literature of the previous 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 masking each booklet within the outdated testomony (arranged in canonical order), the authors exhibit the advance of theological techniques in biblical writings from the Torah via post-exilic Judaism. This advent invitations readers to interact within the building of which 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
For instance, the tragic death of Hector at the hands of Achilles near the end of the Iliad (in book 22) has devoted to it (in the Greek) fourteen lines of lament by Hector’s father, seven lines by his mother, and fully forty lines by his wife, Andromache. We may compare this with the brief notations of grief in biblical narrative. On the death of Sarah: “And Sarah died at Kiriath-Arba (that is, Hebron) in the land of Canaan, and Abraham went in to mourn for Sarah and to weep for her” (Gen 23:2, au.
And if so, on what basis? We are given no access whatsoever into the inner life of Aaron, and because we do not know what he is thinking we also do not know what motivates his silence. It is with regard to this latter issue, the question of character motivation, that we may see the importance of recognizing the distinctively terse mode of biblical narration. As noted above in considering the story of Jacob and Esau, the narrator reveals very little about the inner lives of characters, instead reporting mainly action and dialogue, or what the characters do and what they say.
Most readers assume that he has passed, but a few have dared to suggest that God wanted not blind obedience from Abraham but resistance—after all, such resistance was honored when Abraham argued on behalf of Sodom and Gomorrah—and that in failing to argue with God, Abraham failed to show the strength of character that God hoped to see (Wiesel 1976, 93–94; Fewell and Gunn 1993, 52–54). If such a reading seems strained, especially in light of 22:16, that it is nonetheless possible—if only just—witnesses to the profound but productive ambiguity of Hebrew literary style, which exploits to great effect its distinctive economy of style.