By David Lyle Jeffrey
In homes of the Interpreter David Lyle Jeffrey explores the terrain of the cultural heritage of biblical interpretation. Jeffrey's mapping doesn't in basic terms relaxation content material to chart biblical scholarship and the way it has stimulated cultural impulses. in its place, Jeffrey chooses to concentration upon the ''art'' of Biblical interpretation--how sculptors, musicians, poets, novelists, and painters have ''read'' the Bible. by way of so doing, Jeffrey sincerely demonstrates that such cultural interpretation has deepened the church's knowing of the Bible as Scripture and the way, remarkably, this cultural analyzing even has contributed to theology and the perform of religion. Jeffrey's chapters successfully root theological matters germane to the hermeneutical firm (e.g., Scriptural authority, narrative, the outdated testomony as Christian Scripture, and the function of the reader, gender, and postmodernism) in particular authors and artists (e.g., Chaucer, Bosch, C. S. Lewis) and he does this in consistent dialog with literature, either japanese and western. during this publication the Bible leaps to existence in unheard of methods as Jeffrey indicates us how the simplest minds of the a long time labored on texts--texts we proposal we had already understood well--to produce readings as fabulous as they're arresting.
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Example text
Longing for one’s tribal home) is of the essence of the protagonist’s motivation. Despite myriad sexual misadventures, the journey is circular; it culminates in confirmation of the old, original marriage and thus a reaffirmed identity in the city from which the pilgrim has set out (Ithaca). , Nausikaa and the Phaiakians), to fall into complacency or anaesthetic evasion (Kirke and Kalypso). In short, the worldview projected from Homer’s double epic is not entirely unlike that which we find in Journey to the West.
Civ. 14; qv. 813). Augustine does not deny the pagan virtues entirely; he concedes that in some respects the Rome Vergil celebrates began well, yet insists that its progress has bankrupted itself by investing so heavily in temporal power: At that time it was their greatest ambition either to die bravely or to live free; but when liberty was obtained, so great a desire of glory took possession of them, that liberty alone was not enough unless domination also should be sought, their great ambition being that which the same poet [Vergil] puts into the mouth of Jupiter (Civ.
Despite myriad sexual misadventures, the journey is circular; it culminates in confirmation of the old, original marriage and thus a reaffirmed identity in the city from which the pilgrim has set out (Ithaca). , Nausikaa and the Phaiakians), to fall into complacency or anaesthetic evasion (Kirke and Kalypso). In short, the worldview projected from Homer’s double epic is not entirely unlike that which we find in Journey to the West. With Vergil we enter into new territory and stay there. His pilgrim protagonist, Aeneas, journeys out from a Troy that can no longer be home; his is the exile of “losers,” of the defeated, and his pilgrimage is true wandering.