This volume offers a meeting between genre theory in biblical studies and the work of Mikhail Bakhtin, who continues to be immensely influential in literary criticism. Here Bakhtin comes face to face with a central area of biblical studies: the question of genre. The essays range from general discussions of genre through the reading of specific biblical texts to an engagement with Toni Morrison and the Bible. --From publisher's description.

Genre theory has experienced a renaissance in the last thirty years, but biblical studies has been left in the dark ages of rigid taxonomies and stubborn essentialism. The Bible deserves better. This book offers students in biblical studies an accessible but comprehensive introduction to modern genre theory, providing access to literary tools for understanding how writers and readers use genre to make meaning. In one convenient package, this book first describes the current state of biblical genre theory, what form criticism is, and why it needs to die. It then presents a better alternative based on. the best developments in secular literary theory, linguistics, and rhetorical studies.?? Drawing on modern genre theory, Andrew Judd proposes a working definition of genre for biblical studies as relatively stable conventions that writers and readers use to make meaning in certain contexts but not others. He identifies twelve tenets of modern genre theory that follow from seeing genres in their historical and social context.? The Bible, with its gloriously rich diversity of ancient genres, demands this kind of flexible and historically aware approach to genre. Judd then offers eight case studies in biblical exegesis to show how a better understanding of genre leads to a better understanding of the Bible. Different conceptions of narrative, poetry, gospel, epistle, wisdom and apocalyptic texts lead to vastly different readings. Our disagreements about what the Bible means often boil down to different assumptions about what the biblical text is. From the creation accounts of Genesis to the visions of Revelation, it is important to get a handle on genre. This book offers a way to reading the Bible better.?

The Nehemiah Memoir, the narrative of the royal cupbearer sent to rebuild Jerusalem, is central to Ezra-Nehemiah's account of Persian Judah. Yet its emphasis on one individual's efforts makes it a text that ill-fits the book's story of a communal restoration. Sean Burt analyzes the nature of this curious text through the lens of genre criticism and identifies the impact of its use of genres on its early reception in Ezra-Nehemiah. Drawing upon contemporary theorists of literary genre, within the field of biblical studies and beyond, he builds an understanding of genre capable of addressing both its flexibility and its necessarily historical horizon. Burt argues that the Nehemiah Memoir makes use of two ancient genres: the novelistic court tale (e.g. Esther, Ahiqar, and others) and the "official memorial," or "biographical" genre used across the ancient Near East by kings and other governmental officials for individual commemoration. This study contends that the narrative subtly shifts genres as it unfolds, from court tale to memorial. Nehemiah the courtier becomes Nehemiah the governor. While these genres reveal an affinity to one another, they also highlight a central contradiction in the narrative's portrait of Nehemiah. Nehemiah is, like the people of Jerusalem, beholden to the whims of a foreign ruler, but he also simultaneously represents Persia's power over Jerusalem. Burt concludes that the Nehemiah Memoir's combination of these two ultimately incommensurate genres can account for how the writers of Ezra-Nehemiah modified and corrected Nehemiah's problematic story to integrate it into Ezra-Nehemiah's vision of a holistic restoration enacted by a unified people.

The corpus coranicum eludes familiar categories and resists strict labels. No doubt the threads woven into the fabric are exceptionally textured, varied, and complex. Accordingly, the introductory chapter of this book demonstrates the application of form criticism to the text. Chapter two then presents a form-critical study of the prayer genre. It identifies three productive formulae and addresses distinct social settings and forms associated with them. The third chapter begins by defining the liturgy genre vis-à-vis prayer in the Qurʾān. Drawing a line between the hymn and litany forms, this chapter treats each in turn. Chapter four considers the genre classified as wisdom literature. It identifies sapiential formulae and sheds light on wisdom contexts. The fifth chapter examines the narrative genre writ large. It also surveys narrative blocks of the long saga. The subsequent chapter on the proclamation genre inspects a set of vocative formulae, which occurs in the messenger situation. The concluding chapter looks at the corpus through synchronic and diachronic lenses. In the end, Qurʾānic genres encapsulate the form-critical elements of formulae, forms, and settings, as well as an historical dimension.

Judges 19–21 is filled with sexual violence, silent victims, and the lack of an ethical response. Utilizing a Bakhtinian-canonical perspective, this book seeks alternative canonical voices of answerability and non-violence through dialogue with the book of Ruth.

This book celebrates the contributions to Old Testament theology of Elmer A. Martens, President and Professor of Old Testament at Mennonite Brethren Biblical Seminary, Fresno, California (both positions now Emeritus). It includes 3 essays written by Martens himself, as well as 15 others written by his former students, colleagues, friends, and even one of his professors! The essays are clustered around three topics—Christians’ use of the Old Testament, aligning God’s people with God’s call for justice, and addressing the issue of land in the life of God’s people—each of which reflects an area of special interest to Martens. A biographical sketch, a list of the honoree’s varied publications, and indexes are included. Martens has had a productive career as teacher, author, and preacher—a career spanning almost six decades and five continents. After 40 years of seminary teaching, Elmer is known to many as professor. He taught his signature class, Old Testament theology, from 1968 to 2004 at Mennonite Brethren Biblical Seminary, shaping an entire generation of preachers and Bible teachers. His Old Testament theology textbook, God’s Design, now in its third edition, continues to be used at the seminary as well as in translation in numerous other schools around the world.

In Job the Unfinalizable, Seong Whan Timothy Hyun reads Job 1-11 through the lens of Bakhtin’s dialogism and chronotope to hear each different voice as a unique and equally weighted voice. The distinctive voices in the prologue and dialogue, Hyun argues, depict Job as the unfinalizable by working together rather than quarrelling each other. As pieces of a puzzle come together to make the whole picture, all voices in Job 1-11 though each with its own unique ideology come together to complete the picture of Job. This picture of Job offers readers a different way to read the book of Job: to find better questions rather than answers.