How do we understand the characteristically extensive presence of imagery in biblical prophecy? Poetic metaphor in prophetic writings has commonly been understood solely as an artistic flourish intended to create certain rhetorical effects. It thus appears expendable and unrelated to the core content of the composition—however engaging it may be, aesthetically or otherwise. Job Jindo invites us to reconsider this convention. Applying recent studies in cognitive science, he explores how we can view metaphor as the very essence of poetic prophecy—namely, metaphor as an indispensable mode to communicate prophetic insight. Through a cognitive reading of Jeremiah 1-24, Jindo amply demonstrates the advantage and heuristic ramifications of this approach in biblical studies.

Almost 75 percent of the Old Testament is made up of poetic passages, yet for many readers (lay Christians, even seminary students and pastors), biblical poetic passages remain the greatest challenge. Being unfamiliar with poetry in general and biblical poetry in particular, their reading and preaching are limited to selected poetic passages. This in turn limits their understanding of God's word. To help readers overcome these problems, the first four chapters of this book aim to get them familiarized with the literary techniques of biblical poets. To demonstrate how the techniques work to bring across the biblical theological message, the last three chapters offer poetic analyses of three passages of different kinds. In the process, we hope to draw attention to the beauty of the Hebrew poetic art and to the creative skill of biblical poets' versification. The ultimate aim, however, is to help readers discover the rich message of the Bible.

This book uses three examples of violent biblical stories about women, explored through the lens of conceptual metaphor theory in relation to culinary language used within these texts, to examine wider issues of gender and sexual violence in the Hebrew Bible. Utilising the tools of conceptual metaphor theory, feminist criticism, and classic textual analysis, Brownsmith interrogates some of the most troubling biblical passages for women—neither by redeeming them nor by condemning them, but by showing how they are intrinsically shaped by the enduring metaphor of woman as food in the Hebrew Bible, ancient Near East, and beyond. The volume explores three main case studies: the Levite’s “concubine” (Judges 19); Tamar and Amnon (2 Sam 13); and the life and death of Jezebel (primarily 1 Kings 21 and 2 Kings 9). All depict violence toward a woman as perpetrated by a man, interwoven with culinary language that cues their metaphorical implications. In these sensitive but critical readings of violent tales, Brownsmith also draws on a broad range of interdisciplinary connections from Ricoeur to ancient Ugaritic epics to modern comic books. Through this approach, readers gain new insights into how the Bible shapes its narratives through conceptual metaphors, and specifically how it makes meaning out of women’s brutalized bodies. Gendered Violence in Biblical Narrative: The Devouring Metaphor is suitable for students and scholars working on gender and sexual violence in the Hebrew Bible and the ancient Near East more broadly, as well as those working on conceptual metaphor theory and feminist criticism.

Applying criteria for the identification of biblical Hebrew poetry, Jason M. H. Gaines distinguishes a nearly complete poetic Priestly stratum in the Pentateuch (“Poetic P”), coherent in literary, narrative, and ideological terms, from a later prose redaction (“Prosaic P”), which is fragmentary, supplemental, and distinct in thematic and theological concern. Gaines describes the whole of the “Poetic P” source and offers a Hebrew reconstruction of the document. This dramatically innovative understanding of the history of the Priestly composition opens up new vistas in the study of the Pentateuch.

The contributors to this volume discuss not merely the theoretical aspects of the phenomenon of inner biblical allusion but rather provide practical examples of scholars working with specific texts within the wisdom and psalms corpora in order to showcase the function of this phenomenon within poetic texts. Closing responses from senior scholars (David Clines and John Goldingay) provide a critical engagement and mature reflection on the contributions.

In The Metaphor of the Divine as Planter of the People Jennifer Metten Pantoja traces the emergence of the conceptual metaphor YHWH IS THE PLANTER OF THE PEOPLE in ancient Hebrew poetry and follows its development throughout biblical history and Second Temple literature, in order to illustrate how the deep connection to the land shaped ancient thought and belief. Within this broader, primary metaphor, the complex metaphor YHWH IS THE VINTNER OF ISRAEL is also analyzed as an image predominant in the pre-exilic prophetic literature. Recent advances in cognitive linguistics, coupled with traditional historical-critical methods, as well as a survey of the material culture, work in tandem to illuminate one snapshot of ancient Israel’s conception of the divine.

Metaphorical Landscapes and the Theology of the Book of Job demonstrates how spatial metaphors play a crucial role in the theology of the book of Job. Themes as pivotal as trauma, ill-being, retribution, and divine character are conceptualized in terms of space; its imagery is thus dependent on spatial configurations, such as boundaries, distance, direction, containment, and contact. Not only are spatial metaphors ubiquitous in the book of Job—possibly the most frequent conceptual metaphors in the book—they are essential to its theological reasoning. Job’s spatial metaphors form a metaphorical landscape in which God’s character and his creation are challenged in unprecedented ways. In the theophany, God reacts to that landscape. This book introduces a pragmatic synthesis of both conceptual metaphor theory and spatial semantics and it demonstrates their exegetical and hermeneutic potential.