By Laura Feldt
'The impressive in non secular Narrative from Exodus to Elisha' examines the excellent array of marvels, monsters, and magic depicted within the Hebrew Bible. those tales - with the Exodus narrative at their centre - supply ambiguity and uncertainty, encouraging mirrored image and doubt up to trust and meaningfulness. Aiming to find - instead of clarify away - the ability of those tales, the publication argues for the necessity to comprise destabilization, disorientation, and ambiguity extra strongly into theories of what non secular narrative is and does.
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Extra resources for The Fantastic in Religious Narrative from Exodus to Elisha
25. Fields of Fantasy 37 low vitality? Surely, happy persons full of vitality can also enjoy The Lord of the Rings. In Frenschkowski 2006 (1–3) he argues that because the texts themselves claim to portray religious reality they cannot be fantastic, but this argument does not convince. If any fantasy that declares itself real is not a fantasy then much classical fantasy would fall short (cf. Tolkien 2001: 14, who insisted that his fantasies were real). Cf. Partridge 2004 and 2006. Attebery, leaning on Frye, says of Tolkien’s seminal status that before the appearance of The Lord of the Rings, authors of fantasy and the fantastic were simply ‘other writers’ belonging to no identified tradition (Attebery 1992: 14).
His essay is an inspiration for the present, more detailed study. G. Fischer’s point of departure is source criticism, but he uses this point of departure to argue in favour of reading Exodus 1–15 as a unitary, literary narrative. His reading is not a literary reading strictu senso, as it does not identify itself as such and scarcely refers to literary theory, and yet he seems to achieve a ‘literary’ result. 71 His object of study is Exodus 1–15, and he argues that Exodus 1–1572 is internally coherent (‘eine Treppe von Perikopen’; including Exod.
G. H. Schmid 1974, Müller 1992) sides of the Hebrew Bible. L. Jensen’s 37. 38. 39. 40. 41. 42. 43. 44. Fields of Fantasy 39 work (2000). g. L. Jensen 2000: 21), I try here to draw attention to the fact that also sides of the core ‘historical’ texts have been marginalized in an unsatisfactory way, also since the demise of the salvation history. For instance, as Johnstone notes, the traditional ‘literary criticism’ (the tracing of sources, the Documentary Hypothesis) of progressively tracing the tradition of the fantastic events back through the literary sources often ends in progressive naturalistic explanation (Johnstone 2001: 229).