By Roland Boer
This quantity bargains a gathering among style concept in religious study and the paintings of Mikhail Bakhtin, who is still immensely influential in literary feedback. right here Bakhtin comes nose to nose with a important quarter of religious study: the query of style. The essays diversity from basic discussions of style during the interpreting of particular biblical texts to an engagement with Toni Morrison and the Bible. The individuals are John Anderson, Roland Boer, Martin J. Buss, Judy Fentress-Williams, Christopher Fuller, Barbara eco-friendly, Bula Maddison, Carleen Mandolfo, Christine Mitchell, Carol A. Newsom, David M. Valeta, and Michael Vines.
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Extra info for Bakhtin and Genre Theory in Biblical Studies (Society of Biblical Literature Semeia Studies)
Sinding argues against Fishelov and Fowler, who stress the role of literary tradition. newsom: Spying Out the Land 27 The recognition of the historical nature of genres was a surprisingly late development in genre theory. Until the emergence of Romanticism most genre criticism treated genres as transcendent or “natural” forms that were valid, descriptively and prescriptively, across historical periods (see Duff 2000). This explains various attempts to identify biblical compositions in terms of classical genres, as, for instance, Theodore Beza’s comparison of Job to classical tragedy.
In “Discourse in the Novel,” Bakhtin explicitly set out to link form and content through the understanding of discourse as a social event (1981:259). Even though Bakhtin detached form from an external referent, there is still a connection between style and genre even in Bakhtin’s later work. … each sphere has and applies its own genres that correspond to its own specific conditions” (64). He also stated, “Where there is style there is genre. The transfer of style from one genre to another not only alters the way a style sounds, under conditions of a genre unnatural to it, but also violates or renews the given genre” (66).
It is intense desire, eros, in this case going mostly hidden, implied, and unspoken until it erupts in 2 Chr 32:19: an eros for Yhwh, one, particularist, and local. This eros for Yhwh motivates the use of genre-power to reshape the story to show his ultimate power (a negative will to power, in Deleuzian terms). This eros, therefore, looks like it may indicate a lack or a repression (and it does, in a way), but it also leads to a singularly productive act, the productive use of genre-power to create a new text.