To the attentive listener, women’s texts speak with a “double voice.” Women are quite capable of telling a conventional story, reflecting the expectations of the dominant culture. However, at the same time they tell their own, muted story. Such stories are fragments of resistance, and anyone who has experience of living on the margins can track them down. Such was the view of Fokkelien van Dijk-Hemmes (1943-1994).
This is a comprehensive collection of the late scholar’s groundbreaking work in feminist biblical interpretation, in English translation. The essays document Van Dijk-Hemmes’ development and show how her work relates to contemporary developments in feminist thinking. There is a Foreword by Mieke Bal, an in memoriam by Athalya Brenner, and an overview of van Dijk-Hemmes’ extensive output of books and articles completes the volume.
Fokkelien van Dijk-Hemmes taught Women’s Studies and Old Testament at the University of Utrecht. Her pioneering work of feminist interpretation, tragically cut short, was highly influential both inside and outside the Netherlands.
Translated by David E. Orton
whom Shannon lived and worked in the late nineteen-forties and early -fifties at Massachusetts Institute of Technology. 34 After observing a demonstration of a Bell Labs voice synthesizer, Lévi-Strauss wrote Both in the production of devices to synthesize speech … as well as in the theoretical
Pentecostal Hermeneutics: A Reader Lee Roy Martin brings together fourteen significant publications on biblical interpretation, along with a new introduction to Pentecostal hermeneutics and an extensive up-to-date bibliography on the topic. Organized chronologically, these essays trace the development of Pentecostal hermeneutics as an academic discipline.
The concerns of modern historical criticism have often stood at odds with Pentecostalism’s use of Scripture. Therefore, over the last three decades, Pentecostal scholars have attempted to identify the unique characteristics and interpretive practices of their tradition and to offer constructive proposals for a Pentecostal hermeneutic that would be critically valid and, at the same time, be consistent with the Pentecostal ethos and conducive for the continued development of the global Pentecostal movement.
Contributors include: Rickie D. Moore, John Christopher Thomas, Jackie David Johns, Cheryl Bridges Johns, John W. McKay, Robert O. Baker, Scott A. Ellington, Kenneth J. Archer, Robby Waddell, Andrew Davies, Clark H. Pinnock, and Lee Roy Martin.
The autobiographical turn in biblical criticism reveals the interpreter’s “I” and reclaims it as an essential critical category, issuing a challenge to traditional, “objective” criticism. Pioneers in the field have contributed essays both practical and theoretical. They offer stimulating autobiographical re-readings of Hebrew Bible and New Testament texts, and address hermeneutical issues that are at stake in this young field of criticism.
A voice is heard in Ramah, wailing, bitter weeping Rachel is weeping for her children she has refused to be comforted for her children for they are no more. (Jer. 31:15) Since ancient times, readers of this text have found in it particularly fruitful imagery and language for describing the
“hear” Paul composing and reading a letter (or perhaps his testament) addressed to Timothy. Starting in Scene 103 and explicitly marked in Scenes 104 to 110 (“Paul’s voice resounds” 49 ), Paul’s voice-over dominates the soundtrack, connecting and synchronizing the shift between New York and Naples. As
uses the remaining chapters to discuss Brown’s engagement with friends and enemies. In Chapter Seven, “Ecumenism and Interfaith Relations,” Senior displays Brown’s ecumenical spirit. In Chapter 8, “Opposition and Conflict,” he addresses Brown’s ongoing battle with those voices within his own church
is incomplete and unsatisfactory, but for a work that places such a heavy emphasis on historical context this argument should perhaps be voiced rather than avoided. At moments, other historical concerns surface. Toward the end of Janzen’s study, we learn that the Chronicler’s “quest for a quiet
’Europeo on October 1966. 5 The second part was entitled “NY Free Verse Poets for Pasolini,” a presentation curated by director Laura Caparrotti of KIT and poet Dave Johnson of NY Free Verse Poets. The staged reading, which revivified Pasolini’s voice, was moving – commemorative and prophetic. But the second