Revised and enlarged papers from a conference held July 30-Aug. 1, 2005, in Eisenach, Germany, with additional contributions.

What kind of book is the Bible? Is it a rulebook or a guidebook for moral living? Is it a history book or a book filled with fascinating (and sometimes fantastic) stories? Did humans write the Bible or did God somehow speak a perfect message that the authors transcribed? Many people have asked these questions about the nature of this beautiful, odd, comforting, disturbing book the church calls its “Holy Scripture.” Charlotte Vaughan Coyle shares her own journey to make sense of the Bible in this read-through-the-Bible-in-a-year project. She discovered that the crucial work of asking hard questions and even arguing with the Bible revealed the Scriptures to be a symphony of polyphonic voices, a work of art that paints an alternative vision of reality, a complex novel-like story unavoidably embedded in its own culture and time, and yet able to give witness to the God beyond history who has acted (and continues to act) within history. With the heart of a pastor and the passion of a preacher, Rev. Coyle invites seekers and students (both churched and un-churched) to strap on their scuba gear and join her for a deeper dive beneath the surface of this immense, colorful, mysterious world of the Bible.

Nearly all metaphors in the Gospel according to John relate to ancient family imagery. Thus, the disciples are born of the Father; the Father provides them with bread and drink (water); He educates them and protects them and a dwelling is prepared for them, and so on. This family imagery, which is interwoven throughout the Gospel in a complex network, provides a key to the understanding of the message of the Fourth Gospel. In this volume, after exploring numerous state-of-the-art theories on metaphor, a customised metaphor theory is developed from the Fourth Gospel itself, which can be applied to the analysis of the Gospel as a whole. The theory is based on two of the best-known metaphors in the Fourth Gospel: I am the Good Shepherd, and I am the True Vine. Subsequently, all other metaphors are analysed according to this theory.

The command to love is central to the Gospel of John. Internationally respected scholar Francis Moloney offers a thorough exploration of this theme, focusing not only on Jesus's words but also on his actions. Instead of merely telling people that they must love one another, Jesus acts to make God's love known and calls all who follow him to do the same. This capstone work on John's Gospel uses a narrative approach to delve deeply into a theme at the heart of the Fourth Gospel and the life of the Christian church. Uniting rigorous exegesis with theological and pastoral insight, it makes a substantive contribution to contemporary Johannine scholarship.

Provides a description of the element or image, shows examples of how it is used in the biblical text, and presents photographs and maps that further illustrate the ideas.

"In the beginning was the Word . . ."The Gospel of John opens with rich poetic imagery and unfolds into twenty-one chapters full of symbols and signs that point to Jesus Christ as truly human and truly divine. This collection of fifty-six reader's poems, combined with twenty-six original pieces of art printed in full color, offers an inviting first read to those new to the Gospel and fresh perspective to those long familiar with its themes. There is no substitute for reading the Scriptures themselves again and again. This resource, in fact, flows directly from that kind of sustained reading. Like artists throughout the centuries, siblings Samuel Rahberg and Natalie Rahberg have employed the disciplines of writing and visual art to share with others the fruits of their own prayer. May each reader be led back to the Christ revealed in the Gospel of John.Samuel Rahberg is a spiritual director and author in Saint Paul, MN. Natalie Rahberg is a working artist in McKinney, TX.

Sosa Siliezar investigates the presence and significance of creation imagery in the Gospel of John. He argues that John has intentionally included only a limited (albeit significant) number of instances of creation imagery and that he has positioned them carefully to highlight their significance. Sosa Siliezar contends that the instances of creation imagery used in varying contexts function collectively in a threefold way that is consonant with John's overall argument. First, John uses them to portray Jesus in close relationship with his Father, existing apart from and prior to the created order. Second, John uses creation imagery to assert the primal and universal significance of Jesus and the message about him, and to privilege him over other important figures in the story of Israel. Third, John uses creation imagery to link past reality with present and future reality, portraying Jesus as the agent of creation whom the reader should regard as the primal agent of revelation and salvation. The book concludes by underscoring how these findings inform our understanding of John's Christology and Johannine dualism.