Tod Linafelt – författare

The Hebrew Bible, or Christian Old Testament, contains some of the finest literature that we have. This biblical literature has a place not only in the synagogue or the church but also among the classics of world literature. The stories of Jacob and David, for instance, present the earliest surviving examples of literary characters whose development the reader follows over the length of a lifetime. Elsewhere, as in the books of Esther or Ruth, readers find a snapshot of a particular, fraught moment that will define the character. The Hebrew Bible also provides quite a few high points of lyric poetry, from the praise and lament of the Psalms to the double entendres in the love of poetry of the Song of Songs. In short, the Bible can be celebrated not only as religious literature but, quite simply, as literature. This book offers a thorough and lively introduction to the Bible's two primary literary modes, narrative and poetry, foregrounding the nuances of plot, character, metaphor, structure and design, and intertextual allusions. Tod Linafelt thus gives readers the tools to fully experience and appreciate the Hebrew Bible's literary achievement.

"The Passion of the Christ" was an extraordinary media event. But the film has also, and more importantly, been a religious phenomenon. Mel Gibson's professed intent was to create not just a cinematic experience but a spiritual one. And he has succeeded for many moviegoers, most notably evangelical Christians, of whom millions have embraced the film as a presentation of Holy Scripture, a twenty-first-century incarnation of the Word. In this volume, biblical scholars Timothy K. Beal and Tod Linafelt - along with an esteemed group of contributors - offer a provocative range of views on "The Passion of the Christ". The book is organized in three parts. The first analyzes the film in terms of its religious foundations, including the Gospels and nonbiblical religious texts: What are the film's literary sources and how does it use them? In what ways does the medium of film require a radically different way of representing gospel narrative? The second group of essays focuses on the ethical and theological implications of the film's presentation of the Christian gospel: What do we make of its representations of female sexuality?What are the implications of focusing on the Passion in terms of atonement rather than social justice? Finally, the third section explores the film as a pop cultural phenomenon: How has the film worked to create a sense of insider status for some and alienated so many others? What can we learn about the religious dimensions of contemporary mass culture from the film's reception? Whether one is inspired or appalled by "The Passion of the Christ", there can be no question that it is a defining moment in the cultural afterlife of the Bible. This volume tries to make sense of that moment and will prove to be a touchstone for adherents and detractors of the film alike.

"The Passion of the Christ" was an extraordinary media event. But the film has also, and more importantly, been a religious phenomenon. Mel Gibson's professed intent was to create not just a cinematic experience but a spiritual one. And he has succeeded for many moviegoers, most notably evangelical Christians, of whom millions have embraced the film as a presentation of Holy Scripture, a twenty-first-century incarnation of the Word. In this volume, biblical scholars Timothy K. Beal and Tod Linafelt - along with an esteemed group of contributors - offer a provocative range of views on "The Passion of the Christ". The book is organized in three parts. The first analyzes the film in terms of its religious foundations, including the Gospels and nonbiblical religious texts: What are the film's literary sources and how does it use them? In what ways does the medium of film require a radically different way of representing gospel narrative? The second group of essays focuses on the ethical and theological implications of the film's presentation of the Christian gospel: What do we make of its representations of female sexuality?What are the implications of focusing on the Passion in terms of atonement rather than social justice? Finally, the third section explores the film as a pop cultural phenomenon: How has the film worked to create a sense of insider status for some and alienated so many others? What can we learn about the religious dimensions of contemporary mass culture from the film's reception? Whether one is inspired or appalled by "The Passion of the Christ", there can be no question that it is a defining moment in the cultural afterlife of the Bible. This volume tries to make sense of that moment and will prove to be a touchstone for adherents and detractors of the film alike.

The writers of the New Testament were largely Jewish and laying the blame for the Holocaust at their feet would be absurd. However, the later cultural origins of anti-semitism means that reading the New Testament after the event calls for a new ethics of interpretation. These essays address this grave issue in detail,

The writers of the New Testament were largely Jewish and laying the blame for the Holocaust at their feet would be absurd. However, the later cultural origins of anti-semitism means that reading the New Testament after the event calls for a new ethics of interpretation. These essays address this grave issue in detail,

Celebrating the five hundredth volume, this Festschrift honors David M. Gunn, one of the founders of the Journal of Old Testament Studies, later the Library of Hebrew Bible/Old Testament Studies, and offers essays representing cutting-edge interpretations of the David material in the Hebrew Bible and later literary and popular culture. Essays in Part One, Relating to David, present David in relationship to other characters in Samuel. These essays demonstrate the value of close reading, analysis of literary structure, and creative, disciplined readerly imagination in interpreting biblical texts in general and understanding the character of David in particular. Part Two, Reading David, expands the narrative horizon. These essays analyze the use of the David character in larger biblical narrative contexts. David is understood as a literary icon that communicates and disrupts meaning in different ways in different context. More complex modes of interpretation enter in, including theories of metaphor, memory and history, psychoanalysis, and post-colonialism.Part Three, Singing David, shifts the focus to the portrayal of David as singer and psalmist, interweaving in mutually informative ways both with visual evidence from the ancient Near East depicting court musicians and with the titles and language of the biblical psalms. Part Four, Receiving David, highlights moments in the long history of interpretation of the king in popular culture, including poetry, visual art, theatre, and children's literature. Finally, the essays in Part Five, Re-locating David, represent some of the intellectually and ethically vital interpretative work going on in contexts outside the U.S. and Europe.

Celebrating the five hundredth volume, this Festschrift honors David M. Gunn, one of the founders of the Journal of Old Testament Studies, later the Library of Hebrew Bible/Old Testament Studies, and offers essays representing cutting-edge interpretations of the David material in the Hebrew Bible and later literary and popular culture. Essays in Part One, Relating to David, present David in relationship to other characters in Samuel. These essays demonstrate the value of close reading, analysis of literary structure, and creative, disciplined readerly imagination in interpreting biblical texts in general and understanding the character of David in particular. Part Two, Reading David, expands the narrative horizon. These essays analyze the use of the David character in larger biblical narrative contexts. David is understood as a literary icon that communicates and disrupts meaning in different ways in different context. More complex modes of interpretation enter in, including theories of metaphor, memory and history, psychoanalysis, and post-colonialism. Part Three, Singing David, shifts the focus to the portrayal of David as singer and psalmist, interweaving in mutually informative ways both with visual evidence from the ancient Near East depicting court musicians and with the titles and language of the biblical psalms. Part Four, Receiving David, highlights moments in the long history of interpretation of the king in popular culture, including poetry, visual art, theatre, and children's literature. Finally, the essays in Part Five, Re-locating David, represent some of the intellectually and ethically vital interpretative work going on in contexts outside the U.S. and Europe.

In this updated edition of the popular textbook An Introduction to the Old Testament, Walter Brueggemann and Tod Linafelt introduce the reader to the broad theological scope of the Old Testament, treating some of the most important issues and methods in contemporary biblical interpretation. This clearly written textbook focuses on the literature of the Old Testament as it grew out of religious, political, and ideological contexts over many centuries in Israel's history. Covering every book in the Old Testament (arranged in canonical order), the authors demonstrate the development of theological concepts in biblical writings from the Torah through postexilic Judaism.Incorporating the most current scholarship, this new edition also includes concrete tips for doing close readings of the Old Testament text, and a chapter on ways to read Scripture and respond in light of pressing contemporary issues, such as economic inequality, racial and gender justice, and environmental degradation. This introduction invites readers to engage in the construction of meaning as they venture into these timeless texts.

There can be little doubt that the Holocaust was an event of major consequence for the twentieth century. While there have been innumerable volumes published on the implications of the Holocaust for history, philosophy, and ethics, there has been a surprising lack of attention paid to the theoretical and practical effects of the Shoah on biblical interpretation. Strange Fire addresses the implications of the Holocaust for interpretation of the Hebrew Bible, bringing together a diverse and distinguished range of contributors, including Richard Rubenstein, Elie Wiesel, and Walter Brueggemann, to discuss theoretical and methodological considerations emerging from the Shoah and to demonstrate the importance of these considerations in the reading of specific biblical texts. The volume addresses such issues as Jewish and Christian biblical theology after the Holocaust, the ethics of Christian appropriation of Jewish scripture, and the rethinking of biblical models of suffering and sacrifice from a post-Holocaust perspective. The first book of its kind, Strange Fire will establish a benchmark for all future work on the topic.