Interdisciplinary study of how the infancy narrative in the Gospel of Luke is Portrayed in Italian Renaissance paintings.

A rich and comprehensive volume—essential reading for all those interested in how to read Luke as relevant for today In this sixth volume, the Scripture and Hermeneutics Seminar brings its past six years of work on biblical hermeneutics to bear on the gospel according to Luke. In his introduction, Anthony Thiselton, world authority on biblical hermeneutics, sets the context for a wideranging exploration of how to read Luke for God’s address today. Traditional and more contemporary approaches are brought into dialogue with each other as several top Lukan scholars reflect on how best to read Luke as Scripture. Topics covered include the purpose of Luke- Acts, biblical theology and Luke, narrative and Luke, reception history and Luke, the parables in Luke, a missional reading of Luke, and theological interpretation of Luke. Since prayer is a major theme in Luke, this volume explores not only the role of prayer in Luke, but also the relationship between prayer and exegesis.

"This book examines visual representations of the public ministry of Christ in scenes unique to the Gospel of Luke. Scenes depicting the birth, suffering, and crucifixion of Christ no doubt dominated the visual repertoire of medieval and renaissance artists. Nonetheless, the miracles and teachings of Jesus also inspired numerous depictions, not only during the period of the earliest Christian art but continuing throughout the Italian Renaissance and Baroque periods. The book demonstrates how this 'visual exegesis' might enrich our understanding of Luke's Gospel and at the same time inform the contemporary faith community's interpretation of Scripture. Each of these chapters begins with an overview of the biblical passage and its subsequent interpretation, noting significant rhetorical features and the overarching theological argument of the text, as well as outlining a brief summary of its subsequent interpretation in the ecclesiastical literature. Next, the selected work of art is lent context by giving a brief biography of the artist, placing the work within the artist's own oeuvre, discussing what is known of the patronage of the specific mage, and exploring important social, political and religious factors which may facilitate our understanding of the painting. A stylistic and iconographic analysis is followed by brief hermeneutical reflections about how this visual interpretation might inform the church's reading of Scripture. Illuminating Luke will appeal broadly to students of the Bible and the history of Christian art. Scholars and students interested in the history of biblical interpretation will benefit from this book. Likewise, educated laypersons and pastors will find in its pages rich resources for theological reflection."--publisher's description.

Art as Biblical Commentary is not just about biblical art but, more importantly, about biblical exegesis and the contributions visual criticism as an exegetical tool can make to biblical exegesis and commentary. Using a range of texts and numerous images, J. Cheryl Exum asks what works of art can teach us about the biblical text. 'Visual criticism' is her term for an approach that addresses this question by focusing on the narrativity of images-reading them as if, like texts, they have a story to tell-and asking what light an image's 'story' can shed on the biblical narrator's story. In Part I, Exum elaborates on her approach and offers a personal testimony to the value of visual criticism. Part 2 examines in detail the story of Hagar in Genesis 16 and 21. Part 3 contains chapters on erotic looking and voyeuristic gazing in the stories of Bathsheba, Susanna, Joseph and Potiphar's wife and the Song of Songs; on the distribution of renown among Jael, Deborah and Barak; on the Bible's notorious women, Eve and Delilah; and on the sacrificed female body in the stories of the Levite's wife (Judges 19) and Mary the mother of Jesus.

A unique study of lectionaries and graphic design as a site of biblical reception How artists portrayed the Bible in large canvas paintings is frequently the subject of scholarly exploration, yet the presentation of biblical texts in contemporary graphic designs has been largely ignored. In this book Amanda Dillon engages multimodal analysis, a method of semiotic discourse, to explore how visual composition, texture, color, directionality, framing, angle, representations, and interactions produce potential meanings for biblical graphic designs. Dillon focuses on the artworks of two American graphic designers—the woodcuts designed by Meinrad Craighead for the Roman Catholic Sunday Missal and Nicholas Markell’s illustrations for the worship books of the Evangelical Lutheran Church in America—to present the merits of multimodal analysis for biblical reception history.

Many readers of the Bible believe that interpreting the Scriptures well simply involves a two-way dialogue between themselves and the text. Implied in this view is the idea that we can simply jump over two thousand years of biblical interpretation. However, if we believe that God has been speaking through the Bible to devout believers throughout history it would seem that we should find a way to identify the insights they perceived in the text so that we can learn to read these sacred texts with them. Drawing on resources from Reception Theory, the goal of Reading the Bible with the Giants is to enable the contemporary reader to interpret the Bible in dialogue with those who have gone before us.

This collection of previously published essays reveals a personal journey. Two decades ago, I could not have anticipated the twenty-first century theological and methodological shifts in biblical studies. In these essays, I encourage readers to observe my evolution by way of adventures in Luke-Acts. In so doing, I invite readers to reimagine a story not simply about the past, but rich with possibilities

The infancy narratives represent some of the most beautiful and intriguing passages in the Gospels. The stories they relate are also arguably the most well-known in the Christian tradition, from the child in the manger to the Magi paying homage to the infant Jesus. However there have been relatively few attempts to consider the stories of the Nativity from modern academic perspectives, examining them from feminist perspectives, poltical standpoints, in cinematic representations as well as more standard but up-to-date academic approaches. New Perspectives on the Nativity attempts to redress this providing a fresh insights on these crucial Christian texts from a cast of distinguished contributors. At the outset, Henry Wansbrough surveys scholarship on the infancy narratives since Raymond Brown's landmark study, The Birth of the Messiah (2nd edition, 1993). Thereafter, four chapters deal with Luke's infancy story. Ian Boxall demonstrates how the narrative offers subtle foreshadowings of the passion and resurrection. Barbara Reid surveys Luke's portrayal of three female prophets (Elizabeth, Mary, and Anna), who prepare for the later presentation of Jesus as a prophet. Leonard Maluf suggests a new understanding of Zechariah's canticle (the Benedictus), by situating it firmly in its Jewish background. Finally, Nicholas King indicates how the "inn" of the nativity prefigures the later journey of the gospel message. The next four contributions are concerned with Matthew's narrative. Warren Carter shows how the conflict between the infant Jesus and the ruling powers is repeated more dramatically in the life and death of the adult Christ. Benedict Viviano proposes that the three stages in Matthew's genealogy of Jesus belong within a grand scheme of seven ages of salvation history. Bernard Robinson investigates Matthew's nativity story within the context of biblical and Greco-Roman history-writing. Christopher Fuller highlights the carnivalesque approach to the Magi story in Pasolini's classic film, The Gospel According to St Matthew. Three final essays focus on the religious value of the infancy stories. Ann Loades reflects on late-20th-century poems dealing with the nativity. John Kaltner explores the references to Jesus' birth found in Islamic tradition. Finally, Thomas O'Loughlin argues that contemporary preoccupations with historical investigation can blind us to the mystery presented in the nativity stories.

Introduces literary, historical, and theological issues of Luke and Acts. Biblical texts create worlds of meaning, and invite readers to enter them. When readers enter such textual worlds, which are often strange and complex, they are confronted with theological claims. With this in mind, the purpose of the Interpreting Biblical Texts series is to help serious readers in their experience of reading and interpreting by providing guides for their journeys into textual worlds. The controlling perspective is expressed in the operative word of the title--interpreting. The primary focus of the series is not so much on the world behind the texts or out of which the texts have arisen as on the worlds created by the texts in their engagement with readers. In keeping with the goals of the series, this volume provides an introductory guide to readers of the New Testament books of Luke and Acts. It focuses on both the synchronic and diachronic dimensions of the literature in an effort to acquaint readers with literary, historical, and theological issues that will facilitate interpretation of these important books. F. Scott Spencer is Professor of New Testament at Baptist Theological Seminary at Richmond.

This book provides new impetus to the study of female art in regional areas. It will expand research beyond studies of women’s lives, careers, socio-political patronage, and specific gender issues to look at emblematic, historical, and spiritual aspects of their work. Through an analysis of the paintings of Barbara Longhi, the book reveals the importance of devotional art and the ample creativity of female painters. It highlights the importance of Longhi’s artistic contribution in the study of iconography and iconology on art and devotion in some of her paintings. Although there is limited information about her personal life, through the records of her two Wills and Testaments, we learn about her administrative ability, family dedication, and, most of all, about her Christian religiosity and devotion to the Virgin Mary (La Madonna).