By Roland Boer
This quantity bargains a gathering among style thought in religious study and the paintings of Mikhail Bakhtin, who remains to be immensely influential in literary feedback. the following Bakhtin comes nose to nose with a relevant zone of religious study: the query of style. The essays diversity from basic discussions of style in the course of the analyzing of particular biblical texts to an engagement with Toni Morrison and the Bible. The members 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
A genre lives in the present, but always remembers its past, its beginning. ” Bakhtin’s formulation thus brings together the synchronic and diachronic elements of genre (Thompson 1984:35). With respect to the problem of the genre of apocalypse this perspective might be of particular use for understanding the internal dynamics of late Christian and gnostic apocalypses, which stand chronologically far from the beginnings of apocalyptic. But it might also be a fruitful approach to the issue of the multi-generic nature of apocalypses.
What motivates the use of this power? 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.
The category is implicitly related to a script-like semantic frame that understands the course of a typical man’s life as beginning with childhood, progressing to a period of sexual maturity, and involving (or not) marriage to one woman. The significance of this analysis of cognitive models for genre is that “elements” alone are not what triggers recognition of a genre but rather the way in which they are related to one another in a Gestalt structure that serves as an idealized cognitive model.
Bakhtin and Genre Theory in Biblical Studies by Roland Boer