Scripture, like any performance, aims for transformation of its audience. In this new study Jeanette Mathews demonstrates how literature from the diverse field of performance studies can be applied to the prophetic book of Habakkuk in order to draw out themes and features that are common to both. Mathews offers a fresh new translation of Habakkuk that emphasizes and celebrates its intrinsic dramatic features. This translation provides the "script" for the performance of Habakkuk. The attitudes and actions of the "actors" in the performance become models for their "audience," such that the audience members are drawn into the performance and do not remain impartial spectators. The context of crisis that forms the book's "setting" is of crucial importance, ensuring that genres such as complaint and lament are taken seriously as expressions of faith in the midst of traumatic experience. The open-ended script makes explicit the drama of faithfulness in the midst of cultural trauma and public crises--a faithfulness that is ready to be reenacted in our own settings.

Embodied Performance presents a methodology by which performer-interpreters can bring their intuitive interpretations to the scholarly conversations about biblical compositions. It may not be comfortable, for scholarship is out of practice in listening to emotion and intuition. It may not be the only way to bring the fullness of human meaning making into scholarly discussions. It is a beginning, as Sarah Agnew, storyteller and scholar, places herself as the subject and object under examination, observing her practice as a biblical storyteller making meaning through embodied performance, and develops a coherent method rigorously tested with an Embodied Performance Analysis of Romans. Follow Sarah’s story as she searches within Biblical Performance Criticism for such a method, before determining the need to strike out in a new direction from within an already innovative field. All biblical scholars are complex human beings, making meaning through their embodiment, their emotions, their embeddedness in community. Embodied Performance Analysis offers a way to attend to and incorporate the full range of human meaning making in our engagement with biblical compositions, for richer discussion closer to the intent of the compositions themselves.

The biblical prophets and Biblical Performance Criticism are brought together in three case studies (Elijah, Ezekiel, Jonah) presented as performances. This book proposes a new method of reading the biblical prophets with a threefold focus on creativity, commentary, and connections. With this method the many and varied performances of the prophets can be better appreciated. Critical analysis of the quintessentially performative nature of the prophets as embodied spokespersons for YHWH aids us in understanding and clarifying YHWH’s message to audiences, situations, and communities of the past as well as engaging contemporary audiences.

For too long, critical biblical studies have applied modern textual assumptions to ancient oral cultures. Exegeting Orality challenges many of these modern approaches, distilling decades of studies in oral traditions to redirect pastors and scholars toward a more accurate narrative of biblical origins, identity, and meaning. Many works in the area of orality, textuality, performance criticism, and media studies focus on critical issues. Exegeting Orality guides pastors and scholars through a brief introduction to these fields, emphasizing biblical inspiration, interpretation, and proclamation. This work honors the rich oral traditional foundations of the inspired canon, urging a transformative shift in how we interpret the Bible. The stories we believe define us. The Bible is not just a text to be studied but a record of voices from the past who performed our definitive stories. The Bible is a tradition to be reproclaimed and reenacted in the community of faith. Let us not recast these ancient voices into modern epistemological molds without letting them speak from within their own cultural realities. Their voices still call out to us through the abiding Holy Spirit who connects us all to the story of Jesus. May we live out that ancient story today together.

Performance creates a unique space for audience experience and influences how traditions, like the Gospels, are received and interpreted.

The Oxford Handbook of the Minor Prophets provides a clear and engaging one-volume guide to the major interpretative questions currently engaging scholars of the twelve Minor Prophets by collecting 40 essays by both established and emerging scholars who explore a wide range of methodological perspectives. Divided into four sections, the first group of essays is devoted to historical studies which consider the manuscript evidence for these books and overview debates about how, when, and by whom they were composed. Essays dealing with literary explorations consider the genres and rhetorical style of the material, key themes, and intertextual connections with other sections of the Jewish and Christian canons. A large section on the history of interpretation traces the ways in which past and present confessional communities, scholars, and artists have understood the Minor Prophets. In the final section, essays on individual books of the twelve Minor Prophets explore the structure, themes, and contested issues of each book.

This volume explores the themes of theodicy and hope in both individual portions of the Twelve (books and sub-sections) and in the Book of the Twelve as a whole, as the contributors use a diversity of approaches to the text(s) with a particular interest in synchronic perspectives. While these essays regularly engage the mostly redactional scholarship surrounding the Book of Twelve, there is also an examination of various forms of literary analysis of final text forms, and engagement in descriptions of the thematic and theological perspectives of the individual books and of the collection as a whole. The synchronic work in these essays is thus in regular conversation with diachronic research, and as a general rule they take various conclusions of redactional research as a point of departure. The specific themes, theodicy and hope, are key ideas that have provided the opportunity for contributors to explore individual books or sub-sections within the Twelve, and the overarching development (in both historical and literary terms) and deployment of these themes in the collection.

The various studies presented in this anthology underscore the foundational matter of translation in biblical studies as understood from the specific perspective of Biblical Performance Criticism. If the assumption for the biblical messages being received is not individual silent reading, then the question becomes, how does this public performative mode of communication affect the translation of this biblical material? Rather than respond to this in general theoretical terms, most in this collection of articles offer specific applications to particular Hebrew and Greek passages of Scripture. Almost all the authors have firsthand experience with the translation of biblical materials into non-European languages in communities who maintain a vibrant oral tradition. The premise is that the original Scriptures, which were composed in and for performance, are being prepared again for live audiences who will receive these sacred texts, not primarily in printed form, but first and foremost in community by means of oral and visual media. This volume is an invitation for others to join us in researching more intensely this intersection of sound, performance, and translation in a contemporary communication of the Word.

Throughout its history, the Christian church has had a troubled relationship with the arts, whether literature, poetry, music, visual arts, or other forms of artistic expression. This volume is not designed to resolve the issues, but it is designed to present a number of different statements about various dimensions of the arts in their relationship to the Bible. The Bible is the document that stands behind the Christian church as an inspiration to it and to its arts. As a result, we have divided this volume into six parts: perspectives on the arts, culture and art, visual enactments, contemporary interpretations, music, and the Bible and literature. Many of the issues that the history of the interaction of the arts and the Bible within the Christian church has uncovered are insightfully and artfully addressed by this book. The wide range of contributors runs the gamut from practicing artists of various media to scholars within varied academic fields.

Modern study of biblical prophecy frequently defines prophecy as a message from God and has focused almost exclusively on prophets' words. But prophecy was always also embodied. Anathea E. Portier-Young insists on the synergy of word and body in biblical prophecy. Prophets did more than reveal knowledge: the prophetic body connected God and people, making them present to one another, channeling divine power, traveling between realms. Drawing insights from disciplines ranging from neurobiology to cultural studies, the author examines stories of prophetic commissioning, bodily transformation, asceticism and ecstasy, mobility and immobility, affect and emotion, revealing the body's centrality to prophetic mediation.