
Job 1 - 21
Description
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Content
- Intro
- Title Page
- Copyright
- Dedication
- Contents
- To the Reader
- Acknowledgements
- Abbreviations and Sigla
- Illustrations
- Introduction
- 1.0 Texts and Versions
- 1.1 Hebrew
- 1.1.1 Masoretic Text
- 1.1.2 Qumran Hebrew Texts
- 1.2 Greek
- 1.2.1 OG and the Asterisked Materials
- 1.2.2 New Greek Translations
- 1.3 Vulgate
- 1.4 Aramaic
- 1.4.1 Qumran Aramaic Texts
- 1.4.2 Rabbinic Targum
- 1.5 Syriac
- 2.0 Language
- 2.1 Orthography
- 2.2 Vocabulary and Forms
- 2.3 Late Biblical Hebrew
- 3.0 Integrity
- 3.1 Prose Framework, Poetic Middle
- 3.2 The Third Cycle and Chapter 28
- 3.3 The Elihu Speeches
- 3.4 YHWH's Response
- 4.0 Provenance
- 5.0 Setting
- 6.0 Genre(s)
- 6.1 Drama
- 6.2 Epic
- 6.3 Didactic Narrative
- 6.4 Exemplary-Sufferer Texts
- 6.5 Dialogue
- 6.6 Lament
- 6.7 Lawsuit
- 6.8 Broader Categories
- 7.0 Structure
- 7.1 Prologue (1:1-2:13)
- 7.2 Dialogue (3:1-31:40)
- 7.3 Mediated Revelation (32:1-37:24)
- 7.4 Unmediated Revelation (38:1-42:6)
- 7.5 Epilogue (42:7-17)
- 8.0 Artistry
- 8.1 Prosody
- 8.2 Closures
- 8.3 Parallelism
- 8.4 Wordplays
- 8.5 Alliteration
- 8.6 Irony
- 8.7 Parody
- 8.8 Imagery
- 8.9 Personification
- 9.0 Theology
- 9.1 Job
- 9.2 The Friends
- 9.3 Elihu
- 9.4 YHWH
- 9.5 The Narrator
- 10.0 History of Consequences
- 10.1 Jewish Consequences
- 10.1.1 Second Temple Period
- A. Old Greek (OG)
- B. Aristeas the Historian
- C. Tobit
- D. Ben Sira
- E. Qumran
- F. Testament of Job
- 10.1.2 Early Rabbinic Period
- A. Tannaim and Amoraim
- B. Targum
- C. Art and Liturgy
- 10.1.3 Medieval Period
- A. The Islamic East
- B. Northern Africa and Southern Europe
- C. Northern Europe
- D. Literature
- E. Visual Arts
- F. Music
- 10.1.4 Modern Period
- A. From Spinoza to the Haskalah
- B. From the Haskalah to the Holocaust
- C. Post-Holocaust Interpretation
- D. Literature
- E. Visual Arts
- F. Music
- 10.2 Christian Consequences
- 10.2.1 Early Period
- A. NT
- B. Greek Interpreters
- C. Syriac Interpreters
- D. Latin Interpreters
- E. Liturgy
- F. Visual Arts
- G. Literature
- 10.2.2 Medieval Period
- A. Dominance of Gregory's Moralia
- B. Dominican and Franciscan Exegetes
- C. Liturgy
- D. Visual Arts
- E. Music
- F. Literature
- 10.2.3 Reformation and the Rise of Biblical Criticism
- A. Exegesis
- B. Biblical Criticism
- C. Translations and Paraphrases
- D. Literature
- E. Visual Arts
- F. Music
- 10.2.4 The Enlightenment and Romanticism
- A. Biblical Criticism
- B. Philosophers
- C. Literature
- D. Visual Arts
- E. Music
- 10.2.5 The Twentieth Century and the Present
- A. Biblical Criticism and Beyond
- B. Literature
- C. Visual Arts
- D. Music
- 10.3 Muslim Consequences
- 10.3.1 Qur?an
- 10.3.2 Stories of the Prophets
- 10.3.3 Ibn al-?Arabi
- 10.3.4 Modern Islam
- Commentary
- Prologue: The First Test (1:1-22)
- Prologue: The Second Test (2:1-13)
- Job: "Perish the Day!" (3:1-26)
- Eliphaz: All Humans Fall Short (4:1-21)
- Eliphaz: Proper Response to Suffering (5:1-27)
- Job: Unpalatable Stuff (6:1-30)
- Job: The Human Condition (7:1-21)
- Bildad: A Parable of Two Plants (8:1-22)
- Job: An Impossible Scenario (9:1-35)
- Job: Complaining with Abandon (10:1-22)
- Zophar: Divine Transcendence and Human Hope (11:1-20)
- Job: Equal but Different (12:1-25)
- Job: Effecting Right "To His Face" (13:1-28)
- Job: The Fragility and Resilience of Hope (14:1-22)
- Eliphaz: The Fate of the Wicked (15:1-35)
- Job: "O Earth, Do Not Cover My Blood!" (16:1-22)
- Job: "My Spirit Is Destroyed" (17:1-16)
- Bildad: The Place of the Wicked (18:1-21)
- Job: "I Know My Redeemer Lives" (19:1-29)
- Zophar: The Designated Lot of the Wicked (20:1-29)
- Job: Acts and Outcomes Are Unrelated (21:1-34)
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