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| ruth finnegan oral poetry: Oral Poetry Ruth Finnegan, 1977-04-28 Oral poetry is a wide subject that ranges from American 'folk-songs', Eskimo lyrics or popular songs, to the heroic poems of Homer and distinct epic composers in Asia and the Pacific. Unlike previous works, this book takes a broad comparative view and considers oral poetry from Africa, Asia and Oceania as well as Europe and America. Dr Finnegan includes in her argument the results of topical research from all over the world, thus illuminating and suggesting fresh conclusions to many controversies: the nature of 'oral tradition'; possible connections between types of poetry and types of society; the differences between oral and written communication; and the role of poets in non-literate societies. |
| ruth finnegan oral poetry: Oral poetry Ruth H. Finnegan, 1977 |
| ruth finnegan oral poetry: Oral Literature in Africa Ruth Finnegan, 2012-09 Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, drum language and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website. |
| ruth finnegan oral poetry: The Oral and Beyond Ruth H. Finnegan, 2007 Ruth Finnegan examines the verbal arts in Africa and looks at whether the image of Africa as the 'oral' continent stands up to a more comparative and critical approach to 'orality' and performance. |
| ruth finnegan oral poetry: Oral Traditions and the Verbal Arts Ruth Finnegan, 2003-09-02 Provides up-to-date guidance on how to approach the study of oral forms and their performances, examining both the practicalities of fieldwork and the methods by which oral texts and performances can be observed, collected and analysed. |
| ruth finnegan oral poetry: Oral Poetry Ruth Finnegan, 2025-05-28 This book offers a comprehensive introduction to the vast field of 'oral poetry,' encompassing everything from American folksongs, contemporary pop songs, and Inuit lyrics, to the heroic epics of Homer, biblical psalms, and epic traditions in Asia and the Pacific. Taking a broad comparative approach, it explores oral poetry across Africa, Asia, Oceania, Europe, and the Americas. Drawing on global research, Ruth Finnegan, the author of the seminal Oral Literature in Africa, sheds light on key debates such as the nature of oral tradition, the relationship between poetry and society, the differences between oral and written forms, and the role of poets in predominantly non-literate contexts. Written from a primarily anthropological and literary perspective, this study contributes to the socio-cultural aspects of verbal art while also engaging with the literary dimensions of poetry which happens at any given moment to be unwritten. Finnegan's clear, non-technical language and extensive use of translated examples make this work accessible to a wide audience, appealing not only to sociologists and anthropologists but also to those with an interest in poetry, in comparative literature, and in global folk traditions. The re-issue of this classic study is now augmented by further illustrations and a newly written Introduction and Conclusion, situating it in the context of the contemporary study of literature. |
| ruth finnegan oral poetry: Why Do We Quote? Ruth Finnegan, 2011-03-01 Quoting is all around us. But do we really know what it means? How do people actually quote today, and how did our present systems come about? This book brings together a down-to-earth account of contemporary quoting with an examination of the comparative and historical background that lies behind it and the characteristic way that quoting links past and present, the far and the near.Drawing from anthropology, cultural history, folklore, cultural studies, sociolinguistics, literary studies and the ethnography of speaking, Ruth Finnegan 's fascinating study sets our present conventions into crosscultural and historical perspective. She traces the curious history of quotation marks, examines the long tradition of quotation collections with their remarkable recycling across the centuries, and explores the uses of quotation in literary, visual and oral traditions. The book tracks the changing defi nitions and control of quoting over the millennia and in doing so throws new light on ideas such as imitation, allusion, authorship, originality and plagiarism . |
| ruth finnegan oral poetry: Poetry in Speech Egbert J. Bakker, 2018-03-15 No detailed description available for Poetry in Speech. |
| ruth finnegan oral poetry: Oral Poetry from Africa Jack Mapanje, Landeg White, 1983 |
| ruth finnegan oral poetry: Oral Poetry Finnegan Ruth, 1992 |
| ruth finnegan oral poetry: Epic Singers and Oral Tradition Albert Bates Lord, 1991 Drawing on his extensive fieldwork in living oral traditions, Albert Bates Lord here concentrates on the epic singers and their art as manifested in texts or performance. |
| ruth finnegan oral poetry: Oral Literature in Africa Ruth Finnegan, 2020-10-09 Ruth Finneganâ s Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finneganâ s ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, drum language and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. Oral Literature in Africa has been accessed by hundreds of readers in over 60 different countries, including Ethiopia, Kenya, Rwanda and numerous other African countries. The digital editions of this book are free to download thanks to the generous support of interested readers and organisations, who made donations using the crowd-funding website Unglue.it. Oral Literature in Africa is part of our World Oral Literature Series in conjunction with the World Oral Literature Project. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors. |
| ruth finnegan oral poetry: African Oral Literature Isidore Okpewho, 1992-09-22 . . . its pages come alive with wonderful illustrative material coupled with sensitve and insightful commentary. —Reviews in Anthropology . . . the scope, breadth, and lucidity of this excellent study confirm that Okpewho is undoubtedly the most important authority writing on African oral literature right now . . . —Research in African Literatures Truly a tour de force of individual scholarship . . . —World Literature Today . . . excellent . . . —African Affairs . . . a thorough synthesis of the main issues of oral literature criticism, as well as a grounding in experienced fieldwork, a wide-ranging theoretical base, and a clarity of argument rare among academics. —Multicultural Review This is a breathtakingly ambitious project . . . —Harold Scheub . . . a definitive accounting of the evidence of living oral traditions in Africa today. Professor Okpewho's authority as an expert in this important new field is unrivaled. —Gregory Nagy Isidore Okpewho's African Oral Literature is a marvelous piece of scholarship and wide-ranging research. It presents the most comprehensive survey of the field of oral literature in Africa. —Emmanuel Obiechina . . . a tour de force of scholarship in which Okpewho casts his net across the African continent, searching for its verbal forms through voluminous recent writings and presents African oral literature in a new voice, proclaiming the literariness of African folklore. —Dan Ben-Amos This is an outstanding book by a scholar whose work has already influenced how African literature should be conceived. . . . Professor Okpewho is a scholar with a special talent to nurture scholarship in others. After this work, African literature will never be the same. —Mazisi Kunene Isidore Okpewho, for many years Professor of English at the University of Ibadan, is one of the handful of African scholars who has facilitated the growth of African oral literature to its status today as a literary enterprise concerned with the artistic foundations of human culture. This comprehensive critical work firmly establishes oral literature as a landmark of high artistic achievement and situates it within the broader framework of contemporary African culture. |
| ruth finnegan oral poetry: Where is Language? Ruth Finnegan, 2020-06-11 Language is central to human experience and our understanding of who we are, whether written or unwritten, sung or spoken. But what is language and how do we record it? Where does it reside? Does it exist and evolve within written sources, in performance, in the mind or in speech? For too long, ethnographic, aesthetic and sociolinguistic studies of language have remained apart from analyses emerging from traditions such as literature and performance. Where is Language? argues for a more complex and contextualized understanding of language across this range of disciplines, engaging with key issues, including orality, literacy, narrative, ideology, performance and the human communities in which these take place. Eminent anthropologist Ruth Finnegan draws together a lifetime of ethnographic case studies, reading and personal commentary to explore the roles and nature of language in cultures across the world, from West Africa to the South Pacific. By combining research and reflections, Finnegan discusses the multi-modality of language to provide an account not simply of vocabulary and grammar, but one which questions the importance of cultural settings and the essence of human communication itself. |
| ruth finnegan oral poetry: Communicating Ruth H. Finnegan, 2002 Annotation Focusing on embodied and material processes rather than cognitive or mentalist models, and on practice rather than text, this book reveals why a limited view of human communication is unsatisfactory. |
| ruth finnegan oral poetry: Aspects of Orality and Greek Literature in the Roman Empire Consuelo Ruiz-Montero, 2020-02-05 Orality was the backbone of ancient Greek culture throughout its different periods. This volume will serve to deepen the reader’s knowledge of how Greek texts circulated during the Roman Empire. The studies included here approach the subject from both a literary and a sociocultural point of view, illuminating the interconnections between literary and social practices. Topics considered include epigraphy, the rhetoric of transmitting the texts, language and speech, performance, theatre, narrative representation, material culture, and the interaction of different cultures. Since orality is a widespread phenomenon in the Greek-speaking world of the Roman Empire, this book draws the reader’s attention to under-researched texts and inscriptions. |
| ruth finnegan oral poetry: Comparative Criticism: Volume 2, Text and Reader E. S. Shaffer, Elinor Shaffer, 1980-11-06 A yearbook sponsored by the British Comparative Literature Association asserting that comparative literary studies represent a major direction forwards. |
| ruth finnegan oral poetry: Oral Literary Performance in Africa Nduka Otiono, Chiji Akọma, 2021-05-31 This book delivers an admirably comprehensive and rigorous analysis of African oral literatures and performance. Gathering insights from distinguished scholars in the field, the book provides a range of contemporary interdisciplinary perspectives in the study of oral literature and its transformations in everyday life, fiction, poetry, popular culture, and postcolonial politics. Topics discussed include folklore and folklife; oral performance and masculinities; intermediated orality, modern transformations, and globalisation; orality and mass media; spoken word and imaginative writing. The book also addresses research methodologies and the thematic and theoretical trajectories of scholars of African oral literatures, looking back to the trailblazing legacies of Ruth Finnegan, Harold Scheub, and Isidore Okpewho. Ambitious in scope and incisive in its analysis, this book will be of interest to students and scholars of African literatures and oral performance as well as to general readers interested in the dynamics of cultural production. |
| ruth finnegan oral poetry: Limba story-telling Ruth Finnegan, |
| ruth finnegan oral poetry: Tales of Darkness and Light Soso Tham, 2018-04-25 Soso Tham (1873–1940), the acknowledged poet laureate of the Khasis of northeastern India, was one of the first writers to give written poetic form to the rich oral tradition of his people. Poet of landscape, myth and memory, Soso Tham paid rich and poignant tribute to his tribe in his masterpiece The Old Days of the Khasis. Janet Hujon’s vibrant new translation presents the English reader with Tham’s long poem, which keeps a rich cultural tradition of the Khasi people alive through its retelling of old narratives and acts as a cultural signpost for their literary identity. This book is essential reading for anyone with an interest in Indian literature and culture and in the interplay between oral traditions and written literary forms. This edition includes: • English translation • Critical apparatus • Embedded audio recordings of the original text |
| ruth finnegan oral poetry: Orality and Literacy Walter J. Ong, 2003-12-16 This classic work explores the vast differences between oral and literate cultures offering a very clear account of the intellectual, literary and social effects of writing, print and electronic technology. In the course of his study, Walter J. Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other. This is a book no reader, writer or speaker should be without. |
| ruth finnegan oral poetry: African Oral Literature Russell Kaschula, 2001 Throughout Africa, oral literature is flourishing, though it is perceived by some as anachronistic to the modern world. This work refutes this idea in its entirety by presenting 22 chapters, which firmly place the study of oral literature within contemporary African existence. The study analyzes how oral literature relates to media, music, technology, text, gender, religion, power, politics and globalization. |
| ruth finnegan oral poetry: South Pacific Oral Traditions Ruth H. Finnegan, Margaret Orbell, 1995 Exploring the oral traditions of the South Pacific, this work demonstrates that oral media and native cultural forms are vital throughout the South Pacific. It appeals to scholars concerned with the relationships between verbal art, social change, gender, power, and social organization. |
| ruth finnegan oral poetry: Oral Tradition Jan Vansina, |
| ruth finnegan oral poetry: The Tiberian Pronunciation Tradition of Biblical Hebrew, Volume 2 Geoffrey Khan, 2020-02-20 These volumes represent the highest level of scholarship on what is arguably the most important tradition of Biblical Hebrew. Written by the leading scholar of the Tiberian Masoretic tradition, they offer a wealth of new data and revised analysis, and constitute a considerable advance on existing published scholarship. It should stand alongside Israel Yeivin’s ‘The Tiberian Masorah’ as an essential handbook for scholars of Biblical Hebrew, and will remain an indispensable reference work for decades to come. —Dr. Benjamin Outhwaite, Director of the Taylor-Schechter Genizah Research Unit, Cambridge University Library The form of Biblical Hebrew that is presented in printed editions, with vocalization and accent signs, has its origin in medieval manuscripts of the Bible. The vocalization and accent signs are notation systems that were created in Tiberias in the early Islamic period by scholars known as the Tiberian Masoretes, but the oral tradition they represent has roots in antiquity. The grammatical textbooks and reference grammars of Biblical Hebrew in use today are heirs to centuries of tradition of grammatical works on Biblical Hebrew in Europe. The paradox is that this European tradition of Biblical Hebrew grammar did not have direct access to the way the Tiberian Masoretes were pronouncing Biblical Hebrew. In the last few decades, research of manuscript sources from the medieval Middle East has made it possible to reconstruct with considerable accuracy the pronunciation of the Tiberian Masoretes, which has come to be known as the ‘Tiberian pronunciation tradition’. This book presents the current state of knowledge of the Tiberian pronunciation tradition of Biblical Hebrew and a full edition of one of the key medieval sources, Hidāyat al-Qāriʾ ‘The Guide for the Reader’, by ʾAbū al-Faraj Hārūn. It is hoped that the book will help to break the mould of current grammatical descriptions of Biblical Hebrew and form a bridge between modern traditions of grammar and the school of the Masoretes of Tiberias. Links and QR codes in the book allow readers to listen to an oral performance of samples of the reconstructed Tiberian pronunciation by Alex Foreman. This is the first time Biblical Hebrew has been recited with the Tiberian pronunciation for a millennium. Click here to purchase the two volumes of The Tiberian Pronunciation Tradition of Biblical Hebrew at a discounted rate. |
| ruth finnegan oral poetry: Xhosa Oral Poetry Jeff Opland, 1983-12-30 This book, first published in 1983, was the first detailed study of the Xhosa oral poetry tradition. |
| ruth finnegan oral poetry: Funeral Dirges of the Akan People J. H. Kwabena Nketia, 1969 |
| ruth finnegan oral poetry: The Tongue Is Fire Harold Scheub, 1996-10-15 In the years between the Sharpeville Massacre of 1960 and the Soweto Uprising of 1976—a period that was both the height of the apartheid system in South Africa and, in retrospect, the beginning of its end—Harold Scheub went to Africa to collect stories. With tape-recorder and camera in hand, Scheub registered the testaments of Swati, Xhosa, Ndebele, and Zulu storytellers, farming people who lived in the remote reaches of rural South Africa. While young people fought in the streets of Soweto and South African writers made the world aware of apartheid’s evils, the rural storytellers resisted apartheid in their own way, using myth and metaphor to preserve their traditions and confront their oppressors. For more than 20 years, Scheub kept the promise he made to the storytellers to publish his translations of their stories only when freedom came to South Africa. The Tongue Is Fire presents these voices of South African oral tradition—the historians, the poets, the epic-performers, the myth-makers—documenting their enduring faith in the power of the word to sustain tradition in the face of determined efforts to distort or eliminate it. These texts are a tribute to the storytellers who have always, in periods of crisis, exercised their art to inspire their own people. |
| ruth finnegan oral poetry: Orality, Textuality, and the Homeric Epics Jonathan L. Ready, 2019-07-30 Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with the word text. Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities. |
| ruth finnegan oral poetry: How to Read a Folktale Lee Haring, 2013-10-24 How to Read a Folktale offers the first English translation of Ibonia, a spellbinding tale of old Madagascar. Ibonia is a folktale on epic scale. Much of its plot sounds familiar: a powerful royal hero attempts to rescue his betrothed from an evil adversary and, after a series of tests and duels, he and his lover are joyfully united with a marriage that affirms the royal lineage. These fairytale elements link Ibonia with European folktales, but the tale is still very much a product of Madagascar. It contains African-style praise poetry for the hero; it presents Indonesian-style riddles and poems; and it inflates the form of folktale into epic proportions. Recorded when the Malagasy people were experiencing European contact for the first time, Ibonia proclaims the power of the ancestors against the foreigner. Through Ibonia, Lee Haring expertly helps readers to understand the very nature of folktales. His definitive translation, originally published in 1994, has now been fully revised to emphasize its poetic qualities, while his new introduction and detailed notes give insight into the fascinating imagination and symbols of the Malagasy. Haring’s research connects this exotic narrative with fundamental questions not only of anthropology but also of literary criticism. |
| ruth finnegan oral poetry: Shona Praise Poetry Aaron C. Hodza, George Fortune, 1977 |
| ruth finnegan oral poetry: Power and the Praise Poem Leroy Vail, Landeg White, 1991 |
| ruth finnegan oral poetry: Black Inked Pearl Ruth H. Finnegan, 2015 An epic romance about the naïve Irish girl Kate and her mysterious lover, whom she rejects in panic and then spends her life seeking. After the opening rejection, Kate recalls her Irish upbringing, her convent education, and her coolly-controlled professional success, before her tsunami-like realisation beside an African river of the emotions she had concealed from herself and that she passionately and consumingly loved the man she had rejected.Searching for him she visits the kingdom of beasts, a London restaurant, an old people's home, back to the misty Donegal Sea, the heavenly archives, Eden, and hell, where at agonising cost she saves her dying love. They walk together toward heaven, but at the gates he walks past leaving her behind in the dust. The gates close behind him. He in turn searches for her and at last finds her in the dust, but to his fury (and renewed hurt) he is not ecstatically recognised and thanked. And the gates are still shut.On a secret back way to heaven guided by a little beetle, Kate repeatedly saves her still scornful love, but at the very last, despite Kate's fatal inability with numbers and through an ultimate sacrifice, he saves her from the precipice and they reach heaven. Kate finally realises that although her quest for her love was not vain, in the end she had to find herself - the unexpected pearl.The novel, born in dreams, is interlaced with the ambiguity between this world and another, and increasingly becomes more poetic, riddling and dreamlike as the story unfolds. The epilogue alludes to the key themes of the novel - the eternity of love and the ambiguity between dream and reality. |
| ruth finnegan oral poetry: Oral Literature and the Formula Benjamin A. Stolz, Richard Stoll Shannon, 1976 |
| ruth finnegan oral poetry: Civilizations of Black Africa Jacques Jérôme Pierre Maquet, 1972 Investigates the major stages in Africa's cultural development from the neolithic age, and explores the role of industry in the continent's future development. |
| ruth finnegan oral poetry: Igbo Traditional Life, Culture, and Literature Conch, 1971 |
| ruth finnegan oral poetry: A Good Journey Simon J. Ortiz, 1984 Contains seventy-six poems and stories including: Telling about coyote; Grand Canyon Christmas Eve 1969; Woman, this Indian woman; and, A designated national park. |
| ruth finnegan oral poetry: Myth in Africa Isidore Okpewho, 1983-09-01 In Africa the past and the present live very much side by side. African thinkers and intellectuals see their people's culture as rooted in time-honoured oral traditions and many African writers today use symbols, images and motifs from these traditions in their works. In this innovative study Dr Okpewho explores what he considers the essence of these traditions - myth - and examines its place in African life, literature and thought. Focusing on a number of tales from a selection of African countries, he shows myth to be the basic imaginative resource from which the larger cultural values derive. An established novelist as well as critic, Dr Okpewho discusses the narrative traditions of Africa - of which he continues to be a part - with balanced sympathy and objectivity. In this work he not only reasserts the pride in African traditions but also gives students of myth a fresh look at an old problem. |
| ruth finnegan oral poetry: Homer in Performance Jonathan Ready, 2018 |
The Story of Ruth - Biblical Archaeology Society
Jul 30, 2024 · Thanks to Ruth, the family of Naomi (strangely, the text does not put it in terms of Elimelech or Mahlon) survives. The child born to Ruth and Boaz is “a son…born to Naomi” …
Widows in the Bible - Biblical Archaeology Society
Sep 19, 2024 · The case of the widow Naomi, however, has a twist because her redemption comes unexpectedly through her widowed daughter-in-law Ruth, rather than her own sons …
How Bad Was Jezebel? - Biblical Archaeology Society
Mar 16, 2025 · See Ruth Hestrin, “Understanding Asherah—Exploring Semitic Iconography,” BAR, September/October 1991. b. In the Septuagint, 1 and 2 Samuel and 1 and 2 Kings are all …
Who Were the Ammonites, Moabites and Edomites in the Bible?
Dec 31, 2024 · In the Bible, the Edomites are the descendants of Esau, Jacob’s twin and Isaac’s oldest son (Genesis 36). ). The Edomites controlled an area east of the Arabah, from the …
book of ruth Archives - Biblical Archaeology Society
book of ruth. book of ruth Latest. Apr 15 Blog. Seth in the Bible . By: Elie Wiesel. With Adam’s death ...
Was Jesus a Jew? - Biblical Archaeology Society
May 20, 2025 · Was Jesus a Jew? This late-15th-century painting by the Spanish artist known as the Master of Perea depicts a Last Supper of lamb, unleavened bread and wine—all elements …
Rachel and Leah in the Bible - Biblical Archaeology Society
Oct 5, 2022 · Rachel and Leah in the Bible. This watercolor, titled Dante’s Vision of Rachel and Leah, depicts the biblical matriarchs Rachel (left) and Leah (right) at a fountain.
Deborah in the Bible - Biblical Archaeology Society
Feb 27, 2025 · Deborah calls herself a mother in Israel (5:7). Probably one of the highest designations in scripture, it indicates authority. 15 Centuries afterward, the wise woman of Abel …
Ziony Zevit - Biblical Archaeology Society
May 31, 2015 · The Story of Ruth: Examining the Missing Pieces The story of Ruth (Ruth 1–4) is interpreted as being about comeliness, kindness and grace. What is left unexplained is why …
Who Were the Hittites? - Biblical Archaeology Society
Apr 25, 2024 · Who were the Hittites? At one time the Hittites were one of three superpowers in the ancient world. Tudhaliya IV (1237–1209 B.C.E.) ruled over the Hittite Kingdom during its …
The Story of Ruth - Biblical Archaeology Society
Jul 30, 2024 · Thanks to Ruth, the family of Naomi (strangely, the text does not put it in terms of Elimelech or Mahlon) survives. The child born to Ruth and Boaz is “a son…born to Naomi” …
Widows in the Bible - Biblical Archaeology Society
Sep 19, 2024 · The case of the widow Naomi, however, has a twist because her redemption comes unexpectedly through her widowed daughter-in-law Ruth, rather than her own sons …
How Bad Was Jezebel? - Biblical Archaeology Society
Mar 16, 2025 · See Ruth Hestrin, “Understanding Asherah—Exploring Semitic Iconography,” BAR, September/October 1991. b. In the Septuagint, 1 and 2 Samuel and 1 and 2 Kings are …
Who Were the Ammonites, Moabites and Edomites in the Bible?
Dec 31, 2024 · In the Bible, the Edomites are the descendants of Esau, Jacob’s twin and Isaac’s oldest son (Genesis 36). ). The Edomites controlled an area east of the Arabah, from the …
book of ruth Archives - Biblical Archaeology Society
book of ruth. book of ruth Latest. Apr 15 Blog. Seth in the Bible . By: Elie Wiesel. With Adam’s death ...
Was Jesus a Jew? - Biblical Archaeology Society
May 20, 2025 · Was Jesus a Jew? This late-15th-century painting by the Spanish artist known as the Master of Perea depicts a Last Supper of lamb, unleavened bread and wine—all elements …
Rachel and Leah in the Bible - Biblical Archaeology Society
Oct 5, 2022 · Rachel and Leah in the Bible. This watercolor, titled Dante’s Vision of Rachel and Leah, depicts the biblical matriarchs Rachel (left) and Leah (right) at a fountain.
Deborah in the Bible - Biblical Archaeology Society
Feb 27, 2025 · Deborah calls herself a mother in Israel (5:7). Probably one of the highest designations in scripture, it indicates authority. 15 Centuries afterward, the wise woman of …
Ziony Zevit - Biblical Archaeology Society
May 31, 2015 · The Story of Ruth: Examining the Missing Pieces The story of Ruth (Ruth 1–4) is interpreted as being about comeliness, kindness and grace. What is left unexplained is why …
Who Were the Hittites? - Biblical Archaeology Society
Apr 25, 2024 · Who were the Hittites? At one time the Hittites were one of three superpowers in the ancient world. Tudhaliya IV (1237–1209 B.C.E.) ruled over the Hittite Kingdom during its …
