Titlebook: New Stories for Old; Biblical Patterns in Harold Fisch Book 1998 Palgrave Macmillan, a division of Macmillan Publishers Limited 1998 fictio

Critical

專橫

極小量

Dialogue and Repetition. The Exodus from Egypt is we may say the “primal scene” of Israelite history, and also, so it has been argued, a fundamental point of departure for the political history of western nations.. But the Bible is not simply concerned with telling us what happened; in two places in the book of Exodus — 1

Customary

Facet-Joints

Biblical “Imitation” in ,d modes of discourse, its grossness, its liking for clowns and rogues, its picaresque looseness, its impatience with ideology.. In all this there was a deep resemblance to Rabelais whose work was for him a fundamental prototype. Now, clearly such a position has great cogency; it would seem applicabl

GNAW

Natural Piety in ,raoh’s cupbearer. But the Rabbis in commenting on this chapter creatively enlarged Joseph’s interpretive range; instead of the single exposition of the dream given in the biblical text, they proposed at least eight alternative interpretations, all of them different and all of them valid. Joseph, see

Oratory

Kafka’s Debate with Jobhan a source, a mythic pattern indispensable for rendering a particular category of experience. Prometheus is such an archetype, Job is another. It would seem that no writer can begin to explore unmerited suffering and the posture of rebellion against whatever or whomever is perceived as the author

錯(cuò)誤

裝入膠囊

Biblical Patterns for Sale: Malamud, , possessed by the Joban paradigm. Conrad, for instance, strongly responsive though he is to myth-patterns of all kinds, is not seized in this fashion. Marlow in . is a questing hero who, like Aeneas, visits the underworld there to confront Erebus, son of Chaos, and to behold Phlegethon, the river of

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