Preliminary Material /Cynthia L. Miller --Introduction /Cynthia L. Miller --Metapragmatics and Linguistic Diversity in the Representation of Speech /Cynthia L. Miller --Syntactic Varieties of Indirect Speech /Cynthia L. Miller --Syntactic Varieties of Direct Speech /Cynthia L. Miller --Reported Speech in Conversation and Narration /Cynthia L. Miller --The Discourse-Pragmatic Functions of Direct Speech /Cynthia L. Miller --Conclusions /Cynthia L. Miller --Afterword /Cynthia L. Miller --Additions and Corrections for the Second Printing /Cynthia L. Miller --Matrix Verbs in Frames /Cynthia L. Miller --Bibliography /Cynthia L. Miller --General Index /Cynthia L. Miller --Index of Biblical References /Cynthia L. Miller.

First published in 1996, this study has come to be recognized as the standard description of the syntactic devices that are used in representing speech in biblical narrative. In this new printing, an Afterword examines other recent approaches; in addition, corrected indexes and a number of other small corrections have been made.

S. Min Chun discusses how to read Old Testament narrative from an ethical perspective. He employs a linguistic and literary approach to Biblical interpretation, using close study of the narrative of Josiah in the book of Kings, and argues that such an approach makes the most of the genre-characteristics of Old Testament narrative.

This work is a study in the attribution, aesthetics and representations of Yahweh’s speeches in the Hebrew Bible. It describes the literary elegance and beauty of the speeches of Yahweh in the Abrahamic narratives. Employing a synchronic reading of the Abrahamic cycle, it underscores the presence of various literary devices in the divine speeches (12:1-9, 13:1-18, 15:1-21, 17:1-27, 18:1-33, and 22: 1-19). Specifically, it engages the high concentration, literary effects and use of metaphors/metaphoric language, similes, alliterations, wordplays, euphemisms, hyperboles, repetitions, allusions and other distinctive literary features in the speeches of Yahweh which are deliberately denied, and glaringly absent in the speeches of the other main characters of the Abrahamic narratives (e.g. Abraham, Sarah, and Hagar). Similarly, it demonstrates the importance of these elevated speeches in the narrative world of Abrahamic epic. Most importantly, it also highlights the ideological significance of these decorated speeches of Yahweh to the original audience of the narrator who presumably identified with their excessive optimism and rhetoric. Consequently, this book is a pioneering work in the contemporary study of stylistics, characterizations and functions of attributed speeches in the Hebrew narratives.

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 monograph on biblical linguistics is a highly specialized, pragmatic investigation of the controversial question of "foregrounding"—the deviation from some norm or convention—in Old Testament narratives. The author presents and examines the two main sources of pragmatic foregrounding: events or states deviating from well-established schemata, structures of reader expectation that can be manipulated by the narrator to highlight specific "chunks" of discourse; and evaluative devices, which are used by the narrator to indicate to the reader the point of the story and direct its interpretation. Cotrozzi critiques the particular evaluative device known as the "historic present", a narrative strategy that employs the present tense to describe past event. He tests two main theories that support this device by using a cross-linguistic model of the historical present drawing upon a variety of languages. Cotrozzi ultimately refutes these theories with a thorough examination and detailed refutation. He concludes with a study of a particular Hebraic verb as a particular marker of represented perception, a technique whereby the character's perceptions are expressed directly from its point of view.

Jeffrey Stackert addresses two of the oldest and most persistent problems in biblical studies: the relationship between prophecy and law in the Hebrew Bible and the utility of the Documentary Hypothesis for understanding Israelite religion. These topics have in many ways dominated pentateuchal studies and the investigation of Israelite religion since the nineteenth century, culminating in Julius Wellhausen's influential Prolegomena to the History of Ancient Israel. Setting his inquiry against this backdrop while drawing on and extending recent developments in pentateuchal theory, Stackert tackles the subject through an investigation of the different presentations of Mosaic prophecy in the four Torah sources. His book shows that these texts contain a rich and longstanding debate over prophecy, its relation to law, and its place in Israelite religion. With this argument, A Prophet Like Moses demonstrates a new role for the Documentary Hypothesis in discussions of Israelite religion. It also provides an opportunity for critical reflection on the history of the field of biblical studies. Stackert concludes with an argument for the importance of situating biblical studies and the study of ancient Israelite religion within the larger field of religious studies rather than treating them solely or even primarily as theological disciplines.

Recent advances in cognitive linguistics provide new avenues for reading and interpreting Biblical Hebrew prophetic text. This volume utilises a multi-layered cognitive linguistics approach to explore Jeremiah 1:1-6:30, incorporating insights from cognitive grammar, cognitive science and conceptual blending theory. While the modern reader is separated from the originators of these texts by time, space and culture, this analysis rests on the theory that both the originators and the modern reader share common features of embodied experience. This opens the way for utilising cognitive models, conceptual metaphor and mental spaces theory when reading and interpreting ancient texts. This volume provides an introduction to cognitive theory and method. Initially, short examples from Jeremiah 1:1-6:30 are used to introduce the theory and method. This is followed by a detailed comparison of traditional and cognitive approaches to Biblical Hebrew grammar. These insights are then applied to further examples taken from Jeremiah 1:1-6:30 in order to test and refine the approach. These findings show that Jeremiah 1:1-1:3 establishes perspective for the text as a whole and that subsequent shifts in perspective may be tracked using aspects of mental spaces theory. Much of the textual content yields to concepts derived from conceptual metaphor studies and from conceptual blending theory, which are introduced and explained using examples taken from Jeremiah 1:1-6:30. The entire analysis demonstrates some of the strengths and weaknesses of using recent cognitive theories and methods for analysing and interpreting ancient texts. While such theories and methods do not obviate the need for traditional interpretive methods, they do provide a more nuanced understanding of the ancient text.

"In this volume, Christian, Jewish, and Samaritan liturgical poetry from Late Antiquity (ca. 3rd-4th c. CE) is examined not only from within the context of religious traditions of biblical interpretation and conventions of prayer but also through the lenses of performance, entertainment, and spectacle. Recognizing that liturgical poets were as invested engaging their listeners as orators and actors were, this study analyses hymnody as a performative genre akin to oratory and theatre, the two primary modes of public performance from the wider societal context. Attention to liturgical poetry's "theatricality" draws our attention to a range of subjects, from how biblical stories were adapted to the liturgical stage, much in the way that the classical works of Greco-Roman antiquity were themselves popularized in this Late Antique period; to the adaptation of physical techniques and material structures to augment the ability of performers to engage their audiences. Specific techniques associated with both oratory and acting in antiquity will offer concrete means for elucidating the affinities of liturgical presentations and other modes of performance: indications of direct address, for example, and apostrophe, as well as the creation of character through speech (ethopoeia); and appeals to the audience's senses, including vivid descriptions (ekphrasis), a technique especially popular in antiquity. A serious consideration of performance also demands that we make the difficult leap to imagining the world beyond the page. While Late Antique hymnody has come down to the present primarily in textual form, the written word constitutes something quite remote from the actual experience these scripts reflect. We will thus attempt to consider more speculative but recognizably essential elements of these works' reception, including ways in which liturgical poetry could have borrowed from the gestures and body language of oratory, mime, and pantomime, and how poets may have used the physical spaces of performance and accelerated changes visible in the archaeological record"--

On Biblical Poetry takes a fresh look at the nature of biblical Hebrew poetry beyond its currently best-known feature, parallelism. F.W. Dobbs-Allsopp argues that biblical poetry is in most respects just like any other verse tradition, and therefore biblical poems should be read and interpreted like other poems, using the same critical tools and with the same kinds of guiding assumptions in place. He offers a series of programmatic essays on major facets of biblical verse, each aspiring to alter currently regnant conceptualizations in the field and to show that attention to aspects of prosody--rhythm, lineation, and the like--allied with close reading can yield interesting, valuable, and even pleasurable interpretations. What distinguishes the verse of the Bible, says Dobbs-Allsopp, is its historicity and cultural specificity, those peculiar encrustations and encumbrances that typify all human artifacts. Both the literary and the historical, then, are in view throughout. The concluding essay elaborates a close reading of Psalm 133. This chapter enacts the final movement to the set of literary and historical arguments mounted throughout the volume--an example of the holistic staging which, Dobbs-Allsopp argues, is much needed in the field of Biblical Studies.