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Sheona Beaumont addresses the untold story of biblical subjects in photography. She argues that stories, characters, and symbols from the Bible are found to pervade photographic practices and ideas, across the worlds of advertising and reportage, the book and the gallery, in theoretical discourse and in the words of photographers themselves. Beaumont engages interpretative tools from biblical reception studies, art history, and visual culture criticism in order to present four terms for describing photography's latent spirituality: the index, the icon, the tableau, and the vision. Throughout her journey she includes lively discussion of selected fine art photography dealing with the Bible in surprising ways, from images by William Henry Fox Talbot in the 19th century to David Mach in the 21st. Far from telling a secular story, photography and the conditions of its representations are exposed in theological depth.; Beaumont skillfully interweaves discussion of the images and theology, arguing for the dynamic and potent voice of the Bible in photography and enriching visual culture criticism with a renewed religious understanding.

Revision of author's thesis (Ph. D.)--Brite Divinity School, Texas Christian University, 2010 under title: Domestic disputations at the dung heap: a reception history of Job and his wife in Christianity of the West.

This volume draws together eleven essays by scholars of the Hebrew Bible, New Testament, Greco-Roman religion and early Judaism, to address the ways that conceptions of identity and otherness shape the interpretation of biblical and other religiously authoritative texts.The contributions explore how interpreters of scriptural texts regularly assume or assert an identification between their own communities and those described in the text, while ignoring the cultural, social, and religious differences between themselves and the text's earliest audiences. Comparing a range of examples, these essays address varying ways in which social identity has shaped the historical contexts, implied audiences, rhetorical shaping, redactional development, literary appropriation, and reception history of particular texts over time. Together, they open up new avenues for studying the relations between social identity, scriptural interpretation, and religious authority.

Drawing on the work of leading figures in biblical, religious, historical, and cultural studies in Ireland and beyond, this volume explores the reception of the Bible in Ireland, focusing on the social and cultural dimensions of such use of the Bible. This includes the transmission of the Bible, the Bible and identity formation, engagement beyond Ireland, and cultural and artistic appropriation of the Bible. The chapters collected here are particularly useful and insightful for those researching the use and reception of the Bible, as well as those with broader interests in social and cultural dimensions of Irish history and Irish studies.The chapters challenge the perception in the minds of many that the Bible is a static book with a fixed place in the world that can be relegated to ecclesial contexts and perhaps academic study. Rather, as this book shows, the role of the Bible in the world is much more complex. Nowhere is this clearer than in Ireland, with its rich and complex religious, cultural, and social history. This volume examines these very issues, highlighting the varied ways in which the Bible has impacted Irish life and society, as well as the ways in which the cultural specificity of Ireland has impacted the use and development of the Bible both in Ireland and further afield.

This interdisciplinary volume of text and art offers new insights into various unsolved mysteries associated with Mary Magdalene, Mary of Bethany, Mary the Mother of Jesus, and Miriam the sister of Moses. Mariamic traditions are often interconnected, as seen in the portrayal of these women as community leaders, prophets, apostles and priests. These traditions also are often inter-religious, echoing themes back to Miriam in the Hebrew Bible as well as forward to Maryam in the Qur'an. The chapters explore questions such as: which biblical Mary did the author of the Gospel of Mary intend to portray-Magdalene, Mother, or neither? Why did some writers depict Mary of Nazareth as a priest? Were extracanonical scriptures featuring Mary more influential than the canonical gospels on the depiction of Maryam in the Qur'an?Contributors dig deep into literature, iconography, and archaeology to offer cutting edge research under three overarching topics. The first section examines the question of "which Mary?" and illustrates how some ancient authors (and contemporary scholars) may have conflated the biblical Marys. The second section focuses on Mary of Nazareth, and includes research related to the portrayal of Mary the Mother of Jesus as a Eucharistic priest. The final section, "Recovering Receptions of Mary in Art, Archeology, and Literature," explores how artists and authors have engaged with one or more of the Marys, from the early Christian era through to medieval and modern times.

The Bible has always enjoyed notoriety within the genres of crime fiction and drama; numerous authors have explicitly drawn on biblical traditions as thematic foci to explore social anxieties about violence, religion, and the search for justice and truth. The Bible in Crime Fiction and Drama brings together a multi-disciplinary scholarship from the fields of biblical interpretation, literary criticism, criminology, and studies in film and television to discuss international texts and media spanning the beginning of the 20th century to the present day. The volume concludes with an Afterword by crime writer and academic, Liam McIvanney. These essays explore both explicit and implicit engagements between biblical texts and crime narratives, analysing the multiple layers of meaning that such engagements can produce - whether by cross-referencing Sherlock Holmes with the murder mystery in the Book of Tobit, observing biblical violence through the eyes of Christian fundamentalists in Henning Mankell''s Before the Frost, catching the thread of homily in the serial murders of Se7en, or analysing biblical sexual violence in light of television crime procedurals. The contributors also raise intriguing questions about the significance of the Bible as a religious and cultural text - its association with the culturally pervasive themes of violence, (im)morality, and redemption, and its relevance as a symbol of the (often fraught) location that religion occupies within contemporary secular culture.

This volume takes readers on a fascinating journey through the visual arts of Aotearoa New Zealand, Australia and the Pacific Islands, contemplating the multivocal dialogues that occur between these artistic media and the texts and traditions of the Bible. With their distinctively antipodean perspectives, contributors explore the innovative ways that both creators and beholders of Oceanic arts draw upon their contexts and cultures in order to open up creative engagements with the stories, themes and theologies of the biblical traditions. Various motifs weave their way throughout the volume, including antipodean landscapes and ecology, (post)colonialism, philosophy, Oceanic spiritualities and the often contested engagements between western and indigenous cultures. Within this weaving process, each essay invites readers to contemplate these various forms of visual culture through Oceanic eyes, and to appreciate the fresh insights that this process can bring to reading and interpreting the biblical traditions. The result is a rich and interdisciplinary array of conversations that will capture the attention of readers within the fields of biblical reception studies, cultural studies, theology and art history.

This fascinating collection of essays charts, for the first time, the range of responses by scholars on both sides of the conflict to the outbreak of war in August 1914. The volume examines how biblical scholars, like their compatriots from every walk of life, responded to the great crisis they faced, and, with relatively few exceptions, were keen to contribute to the war effort.Some joined up as soldiers. More commonly, however, biblical scholars and theologians put pen to paper as part of the torrent of patriotic publication that arose both in the United Kingdom and in Germany. The contributors reveal that, in many cases, scholars were repeating or refining common arguments about the responsibility for the war. In Germany and Britain, where the Bible was still central to a Protestant national culture, we also find numerous more specialized works, where biblical scholars brought their own disciplinary expertise to bear on the matter of war in general, and this war in particular. The volume''s contributors thus offer new insights into the place of both the Bible and biblical scholarship in early 20th-century culture.