The Dictionary of the Bible and Ancient Media is a convenient and authoritative reference tool, introducing specific terms and concepts helpful to the study of the Bible and related literature in ancient communications culture. Since the early 1980s, biblical scholars have begun to explore the potentials of interdisciplinary theories of oral tradition, oral performance, personal and collective memory, ancient literacy and scribality, visual culture and ritual. Over time these theories have been combined with considerations of critical and exegetical problems in the study of the Bible, the history of Israel, Christian origins, and rabbinics. The Dictionary of the Bible and Ancient Media responds to the rapid growth of the field by providing a source of reference that offers clear definitions, and in-depth discussions of relevant terms and concepts, and the relationships between them. The volume begins with an overview of 'ancient media studies' and a brief history of research to orient the reader to the field and the broader research context of the book, with individual entries on terms and topics commonly encountered in studies of the Bible in ancient media culture. Each entry defines the term/ concept under consideration, then offers more sustained discussion of the topic, paying particular attention to its relevance for the study of the Bible and related literature

This cutting-edge volume has been brought together in honor of Thomas Boomershine, author, scholar, storyteller, innovator. The particular occasion inviting this recognition of his work is the twenty-fifth anniversary of the Society of Biblical Literature's section on The Bible in Ancient and Modern Media (BAMM), which Tom was instrumental in founding. For two and half decades this program unit has provided scholars with opportunities to explore and experience biblical material in media other than silent print, including both oral and multimedia electronic performances. This book explores many, though by no means all, of the issues lifted up in those sessions over the years. Contributors A. K. M. Adam Adam Gilbert Bartholomew Arthur J. Dewey Dennis Dewey Joanna Dewey Robert M. Fowler Holly E. Hearon David Rhoads Philip Ruge-Jones Whitney T. Shiner Marti J. Steussy Richard W. Swanson

A literary history of our most influential book of all time, by an Oxford scholar and Anglican priest In our culture, the Bible is monolithic: It is a collection of books that has been unchanged and unchallenged since the earliest days of the Christian church. The idea of the Bible as "Holy Scripture," a non-negotiable authority straight from God, has prevailed in Western society for some time. And while it provides a firm foundation for centuries of Christian teaching, it denies the depth, variety, and richness of this fascinating text. In A History of the Bible, John Barton argues that the Bible is not a prescription to a complete, fixed religious system, but rather a product of a long and intriguing process, which has inspired Judaism and Christianity, but still does not describe the whole of either religion. Barton shows how the Bible is indeed an important source of religious insight for Jews and Christians alike, yet argues that it must be read in its historical context--from its beginnings in myth and folklore to its many interpretations throughout the centuries. It is a book full of narratives, laws, proverbs, prophecies, poems, and letters, each with their own character and origin stories. Barton explains how and by whom these disparate pieces were written, how they were canonized (and which ones weren't), and how they were assembled, disseminated, and interpreted around the world--and, importantly, to what effect. Ultimately, A History of the Bible argues that a thorough understanding of the history and context of its writing encourages religious communities to move away from the Bible's literal wording--which is impossible to determine--and focus instead on the broader meanings of scripture.

Werner Kelber's The Oral and the Written Gospel substantially challenged predominant paradigms for understanding early Jesus traditions and the formation of written Gospels. Since that publication, a more precise and complex picture of first-century media culture has emerged. Yet while issues of orality, aurality, performance, and mnemonics are now well voiced in Synoptic Studies, Johannine scholars remain largely unaware of such issues and their implications. The highly respected contributors to this book seek to fill this lacuna by exploring various applications of orality, literacy, memory, and performance theories to the Johannine Literature in hopes of opening new avenues for future discussion. Part 1 surveys the scope of the field by introducing the major themes of ancient media studies and noting their applicability to the Fourth Gospel and the Johannine Epistles. Part 2 analyzes major themes in the Johannine Literature from a media perspective, while Part 3 features case studies of specific texts. Two responses by Gail O'Day and Barry Schwartz complete the volume.

"To experience the gospel message as first-century people heard it is to move into an oral world, one with very little reliance on manuscripts. The essays in this book explore this oral world and the Gospel of Mark within it. They demonstrate the oral style of Mark's gospel, which suggests that it was composed orally, transmitted orally in its entirety by literate and nonliterate storytellers, and survived to become part of the canon only because it was widely known orally. Women's storytelling also thrived during the first centuries of Christianity. With the transition to manuscript authority beginning in the middle of the second century, women's voices were often minimized, trivialized, or completely omitted in written versions. Further, when the Gospel of Mark was one of four written Gospels these voices were quickly ignored. An ancient audience hearing Mark performed, however, enjoyed a vibrant experience of the gospel message and its urgent call to follow."

In this innovative guidebook Julie Baretz takes readers to twenty-one off-the-beaten-path locations in Israel where Bible stories are said to have happened. At each site she sets the scene by relating the historical context of the event, then follows with the biblical text itself and her own lively commentary. Captivating and complex Bible characters bring the locations to life as they face social, ethical, and spiritual dilemmas not unlike our own today. Baretz's narratives draw on history, archaeology, academic scholarship, and rabbinic literature for interpretations that enhance the meaning of the biblical events. Each story is told in the voice of Baretz as the tour guide--knowledgeable yet informal and friendly. The Bible on Location traces the chronology and narrative arc of the historical books of Joshua, Judges, Ruth, 1 and 2 Samuel, 1 and 2 Kings, Ezra, and Nehemiah. The book begins with the Israelites' arrival in the land of Israel (following the exodus from Egypt and the forty years of wandering) and continues over more than six hundred years, until the return of the Jewish exiles from Babylon to their homeland. Baretz's descriptions are accompanied by colorful maps and photographs that put actual and armchair visitors in the middle of the action. Each location reveals a new episode in the biblical narrative and provides inspiration and commentary that will enhance visits to the various sites.

Kyle Greenwood introduces readers to ancient Near Eastern cosmology and the ways in which the Bible speaks within that context. He then traces the way the Bible was read through Aristotelian and Copernican cosmologies and discusses how its ancient conceptions should be understood in light of Scripture?s authority and contemporary science.

Although Jewish tradition gives tremendous importance to the Hebrew Bible, from the beginning Jewish interpretation of those scriptures has been practiced with remarkable freedom. Karin Hedner Zetterholm offers a clear and concise introduction to the legal, theological, and historical presuppositions that shaped the dominant stream of rabbinic interpretation, including Mishnah, Talmud, and Midrashim, discussing specific examples of different interpretive methods. She then explores the contours of Jewish biblical interpretation evident in the New Testament and the legacy of ancient traditions in the way different Jewish movements read the Bible today. Students of the history of biblical interpretation and of Judaism will find this an important and engaging resource.

In April 2008 a conference was convened at Rice University that brought together experts in the three monotheistic religions of Judaism, Christianity, and Islam. The papers discussed at the conference are presented here, revised and updated. The thirteen contributions comprise the keynote address by John Miles Foley; three essays on Judaism and the Hebrew Bible; three on the New Testament; three on the Qur'an; and two summarizing pieces, by the Africanist Ruth Finnegan and the Islamicist William Graham respectively. The central thesis of the book states that sacred Scripture was experienced by the three faiths less as a text contained between two covers and a literary genre, and far more as an oral phenomenon. In developing the performative, recitative aspects of the three religions, the authors directly or by implication challenge their distinctly textual identities. Instead of viewing the three faiths as quintessential religions of the book, these writers argue that the religions have been and continue to be appropriated not only as written but also very much as oral authorities, with the two media interpenetrating and mutually influencing each other in myriad ways.

The various studies presented in this anthology underscore the foundational matter of translation in biblical studies as understood from the specific perspective of Biblical Performance Criticism. If the assumption for the biblical messages being received is not individual silent reading, then the question becomes, how does this public performative mode of communication affect the translation of this biblical material? Rather than respond to this in general theoretical terms, most in this collection of articles offer specific applications to particular Hebrew and Greek passages of Scripture. Almost all the authors have firsthand experience with the translation of biblical materials into non-European languages in communities who maintain a vibrant oral tradition. The premise is that the original Scriptures, which were composed in and for performance, are being prepared again for live audiences who will receive these sacred texts, not primarily in printed form, but first and foremost in community by means of oral and visual media. This volume is an invitation for others to join us in researching more intensely this intersection of sound, performance, and translation in a contemporary communication of the Word.