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This is an interdisciplinary study of the Bible and visuality. It is the first to be written by a historian of visual culture (that is, aspects of culture mediated by visual images) rather than a biblical scholar, and unlike some previous studies, it makes equal partners of image and text. The Bible as Visual Culture also bridges a longstanding gulf between the interpretative traditions, languages, and reading conventions of the two disciplines.The book's central question is: What happens when text becomes an image? In response, the study explores how biblical ideas are articulated in and through visual mediums, and examines ways in which visual culture actively shapes biblical and religious concepts. Using original research material, Harvey's approach develops a variety of new and adaptable hermeneutics to exegete artifacts.The book applies theoretical and methodological approaches-native to fine art, art history, and visual cultural studies but new to biblical studies-to examine the significance of images for biblical exegesis and how images exposit the biblical text. John Harvey draws upon a breadth of fine art, craft, and ephemeral objects made, modified or adopted for worship, teaching, commemoration and propaganda, including painting, print, photography, sculpture, installations, kitsch and websites. These artifacts are studied chiefly in the context of the late-modern period in the West, from a Protestant Christian perspective for the most part.The Bible as Visual Culture is directed to academics and students of biblical studies, theology, religious studies, ecclesiastical history, art history, visual culture and art practice. It provides an accessible introduction to the field, informing newcomers of existing scholarship and introducing new concepts and theories to those already in the field.

Reworking the Bible is a substantial account of the reception history of fourteen biblical stories-those of Eden, the Flood, Jacob and Esau, Moses and the Exodus, Joshua and Rahab, Samson, Nebuchadnezzar, Susanna, Esther, Jesus Christ, Salome, Lazarus, the Prodigal Son and the Descent into Hell. Full of fascinating detail of the afterlives of these biblical narratives, the book also offers a sophisticated theoretical analysis of the processes of reworking: major hypertexts from The Dream of the Rood to Margaret Atwood's The Year of the Flood come under the spotlight of the theories of Genette about rewriting and of Bakhtin about chronotopes and polyphony. In the final chapter, the material is viewed from the point of view of its spatial overtones, highlighting works that use the retelling of biblical stories to transport the reader to somewhere beyond controlling monological cultures.As well as providing close readings of some extraordinary literary reworkings, the book provides a guide to the available critical literature. Both the biblical stories themselves and the works of Chaucer, Shakespeare, Racine, George Eliot, Turgenev, Kafka, Iris Murdoch, Julian Barnes, Ben Okri and many others are cast in a new light, including many plays, novels and poems that have been surprisingly neglected. The works discussed range from the hilarious to the horrific and have the capacity to refresh and even transform our reading of the Bible.

The relationship between the Hebrew heroes David and Jonathan has caught the attention of popular and scholarly writers alike. Yet there is little agreement about the nature of this relationship that speaks of a love between two men that 'surpasses the love of a man for a woman' (2 Sam. 1.26). Weighing the arguments of scholars including Nissinen, Stone and Zehnder, Heacock produces a meta-critical analysis of the many interpretations of the relationship between David and Jonathan, identifying three dominant readings: the traditional political-theological interpretation, the homoerotic interpretation, and the homosocial interpretation.After outlining the three interpretive approaches, Heacock considers the evidence cited to support each: namely, themes in the David and Jonathan narrative and related biblical texts, ancient political treaties, laws pertaining to homogenital behaviour in the ancient Mediterranean world, and the heroic tales of the Gilgamesh Epic and Homer's Iliad. By applying recent epistemological shifts in knowledge as developed in the interdisciplinary fields of sexuality studies, queer studies and ancient studies, Heacock emphasizes the inescapability of the modern reader's cultural context when reading the narrative, particularly the influence of modern discourses of sexuality.Rather than suggest an alternative historical reading, Heacock turns the debate on its head by abandoning claims to historical veracity and embracing the input of the contemporary queer reader. Using queer theory and reader-response criticism, he offers a reading of the relationship between David and Jonathan through the lens of contemporary gay male friendships. This queer reading not only celebrates manly love in its numerous forms, but also adds a self-critical voice to the discussion that exposes the heteronormative assumptions underlying the questions often asked of the narrative.

Always spoken for, never speaking. Always the object of discourse, never the subject. Constant focus upon Israel in the biblical texts by the interpretative tradition in the modern context has resulted, whether consciously or not, in the eclipse of voices of Israel's Palestinian neighbors. Interpretations reinforce the liminality of ethnic groups like the Edomites, Moabites, Ammonites, and Samaritans effected initially through re-presentation. Stereotyping becomes an ethno-typing strategy that establishes the presumed superiority of 'Israel', the identity construction of the 'others' as anything but superior, and the placement of each group stereotyped on the 'border'.A postcolonial perspective, however, reveals that the focus of the commentary tradition extends liminality beyond the temporal. This study brings to speech the constructed voices of marginalized ethnic groups by juxtaposing those of fifth-century Yehud with those of nineteenth-century America placed there by stereotypic re-presentations. The examination of these re-presentations, though they intend to establish separation through an identity of difference, reveal instead a reflection of the identity of 'self' within 'other' despite efforts by an ethnic group identifying itself as 'Israel'.