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Like all skilful authors, the composer of the biblical books of Luke and Acts understood that a good story requires more than a gripping plot - a persuasive narrative also needs well-portrayed, plot-enhancing characters. This book brings together a set of new essays examining characters and characterization in those books from a variety of methodological perspectives. The essays illustrate how narratological, sociolinguistic, reader-response, feminist, redaction, reception historical, and comparative literature approaches can be fruitfully applied to the question of Luke''s techniques of characterization. Theoretical and methodological discussions are complemented with case studies of specific Lukan characters. Together, the essays reflect the understanding that while many of the literary techniques involved in characterization attest a certain universality, each writer also brings his or her own unique perspective and talent to the portrayal and use of characters, with the result that analysis of a writer''s characters and style of characterization can enhance appreciation of that writer''s work.

Taking on the myth of France''s creative exhaustion following World War II, this collection of essays brings together an international team of scholars, whose research offers English readers a rich and complex overview of the place of France and French artists in the visual arts since 1945.Addressing a wide range of artistic practices, spanning over seven decades, and using different methodologies, their contributions cover ground charted and unknown. They introduce greater depth and specificity to familiar artists and movements, such as Lettrism, Situationist International or Nouveau Réalisme, while bringing to the fore lesser known artists and groups, including GRAPUS, the Sociological Art Collective, and Nicolas Schöffer.Collectively, they stress the political dimensions and social ambitions of the art produced in France at the time, deconstruct the traditional geography of the French art world, and highlight the multiculturalism of the French art scene that resulted from its colonial past and the constant flux of artistic travels and migrations.Ultimately, the book contributes to a story of postwar art in which France can be inscribed not as a main or sub chapter, but rather as a vector in the wider constellation of modern and contemporary art.

This volume provides a series of contributions on the crucial aspects relating to the Bible and the Late Bronze Age period. The volume is introduced with a background essay surveying the main areas of history and current scholarship relating to Late Bronze Age Palestine and to the Egyptian New Kingdom (Dynasties 18-20) domination of the region, as well as the question of the biblical account of the same geographical area and historical period.Specific chapters address a range of key concerns: the history of Egypt''s dealing with Canaan is surveyed in chapters by Grabbe and Dijkstra. The Amarna texts are also dealt with by Lemche, Mayes and Grabbe. The archaeology is surveyed by van der Steen. The Merenptah Stela mentioning Israel is of considerable interest and is discussed especially by Dijkstra. This leads on to the burning question of the origins of Israel which several of the contributors address. Another issue is whether the first Israelite communities practised egalitarianism, an issue taken up by Guillaume, with a response by Kletter.

The Book of Isaiah is considered one of the greatest prophetic works in the Hebrew Bible/Old Testament. The complex history of the book''s composition, over several time periods, can often perplex and enthrall. The editors to this volume encourage readers to engage deeply with the text in order to get a grasp of the traces and signs within it that can be seen to point to the book''s process of composition and ongoing reinterpretation over time. The contributions discuss suggested segments of composition and levels of interpretation, both within the book of Isaiah and its history of reception. The book is divided into two sections: in the first part certain motifs that have come to Isaiah from a distant past are traced through to their origins. Arguments for a suggested ''Josianic edition'' are carefully evaluated, and the relationship between the second part of Isaiah and the Book of Psalms is discussed, as are the motifs of election and the themes of Zion theology and the temple. The second part of the book focuses on the history of reception and looks at Paul''s use of the book of Isaiah, and how the book is used, and perhaps misused in a contemporary setting in the growing churches in Africa. With a range of international specialists, including Hugh Williamson, Tommy Wasserman, and Knut Holter, this is an excellent resource for scholars seeking to understand Isaiah in a greater depth.

Sean A. Adams and Seth M. Ehorn have drawn together an exciting range of contributors to evaluate the use of composite citations in Early Jewish, Greco-Roman, and Early Christian authors (up through Justin Martyr). The goal is to identify and describe the existence of this phenomenon in both Greco-Roman and Jewish literature. The introductory essay will help to provide some definitional parameters, although the study as a whole will seek to weigh in on this question. The contributors seek to address specific issues, such as whether the quoting author created the composite text or found it already constructed as such. The essays also cover an exploration of the rhetorical and/or literary impact of the quotation in its present textual location, and the question of whether the intended audiences would have recognised and ''reverse engineered'' the composite citation and as a result engage with the original context of each of the component parts.In addition to the specific studies, Professor Christopher Stanley provides a summary reflection on all of the essays in the volume along with some implications for New Testament studies.

This volume presents an important insight into the history of scholarship on the Old Testament over the last 100 years. Presented in collaboration with the Society for Old Testament Study, which celebrates its centenary in 2017, the volume examines the shifting patterns in scholarship on the Old Testament over the last century, from the types of subject studied to the demographic make-up of the scholars working on the Old Testament/Hebrew Bible themselves. The volume has been written by several longstanding members and officers of the society. As such the volume presents a remarkable history of scholarship of Old Testament studies.

The contributions to this volume reflect upon changing paradigms within biblical scholarship, and in how biblical scholarship is taught. Taken together, they offer a multifaceted and informative indication of how open-mindedness in one's approach can yield fascinating results across the study of the Old Testament/Hebrew Bible.The range in topic of the contributions is exemplified in the difference between the first chapter, which works from the personal anecdote of the changing opinion of its author to make a wider point about models for Pentateuchal formation, and the third chapter, which comments on the current state of the study of ancient Israel in universities today. Other contributions include; an essay on the subject of space as a social construct in Isaiah 24-27; civil courage and whether the Bible allows room for protest; the question of monotheism in Persian Judah; the historical Ezra, and the telling of the story of Joseph (Genesis 50: 15-21) in children's Bibles in the Netherlands. The contributors include Hugh Williamson, Ehud Ben Zvi, Rainer Albertz, Karel von der Toorn, and Christoph Uehlinger.

Based on the words and experiences of the people involved, this book tells the story of the community arts movement in the UK, and, through a series of essays, assesses its influence on present day participatory arts practices. Part I offers the first comprehensive account of the movement, its history, rationale and modes of working in England, Northern Ireland, Scotland and Wales; Part II brings the work up to the present, through a scholarly assessment of its influence on contemporary practice that considers the role of technologies and networks, training, funding, commissioning and curating socially engaged art today.The community arts movement was a well-known but little understood and largely undocumented creative revolution that began as part of the counter-cultural scene in the late 1960s. A wide range of art forms were developed, including large processions with floats and giant puppets, shadow puppet shows, murals and public art, events on adventure playgrounds and play schemes, outdoor events and fireshows. By the middle of the 1980s community arts had changed and diversified to the point where its fragmentation meant that it could no longer be seen as a coherent movement. Interviews with the early pioneers provide a unique insight into the arts practices of the time. Culture, Democracy and the Right to Make Art is not simply a history because the legacy and influence of the community arts movement can be seen in a huge range of diverse locations today. Anyone who has ever encountered a community festival or educational project in a gallery or museum or visited a local arts centre could be said to be part of the on-going story of the community arts.This book is open access and available on www.bloomsburycollections.com <http://www.bloomsburycollections.com>. It is funded by the University of Manchester.

Making Taste Public takes an ethnographic approach to show how social relations shape - and are shaped by - the taste of food. Recognizing that different cultures have different taste preferences and flavour principles embedded in cuisine, editors Carole Counihan and Susanne H├╕jlund ask how these differences are generated. The editors have compiled 14 chapters to show how specific influences become a part of our sensorial apparatus and identity through shared experiences of making, eating, and talking about food. Using case studies from Asia, Europe and America, the book presents a theory of how taste is made public through everyday practices. The authors are exploring how place, production methods and cooking techniques create tastes. They discuss the criteria determining good and bad tastes, and how tastes and memories evolve over time. Subjects such as how values can be embedded in taste, and the role of taste education in food movements, homes, and schools are explored. The different chapters examine definitions and mobilizations of taste in different institutions, public places, and regions around the world to reveal ethnographic understandings of how people learn, experience, and share taste. With contributions spanning the Solomon Islands, Denmark, Japan, Canada, France, the USA, and Italy, Making Taste Public is a fascinating account of how our sense of taste is continuously shaped and re-shaped in relation to social and cultural context, societal and environmental premises. The book will interest anyone studying anthropology, sociology, food studies, sensory studies and human geography.

The study of early Judaism and early Christianity has been revolutionised by new evidence from a host of sources: the Dead Sea Scrolls, the Pseudepigrapha, the New Testament Apocrypha, the Nag Hammadi writings and related texts, and new papyrus and amulet discoveries. Now scholars have entered the "next generation†? of scholarship, where these bodies of evidence are appreciated in conversation with each other and within the contexts of the wider Jewish, Christian, and Greco-Roman cultures from the fourth century BCE to the fourth century CE.This volume features chapters from leading scholars who approach the study of early Judaism and early Christianity from this synthetic approach. The chapters engage in an inter-generational and international dialogue among the past, present and future generations of scholars, and also among European, North-American, African and South-American scholars and their various methodologies and approaches -- linguistic, historical or comparative. Among the chapters are contributions by Professors James Charlesworth (Princeton), André Gagné (Concordia) and Loren Stuckenbruck (Munich), as well as papers from researchers from North America, Europe, South America and Africa.