Scan any Old Testament Theology for its entry concerning the Song of Songs and you are likely to put the book down and walk away disappointed. In the majority of resrouces the Song is either missing entirely or is given scant pages that do not justice to its divine message. In this book Mark McGinniss seeks to remedy that situation by demonstrating the depth of theology in this ancient love song concerning desire, passion, and sex. Beyond the significant theology of the Song, this book demonstrates how the author of the Song of Songs employed certain literary devices for a specific rhetorical purpose to convey certain theological truths.

This book demonstrates how the author of the Song of Songs employed certain literary devices for a specific rhetorical purpose to convey certain therological truths. These are the author's use of first person personal pronouns, rhetorical questions, and the various characters that inhabit its pages

The thesis shows that the Song of Songs can be read as a circular sequence of sub-poems, that follow logically from one another if they are understood as contributing to two main points, made in a woman's voice. The woman urges men to take romantic initiative to be committed exclusively and for life, and urges women three times to wait until they are approached by such men. If this reading is the best explanation of the text of the Song, then the Song is a unified work centered on a woman singing about human romantic love from a woman's perspective.

What does it mean to be a woman or a man created in the image of God? Many Christians don't have a good grasp of what their sexuality means. Many women in the church don't feel like their contributions matter. Why is this? The church is sadly still confused about what it means to be a man or a woman. While secular society talks about sexuality in terms of liberation, many in the church define manhood and womanhood in terms of reductive roles that rob us of the dignity of personhood, created in the image of God. In her poetic, theologically contemplative style, Aimee Byrd invites you to enter the rich treasure trove of the Song of Songs as its lyrics reveal how our very bodies are visible signs that tell us something about our God. This often-ignored biblical book has much to teach us about Christ, his church, man, and woman. And what it teaches us is not a list of roles and hierarchy. It is a love song. As it unfolds throughout the canon of Scripture, the meaning of our sexuality extends beyond biology, nature, and culture to give us a glimpse of what is to come. This meaningfulness reinforces our discipleship as we participate in the eschatological song. In The Sexual Reformation, you will discover the beautiful message that our bodies—and our whole selves—are part of the greater story in which Christ received the gift of his bride, the church. Within the context of that story, you'll rediscover your sexuality as a gift.

The Song of Songs, a lyric cycle of love scenes without a narrative plot, has often been considered as the Bible’s most beautiful and enigmatic book. The present study questions the still dominant exegetical convention that merges all of the Song’s voices into the dialogue of a single couple, its composite heroine Shulamit being a projection screen for norms of womanhood. An alternative socio-spatial reading, starting with the Hebrew text’s strophic patterns and its references to historical realia, explores the poem’s artful alternation between courtly, urban, rural, and pastoral scenes with their distinct characters. The literary construction of social difference juxtaposes class-specific patterns of consumption, mobility, emotion, power structures, and gender relations. This new image of the cycle as a detailed poetic frieze of ancient society eventually leads to a precise hypothesis concerning its literary and religious context in the Hellenistic age, as well as its geographical origins in the multiethnic borderland east of the Jordan. In a Jewish echo of anthropological skepticism, the poem emphasizes the plurality and relativity of the human condition while praising the communicative powers of pleasure, fantasy, and multifarious Eros.

The Word Biblical Commentary delivers the best in biblical scholarship, from the leading scholars of our day who share a commitment to Scripture as divine revelation. This series emphasizes a thorough analysis of textual, linguistic, structural, and theological evidence. The result is judicious and balanced insight into the meanings of the text in the framework of biblical theology. These widely acclaimed commentaries serve as exceptional resources for the professional theologian and instructor, the seminary or university student, the working minister, and everyone concerned with building theological understanding from a solid base of biblical scholarship. Overview of Commentary Organization Introduction—covers issues pertaining to the whole book, including context, date, authorship, composition, interpretive issues, purpose, and theology. Each section of the commentary includes: Pericope Bibliography—a helpful resource containing the most important works that pertain to each particular pericope. Translation—the author’s own translation of the biblical text, reflecting the end result of exegesis and attending to Hebrew and Greek idiomatic usage of words, phrases, and tenses, yet in reasonably good English. Notes—the author’s notes to the translation that address any textual variants, grammatical forms, syntactical constructions, basic meanings of words, and problems of translation. Form/Structure/Setting—a discussion of redaction, genre, sources, and tradition as they concern the origin of the pericope, its canonical form, and its relation to the biblical and extra-biblical contexts in order to illuminate the structure and character of the pericope. Rhetorical or compositional features important to understanding the passage are also introduced here. Comment—verse-by-verse interpretation of the text and dialogue with other interpreters, engaging with current opinion and scholarly research. Explanation—brings together all the results of the discussion in previous sections to expose the meaning and intention of the text at several levels: (1) within the context of the book itself; (2) its meaning in the OT or NT; (3) its place in the entire canon; (4) theological relevance to broader OT or NT issues. General Bibliography—occurring at the end of each volume, this extensive bibliographycontains all sources used anywhere in the commentary.

Modern biblical scholarship interprets the Song as a collection of love lyrics. For Edmée Kingsmill, on the contrary, the essence of the Song is mystical. A principal concern of this study, however, is to uncover the relationship between the 117 verses of the Song and those biblical books to which they point. Beneath the metaphors a network of allusions is being woven, conveying a picture opposite to that we find in the prophets who, confronted with the continual 'adultery' of Israel, poured forth their condemnations with unwearying passion. In dramatic contrast, the Song presents a paradisal picture: 'For, lo, the winter is past, the rain is over and gone. The flowers appear in the land, and the time of singing is come' (Song 2: 11-12). Thus, in presenting the ideal, the intention of the Song's author is shown to be encouragement. The inclusion of this poem in the biblical canon is understood, therefore, to be central to the purpose of the biblical literature: to bring all people to love the God of love. The book is in two parts. The first and longer part is concerned with themes, including the relationship of the Song to the early Jewish mystical literature. The second part is a short commentary intended for the reader interested in the text as much as in the related questions to which the text gives rise.