By Mark J. Boda

The biblical-theological technique Boda takes during this paintings is canonical-thematic, tracing the presentation of the theology of sin and its therapy within the canonical shape and form of the outdated testomony. The hermeneutical foundations for this company were laid by way of others in previous a long time, in particular by means of Brevard Childs in his groundbreaking paintings. yet A critical Mercy additionally displays fresh ways to integrating biblical figuring out with different methodologies as well as Childs's. therefore, it enters the imaginitive area of the traditional canon of the previous testomony so as to spotlight the "word perspectives" and "literary shapes" of the "texts taken separately and as an entire collection." For the literary form of the person texts, it areas the "word perspectives" of the dominant expressions and photographs, in addition to a variety of passages, within the better context of the biblical books during which they're discovered. For the literary form of the texts as a set, it identifies key subthemes and lines their improvement in the course of the previous testomony canon. The breadth of Boda's research is either tough and brave, leading to the 1st accomplished exam of the subject within the twenty first century.

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A second contrast is seen in the size of the two lists. It is clear that the long line of descendants attributed to Seth in chap. 5 overshadows the line of Cain in chap. 4. This contrast appears to be a narrative technique that sets up the final section of the account of Adam in 6:1–8. Clearly, the line of Seth, associated with the final individual named, Noah, “found favor in the eyes of the Lord” (6:8), in contrast to the rest of humanity, associated with the line of Cain, whose exploits are described in 6:1–7.

In the midst of these final episodes of deception, Jacob is given a new name by Yahweh, but this name is no more flattering than the first. This naming follows his nocturnal struggle with a heavenly being in which the being realized that “he had not prevailed” (lky) and so dislocated Jacob’s thigh to get the upper hand (32:25). Jacob would not release the being, demanding that he bless (˚rb) him (32:26). At this point, the heavenly being first asks for Jacob’s name (32:27) and then changes it: Your name shall no longer be Jacob, but Israel (laEr;c‘y)i ; for you have striven (hrc) with God and with humanity and have prevailed (lky).

Many see Exod 15:21 as the key turning point in the book and some include all of Exod 15:1–20 in this transition; cf. Watts (1992a: 48–49); M. Smith (1996: 30, 39); W. Propp (1999). , Greenberg (1969: 3). It appears that 19:1–2 is a key literary signal in the book (and in the Torah as a whole) and so also is 15:21, but any scheme that divides the book at these points ignores the transitional role of 15:22–18:27; see Fokkelman (1987: 57–58). Notice also the double commissions of Moses in chaps. 1–15 (2:23–6:1, 6:2–7:7) and the double covenants of Israel in chaps.

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