Andrew Judd – författare

How a better understanding of genre leads to a better understanding of the biblical text.

The Bible, with its gloriously rich diversity of ancient genres, demands a flexible and historically aware approach to genre. Different conceptions of narrative, poetry, gospel, epistle, wisdom, and apocalyptic texts lead to vastly different readings, and our disagreements about what the Bible means often boil down to different assumptions about what the biblical text is. As secular genre theory has experienced a recent renaissance, 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.

Modern Genre Theory describes the current state of biblical genre theory (as well as the meaning of form criticism and why it needs to die). Scholar of biblical hermeneutics Andrew Judd then presents a better alternative of interpretation based on the best developments in secular literary theory, linguistics, and rhetorical studies.

Drawing on advancements in modern genre theory, Judd:

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.

This book puts a creative new reading of Hans-Georg Gadamer’s philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant to the present situation, and that the text has stability and authority over readers. Given how contested the Bible’s meaning is, how is it possible to ‘read Scripture’ as authoritative and relevant? Rather than anchor meaning in author, text or reader, Gadamer’s phenomenological model of hermeneutical experience as Spiel (‘play’) offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective–objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel (‘reading game’). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar’s story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful.

This book puts a creative new reading of Hans-Georg Gadamer’s philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant to the present situation, and that the text has stability and authority over readers. Given how contested the Bible’s meaning is, how is it possible to ‘read Scripture’ as authoritative and relevant? Rather than anchor meaning in author, text or reader, Gadamer’s phenomenological model of hermeneutical experience as Spiel (‘play’) offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective–objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel (‘reading game’). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar’s story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful.