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Robyn J. Whitaker

, and death the inevitable conclusion to a long drama played out before the eyes of the public.
 None of these spectacles of death would be spectacles (θεωρίαι) at all without a viewing public. To remind ourselves of the obvious, a spectacle requires spectators. Therefore, crucifixions were conducted on

Todd Penner and Caroline Vander Stichele

negotiated by a culture of “mere representation,” in which spectacle becomes the primary mode of social communication, 2 does not negate that the pur- ported product delivered and the desire itself both strive for precisely such unmediated experiences. As Jean Baudrillard ob- serves, this “hysteria” of our

Kimberly Stratton

public disciplinary displays and the implications that imagining eschatological justice as a blood spectacle has for theological conceptions of divine surveillance and control. Keywords Roman arena, divine justice, final judgment, vengeance, violence, eschatology, surveil- lance, punishment 1) I presented

Schwartz, Daniel R.

, that Antiochus was not the most balanced individual. Be that as it may, Antiochus's attention was not riveted by his Judaean affairs, although the Jewish sources understandably give great prominence to them. After a magnificent military spectacle in Daphne in 166 bce, he set off for a new eastern

Biblical Interpretation 320–341
 Brian Charles DiPalma
 Seeing Rape and Robbery: ἁρπαγμαός and the Philippians Christ Hymn (Phil. 2:5-11) 342–363
 Katherine A. Shaner
 Picturing Saul’s Vision on the Road to Damascus: A Question of Authority 364–398
 Deborah Thompson Prince
 A Failed Spectacle: The Role

Jeffrey Staley

’s “Prolonging the Life of Moses : from Spectacle to Story in the Early Cinema” is an extremely detailed source-critical/redac- tion history-like analysis of Moses films from 1905 to 1911. His study leads to the provocative proposition that perhaps the “reiteration of different versions of similar material’ in

Heather Macumber

affirming their boundaries especially those of purity. Building on the work of Foucault, he states, “Punishment was treated as a ‘spectacle’ intending to establish order by spreading horror.” 97 Those who suffer punishment are treated as “other” and “different” and permanently marked with disgrace. 98

Re-membering the Dismembered


Piecing Together Meaning from Stories of Women and Body Parts in Ancient Near Eastern Literature

Julie Faith Parker

point, see Howard Eilberg-Schwartz, “Introduction: The Spectacle of the Female Head” in Howard Eilbert-Schwartz and Wendy Doniger (eds.), Off with Her Head! The Denial of Women’s Identity in Myth , Religion , and Culture (Berkeley: University of California Press, 1995), p. 1.
 18 See, for example

Sharon Betsworth

of the nature of spectacle in Roman culture, noting that anything eye-catching was carefully observed. If someone drew attention to himself or herself, mockery and shame likely lurked just around the corner.
 Chapter 2, “The Messianic Secret in Recent Studies,” provides background information for one

Seeing is Feeling


Revelation’s Enthroned Lamb and Ancient Visual Affects


Maia Kotrosits

of John as the “Seer,” the abundance of eyes on creatures, the focus on the eyes of the main characters, and the appeal to spectacle at every turn in Revelation are all reflective of the Roman work of identity and knowledge production through the visual field. Roman subjects are formed through seeing