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Cheryl A. Kirk-Duggan, Valerie Bridgeman - Drama, Violence, and the Prophetic in Hosea, Inbunden

Inbunden, Engelska, 2027

Drama, Violence, and the Prophetic in Hosea

An Emancipatory Womanist Reading

Av Cheryl A. Kirk-Duggan, Valerie Bridgeman

Del i serien Feminist Studies and Sacred Texts

1262 kr

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This book employs a creative emancipatory womanist hermeneutic to engage a nonallegorical reading of the book of Hosea.Valerie J. Bridgeman and Cheryl A. Kirk-Duggan resist normative readings of the Old Testament book of Hosea, attending to how women and girls experience oppression, then and now, thus complicating Hosea's framing of God as an angry, authoritative, patriarchal figure. By engaging in artistic dialogue, this book explores the content, context, characters, challenges, and pedagogical and homiletic concerns Hosea evokes. Kirk-Duggan and Bridgeman contend that reading the volume provides an opportunity for heightening awareness about the intersections of scripture and art, about the voicelessness of the people of Hosea, and the dangers of reading unaware of the story’s context and one’s own. Coming to Hosea as womanists and Black feminists, Kirk-Duggan and Bridgeman situate themselves, and their readers, offering an alternative reading of this Old Testament book from a womanist biblical and hermeneutical perspective.
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Valerie Bridgeman is Dean & Vice President of Academic Affairs and Professor of Homiletics & Hebrew Bible at Methodist Theology School of Ohio, USA. Cheryl A. Kirk-Duggan is Affiliated Faculty at Oblate School of Theology, USA, Independent Scholar, consultant, and performer.

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Nearly four decades after I first asked whether Gomer was victim of violence or victim of metaphor, Bridgeman and Kirk-Duggan pick up that question and press it further than I dared. Reading Hosea as drama rather than history, they refuse the easy comfort of allegory and make readers sit with what the marriage metaphor costs real women, then and now. Their 'artistic dialogical discourse'—weaving film, music, and visual art into rigorous exegesis—opens the text in ways historical and rhetorical methods could not. This is womanist biblical scholarship at its most courageous: unflinching about the violence in the text, and unwilling to let scripture off the hook for it. This book takes that question somewhere Battered Love couldn't go in 1995—not for lack of will, but because the discourse and tools womanist scholarship now commands didn't yet exist

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