Instead ofpresenting a selection of Miller's examples and her analysis of them, it would seem more useful for me to present a single passage-and it happens to be one that Miller does not discuss-that contains a number of complex representations of speech in narrative. The passage is Esther The king's servants at the king's gate said to Mordecai, "Why do you disobey the order of the king?
Miller's study has shown me just how complex the representation of speech in this passage is. Note, fIrst, that we do not have the actual words of the royal order to bow to Haman, only the fact that there was such an order. The wording of the order is not important; it is the existence ofthe order that the story wants to convey. When Mordecai refuses to bow, he is transgressing a royal order. Direct speech appears in the servants' question to Mordecai, for the precise phrasing oftheir speech has an impact on the narrative. They do not say, "Why do you not bow before Haman?
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Moreover, their question is not a request for information, but an attempt to get Mordecai Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.
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Eerdmans Publishing. Seymour took from Parham the teaching that the baptism of the Holy Spirit was not the blessing of sanctification but rather a third work of grace that was accompanied by the experience of tongues. Eerdmans; Brill, — , New York: Macmillan. Journal for the Scientific Study of Religion.
Chicago: University of Chicago Press. Counterfeit Miracles.
New York: Charles Scribner's Sons. The writings of the so-called Apostolic Fathers contain no clear and certain allusions to miracle working or to the exercise of the charismatic gifts, contemporaneously with themselves. Sur l'Evangile du jour. In Gary B. McGee eds.
Narration in Religious Discourse: The Example of Christianity
Initial evidence: historical and biblical perspectives on the Pentecostal doctrine of spirit baptism. Peabody, Massachusetts : Hendrickson Publishers. A Cry from the Desert. The charismatic movement. Grand Rapids, Michigan : William B. Eerdmans Publishing Company. The great mystery of the great whore unfolded; and Antichrist's kingdom revealed unto destruction.
The Works of George Fox. Fraser's Magazine. Retrieved 9 June Alexander Strahan. Retrieved 12 January Archived from the original on 17 August Archived from the original MediaWiki on 17 October Archived from the original on 29 April Retrieved 27 April Systematic theology: an introduction to biblical doctrine.
Leicester : Inter-Varsity Press. Archived from the original PDF on 17 December Archived from the original PDF on 19 June Whitcomb The Charismatic Phenomenon. London: Wakeman Trust. Stanley M.
Burgess, Gary B. McGee and Patrick H. Alexander eds. Dictionary of Pentecostal and Charismatic Movements.
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- Perspectives on Arabic Linguistics: Papers from the Annual Symposium on Arabic Linguistics. Volume XIII-XIV: Stanford, 1999 and Berkeley, California 2000.
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Grand Rapids, Michigan : Zondervan. Dictionary of Pentecostal and charismatic movements. Archived from the original on 13 June Retrieved 10 June West Tennessee Historical Society. Seymour's holiness background suggests that Pentecostalism had roots in the holiness movement of the late nineteenth century. The holiness movement embraced the Wesleyan doctrine of "sanctification" or the second work of grace, subsequent to conversion. Pentecostalism added a third work of grace, called the baptism of the Holy Ghost, which is often accompanied by glossolalia. Pentecostal Experience. Signs of the Apostles.
Edinburgh, Scotland: Banner of Truth Trust. Retrieved 16 March Nova Religio. The Voynich Manuscript. London: Orion. Psychiatry Research: Neuroimaging. Retrieved 15 January The art of the biblical narrative, Alter hypothesized, was finalized in a late editorial stage by some unifying creative mind — a figure who, like a film editor, introduced narrative coherence through the art of montage.
It was a secular and literary method of reading the Hebrew Bible but, in its reverent insistence on the coherence and complex artistry of the central texts, it has appealed to some religious readers.
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The book was — and remains — a surprise hit; it opened up an old, mysterious and often maligned text for the first time to many readers. His growing commitment to translation since the s can be seen as a move toward an increased investment on his part in the general reader, over and against institutional gatekeepers of the text, both in academia and in the religious world. The translation emerged organically. His later translation work has carried out, in a larger and more systematic way, what he started in his criticism. Since — and not including this current complete edition — his Bible translations have sold in the hundreds of thousands.
The first verset, semantically airtight, is all Alter. In the skillful way that he has harmonized the various voices, past and present, Alter proves to be another Arranger, practicing the composite art that he believes has long been the life-breath of this text. A lter was born in the Bronx and grew up in Albany, to working-class parents who emigrated from Lithuania and Romania. His father was born in the waning years of the 19th century and fought as a teenager in World War I. Alter came to Hebrew, like many an American Jewish child, somewhat haphazardly — first in traditional contexts, like bar mitzvah lessons but also in Hebrew-only summer camps of the period.
Marking Direct Discourse in the Hebrew Bible
The cultural record of American Jews, in literature and art, can be summarized as a collective complaint against parental demands to learn Hebrew, but Alter took to it immediately and chose to continue his studies, even while playing varsity football and running track. As a young man, Alter was so enamored with the language that he spent much of his time systematically mastering a Hebrew-Hebrew dictionary.
A membership card to his local public library became his ticket to the wider world. Like many of his contemporaries with literary aspirations, he graduated from a public high school and found his way into the middle of a thriving midcentury literary scene in New York City. D in comparative literature. Many Jewish writers of those years saw it as their mission to march onto center stage of American literature: not simply to master the English language but to remake it in their own voices.
As a young critic, Alter was active in this project. For a literary person of those generations, the King James Version loomed large. Along with Shakespeare, the King James was one of the wellsprings of English literature, especially in the United States. It is one of the few major texts that was foundational in both the Jewish and the Anglo-American traditions. And though Alter and his peers remained smitten by the language of the King James, there was an underlying sense that a key piece of their Jewish heritage had long been held captive in the churches and schools and texts of white Protestant English.
With his intricate and artistically attuned translation, Alter has helped carve out a dignified place for the Hebrew Bible as the Hebrew Bible, squarely within the Anglo-American literary tradition, and rescued it from second-class status. Alter regularly composes phrases that sound strange in English, in part because they carry hints of ancient Hebrew within them. Sarah has just given birth to her first child, a son; in Hebrew, his name is Yitzhak, meaning he who laughs. After giving birth, she feels mocked, shamed and socially demoted.