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‘Good Omens’ and the Bible

Published: Jun 2024
£50.00
Good Omens and the Bible provides a diversely rich collection of considerations of apocalypse and apocalypticism, via responses to the reception of the Bible in the landmark cultural icon that is Neil Gaiman and Terry Pratchett’s Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch (1990). These essays explore the perplexing, captivating, and curious interactions between Good Omens and biblical literature. Interdisciplinary explorations reveal how both the novel and TV series reflects and explodes contemporary ideas about the end times. Filtering references to biblical apocalypses through the lens of popular culture, Good Omens shines a light on the received interpretations of apocalyptic thinking that resonate in the present, revealing in turn something about ourselves.  Together, these essays open up conversations about how Good Omens makes use of religious ideas about textuality, performance, theodicy, and the role of popular culture in the proliferation of those conversations. This book illustrates the ways in which the novel and series are agents in the continuation of cultural debates about important, wide-ranging theological and biblical issues.

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‘Good Omens’ and the Bible

£50.00
Good Omens and the Bible provides a diversely rich collection of considerations of apocalypse and apocalypticism, via responses to the reception of the Bible in the landmark cultural icon that is Neil Gaiman and Terry Pratchett’s Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch (1990). These essays explore the perplexing, captivating, and curious interactions between Good Omens and biblical literature. Interdisciplinary explorations reveal how both the novel and TV series reflects and explodes contemporary ideas about the end times. Filtering references to biblical apocalypses through the lens of popular culture, Good Omens shines a light on the received interpretations of apocalyptic thinking that resonate in the present, revealing in turn something about ourselves.  Together, these essays open up conversations about how Good Omens makes use of religious ideas about textuality, performance, theodicy, and the role of popular culture in the proliferation of those conversations. This book illustrates the ways in which the novel and series are agents in the continuation of cultural debates about important, wide-ranging theological and biblical issues.

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Biblical Daughters and Queens Re-imagined in Music

Published: Jun 2024
£74.00
In Biblical Daughters and Queens, Helen Leneman continues her sustained approach to biblical reception in music traversing several centuries. She offers a immersive reading of two types of biblical women—daughters and queens—in a wide range of musical representations spanning over 300 years (1648-1993). Music, as Leneman highlights, goes beyond words: music expresses how feelings sound. Leneman’s unique analysis shares the ways in which these women’s stories have been altered, their emotions imagined and amplified. The stories of two daughters are explored: the tragedy of Jephthah’s daughter (Judges 11); and the Apocryphal story of Susannah. The tragedy of Jephthah’s daughter seems to have been of greater interest to early composers, with most works, whether oratorios or operas, dating to pre-20th century. Susanna was a lesser-known story yet was treated both in two early oratorios and, unusually, in an operatic retelling of the story from the mid-20th century. Queens included are Sheba (1 Kings), Athalia (2 Kings), and Esther (Book of Esther). In general, the Queen of Sheba has not been re-imagined with much nuance in musical works, mostly depicted as a sexy siren (though not always). Esther is the most popular queen for musical retellings, featured in no fewer than nine works in this volume. An interesting discovery was an eighteenth-century oratorio with a Hebrew libretto. Athalia is the least known of the three but Handel thought she was worth an oratorio (he is well represented throughout the book). In previous volumes Leneman has considered the biblical reception in music of Moses and Miriam in Exodus; David, Saul and Bathsheba in the Book of Kings; Ruth and Naomi in the Book of Ruth; and Judith in the Book of Judith. Leneman also discussed the varied biblical characters in the Book of Genesis. This volume encourages an experiential approach, to enable the reader, and listener to hear and feel these women’s stories as never before. Links to the musical works are provided throughout. Each setting is filled with both text and music that will inspire the listener to return to the original story with a new and different understanding.
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Biblical Daughters and Queens Re-imagined in Music

£74.00
In Biblical Daughters and Queens, Helen Leneman continues her sustained approach to biblical reception in music traversing several centuries. She offers a immersive reading of two types of biblical women—daughters and queens—in a wide range of musical representations spanning over 300 years (1648-1993). Music, as Leneman highlights, goes beyond words: music expresses how feelings sound. Leneman’s unique analysis shares the ways in which these women’s stories have been altered, their emotions imagined and amplified. The stories of two daughters are explored: the tragedy of Jephthah’s daughter (Judges 11); and the Apocryphal story of Susannah. The tragedy of Jephthah’s daughter seems to have been of greater interest to early composers, with most works, whether oratorios or operas, dating to pre-20th century. Susanna was a lesser-known story yet was treated both in two early oratorios and, unusually, in an operatic retelling of the story from the mid-20th century. Queens included are Sheba (1 Kings), Athalia (2 Kings), and Esther (Book of Esther). In general, the Queen of Sheba has not been re-imagined with much nuance in musical works, mostly depicted as a sexy siren (though not always). Esther is the most popular queen for musical retellings, featured in no fewer than nine works in this volume. An interesting discovery was an eighteenth-century oratorio with a Hebrew libretto. Athalia is the least known of the three but Handel thought she was worth an oratorio (he is well represented throughout the book). In previous volumes Leneman has considered the biblical reception in music of Moses and Miriam in Exodus; David, Saul and Bathsheba in the Book of Kings; Ruth and Naomi in the Book of Ruth; and Judith in the Book of Judith. Leneman also discussed the varied biblical characters in the Book of Genesis. This volume encourages an experiential approach, to enable the reader, and listener to hear and feel these women’s stories as never before. Links to the musical works are provided throughout. Each setting is filled with both text and music that will inspire the listener to return to the original story with a new and different understanding.
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The Bible Retold by Jewish Artists, Writers, Composers and Filmmakers

Published: Oct 2015
£60.00
Helen Leneman and Barry Dov Walfish, both specialists in biblical reception history, have compiled an unusually rich collection of new essays by experts in their fields. This book is a pioneering attempt to portray and analyse the visions of twentieth- and twenty-first century Jewish artists working in different media —visual art, literature (novels, poetry and short stories), music (opera, oratorio and song), and film —who have retold biblical narratives through their art. Reading these essays together will bring a new appreciation and understanding of what makes the perspective of these visual artists, writers, composers and filmmakers on the Hebrew Bible uniquely Jewish. All of these Jewish visions can be considered a form of modern midrash, as the artists imaginatively fill in gaps in the biblical narrative, bringing a modern sensibility to the meanings of the stories. Under the heading 'Biblical Women', the stories of the matriarchs, Hagar, and other biblical women are re-imagined in the visual arts, poetry and music. Several further chapters focus on the story of the Aqedah (Binding of Isaac), as represented in the visual arts, literature and music. Other retellings of biblical narratives through short stories are then examined, while yet other chapters explore the books of Esther and Psalms as envisioned and retold in the visual arts, opera, literature and film. These retellings, analysed and discussed by the authors of this ground-breaking volume, will stimulate the reader to view the texts in new ways or to confront their challenge to personal or traditional interpretations of those texts.
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The Bible Retold by Jewish Artists, Writers, Composers and Filmmakers

£60.00
Helen Leneman and Barry Dov Walfish, both specialists in biblical reception history, have compiled an unusually rich collection of new essays by experts in their fields. This book is a pioneering attempt to portray and analyse the visions of twentieth- and twenty-first century Jewish artists working in different media —visual art, literature (novels, poetry and short stories), music (opera, oratorio and song), and film —who have retold biblical narratives through their art. Reading these essays together will bring a new appreciation and understanding of what makes the perspective of these visual artists, writers, composers and filmmakers on the Hebrew Bible uniquely Jewish. All of these Jewish visions can be considered a form of modern midrash, as the artists imaginatively fill in gaps in the biblical narrative, bringing a modern sensibility to the meanings of the stories. Under the heading 'Biblical Women', the stories of the matriarchs, Hagar, and other biblical women are re-imagined in the visual arts, poetry and music. Several further chapters focus on the story of the Aqedah (Binding of Isaac), as represented in the visual arts, literature and music. Other retellings of biblical narratives through short stories are then examined, while yet other chapters explore the books of Esther and Psalms as envisioned and retold in the visual arts, opera, literature and film. These retellings, analysed and discussed by the authors of this ground-breaking volume, will stimulate the reader to view the texts in new ways or to confront their challenge to personal or traditional interpretations of those texts.
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Reforging the Bible: More Biblical Stories and Their Literary Reception

Published: Jan 2014
£55.00
Reforging the Bible continues the programme Anthony Swindell began in his earlier book, Reworking the Bible: The Literary Reception-History of Fourteen Biblical Stories (Sheffield Phoenix Press, 2010). It is a study of the reception in literature of over a dozen biblical stories, giving particular attention to rewritings that make radical changes to the original text. The reworkings are analysed using a morphology based on that of Gérard Genette in his study, Palimpsests. A new emphasis in this volume is on spatiality as a topic in rewritten biblical narratives. The stories explored in this volume include those of Adam and Eve, Melchizedek, Lot and his Family, Joseph, Ruth, King Saul, David and Bathsheba, Tobit, the Virgin Mary, the Wedding at Cana, the Good Samaritan, Doubting Thomas, and the Second Coming. The literary reworkings discussed include the Old English Genesis A and Genesis B, the medieval Cyprian Feasts, the sixteenth-century broadside ballad David and Berseba, and works by Geoffrey Chaucer, William Shakespeare, Charles Dickens, Izak Dinesen, Carol Ann Duffy, André Gide, Rudyard Kipling, D.H. Lawrence, Penelope Lively, Thomas Mann, Dorothy Sayers, Mark Twain, Fernando Vallejo, Sally Vickers and Voltaire. Also included is a chapter on folkloric versions of biblical stories as intermediaries in its literary reception. As well as providing the general reader with fascinating insights into the literary reception of the Bible, this work offers scholars an overview of a range of extraordinary reworkings which offer promising avenues for future research.
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Reforging the Bible: More Biblical Stories and Their Literary Reception

£55.00
Reforging the Bible continues the programme Anthony Swindell began in his earlier book, Reworking the Bible: The Literary Reception-History of Fourteen Biblical Stories (Sheffield Phoenix Press, 2010). It is a study of the reception in literature of over a dozen biblical stories, giving particular attention to rewritings that make radical changes to the original text. The reworkings are analysed using a morphology based on that of Gérard Genette in his study, Palimpsests. A new emphasis in this volume is on spatiality as a topic in rewritten biblical narratives. The stories explored in this volume include those of Adam and Eve, Melchizedek, Lot and his Family, Joseph, Ruth, King Saul, David and Bathsheba, Tobit, the Virgin Mary, the Wedding at Cana, the Good Samaritan, Doubting Thomas, and the Second Coming. The literary reworkings discussed include the Old English Genesis A and Genesis B, the medieval Cyprian Feasts, the sixteenth-century broadside ballad David and Berseba, and works by Geoffrey Chaucer, William Shakespeare, Charles Dickens, Izak Dinesen, Carol Ann Duffy, André Gide, Rudyard Kipling, D.H. Lawrence, Penelope Lively, Thomas Mann, Dorothy Sayers, Mark Twain, Fernando Vallejo, Sally Vickers and Voltaire. Also included is a chapter on folkloric versions of biblical stories as intermediaries in its literary reception. As well as providing the general reader with fascinating insights into the literary reception of the Bible, this work offers scholars an overview of a range of extraordinary reworkings which offer promising avenues for future research.
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Biblical Reception 1

Published: Oct 2012
£80.00
This is the first volume of a new journal, Biblical Reception (BibRec), published in November 2012. It is high time, we believe, for the new and burgeoning field of the reception of the Bible to have a publication medium of its own. What the biblical text has meant to its readers down the centuries should be as much the subject of scholarly attention as any ‘original’ meaning. Our new journal is a substantial annual volume covering all kinds of use of the Bible — in art, literature, music, film and popular culture, as well as in the history of interpretation. Editorial Board Diane Apostolos-Cappadona (Washington, DC), Alan Cooper (New York), James Crossley (Sheffield), Andrew Davies (Birmingham), Tamara C. Eskenazi (Los Angeles), Philip Esler (Gloucester), Susanne Gillmayr-Bucher (Linz), John Harvey (Aberystwyth), Christine Joynes (Oxford), Carol Newsom (Atlanta), Martin O'Kane (Lampeter), Tina Pippin (Decatur, GA), John F.A. Sawyer (Durham), Reinhold Zwick (Münster).
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Biblical Reception 1

£80.00
This is the first volume of a new journal, Biblical Reception (BibRec), published in November 2012. It is high time, we believe, for the new and burgeoning field of the reception of the Bible to have a publication medium of its own. What the biblical text has meant to its readers down the centuries should be as much the subject of scholarly attention as any ‘original’ meaning. Our new journal is a substantial annual volume covering all kinds of use of the Bible — in art, literature, music, film and popular culture, as well as in the history of interpretation. Editorial Board Diane Apostolos-Cappadona (Washington, DC), Alan Cooper (New York), James Crossley (Sheffield), Andrew Davies (Birmingham), Tamara C. Eskenazi (Los Angeles), Philip Esler (Gloucester), Susanne Gillmayr-Bucher (Linz), John Harvey (Aberystwyth), Christine Joynes (Oxford), Carol Newsom (Atlanta), Martin O'Kane (Lampeter), Tina Pippin (Decatur, GA), John F.A. Sawyer (Durham), Reinhold Zwick (Münster).
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Biblical Reception 2

Published: Oct 2012
£80.00
This is the second volume of the new journal, Biblical Reception (BibRec),  published in November 2013. For the first volume, click here. Our policy for the journal is this. It is high time, we believe, for the new and burgeoning field of the reception of the Bible to have a publication medium of its own. What the biblical text has meant to its readers down the centuries should be as much the subject of scholarly attention as any 'original' meaning. Our  journal is a substantial annual volume covering all kinds of use of the Bible — in art, literature, music, film and popular culture, as well as in the history of interpretation.
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Biblical Reception 2

£80.00
This is the second volume of the new journal, Biblical Reception (BibRec),  published in November 2013. For the first volume, click here. Our policy for the journal is this. It is high time, we believe, for the new and burgeoning field of the reception of the Bible to have a publication medium of its own. What the biblical text has meant to its readers down the centuries should be as much the subject of scholarly attention as any 'original' meaning. Our  journal is a substantial annual volume covering all kinds of use of the Bible — in art, literature, music, film and popular culture, as well as in the history of interpretation.
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Reworking the Bible: The Literary Reception-History of Fourteen Biblical Stories

Published: Jun 2010
£55.00
Reworking the Bible is a substantial account of the reception history of fourteen biblical stories —those of Eden, the Flood, Jacob and Esau, Moses and the Exodus, Joshua and Rahab, Samson, Nebuchadnezzar, Susanna, Esther, Jesus Christ, Salome, Lazarus, the Prodigal Son and the Descent into Hell. Full of fascinating detail of the afterlives of these biblical narratives, the book also offers a sophisticated theoretical analysis of the processes of reworking: major hypertexts from The Dream of the Rood to Margaret Atwood's The Year of the Flood come under the spotlight of the theories of Genette about rewriting and of Bakhtin about chronotopes and polyphony. In the final chapter, the material is viewed from the point of view of its spatial overtones, highlighting works that use the retelling of biblical stories to transport the reader to somewhere beyond controlling monological cultures. As well as providing close readings of some extraordinary literary reworkings, the book provides a guide to the available critical literature. Both the biblical stories themselves and the works of Chaucer, Shakespeare, Racine, George Eliot, Turgenev, Kafka, Iris Murdoch, Julian Barnes, Ben Okri and many others are cast in a new light, including many plays, novels and poems that have been surprisingly neglected. The works discussed range from the hilarious to the horrific and have the capacity to refresh and even transform our reading of the Bible.
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Reworking the Bible: The Literary Reception-History of Fourteen Biblical Stories

£55.00
Reworking the Bible is a substantial account of the reception history of fourteen biblical stories —those of Eden, the Flood, Jacob and Esau, Moses and the Exodus, Joshua and Rahab, Samson, Nebuchadnezzar, Susanna, Esther, Jesus Christ, Salome, Lazarus, the Prodigal Son and the Descent into Hell. Full of fascinating detail of the afterlives of these biblical narratives, the book also offers a sophisticated theoretical analysis of the processes of reworking: major hypertexts from The Dream of the Rood to Margaret Atwood's The Year of the Flood come under the spotlight of the theories of Genette about rewriting and of Bakhtin about chronotopes and polyphony. In the final chapter, the material is viewed from the point of view of its spatial overtones, highlighting works that use the retelling of biblical stories to transport the reader to somewhere beyond controlling monological cultures. As well as providing close readings of some extraordinary literary reworkings, the book provides a guide to the available critical literature. Both the biblical stories themselves and the works of Chaucer, Shakespeare, Racine, George Eliot, Turgenev, Kafka, Iris Murdoch, Julian Barnes, Ben Okri and many others are cast in a new light, including many plays, novels and poems that have been surprisingly neglected. The works discussed range from the hilarious to the horrific and have the capacity to refresh and even transform our reading of the Bible.
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The Bible and the Modern World

Published: July 2005
£13.50
In the world of scholarship, the Bible is usually viewed as a ancient book, a product of the past, an inheritance, a heritage; it is essentially a book with origins. These lectures adopt an opposite starting point: that the Bible is in the modern world, a physical object strewn about the world of today, an in-print book that real people are reading at this very minute. So the focus here is not on the origins of the Bible but on its reception, not of what its authors may have intended it to mean, but on what its readers today take it to mean. In conversational style, David Clines enquires after the Bible and the Academy, the Bible and Culture, the Bible and the Public, the Bible and the Church —and offers his own reflections and admonitions. This is a corrected reprint of the 1997 edition.
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The Bible and the Modern World

£13.50
In the world of scholarship, the Bible is usually viewed as a ancient book, a product of the past, an inheritance, a heritage; it is essentially a book with origins. These lectures adopt an opposite starting point: that the Bible is in the modern world, a physical object strewn about the world of today, an in-print book that real people are reading at this very minute. So the focus here is not on the origins of the Bible but on its reception, not of what its authors may have intended it to mean, but on what its readers today take it to mean. In conversational style, David Clines enquires after the Bible and the Academy, the Bible and Culture, the Bible and the Public, the Bible and the Church —and offers his own reflections and admonitions. This is a corrected reprint of the 1997 edition.
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