Iconographic Exegesis and Third Isaiah

Abstract

fadengeheftete Broschur 74,00 € Verö entlicht auf Englisch. Izaak J. de Hulster entwirft eine Methode zur Verwendung des Bildmaterials des Alten Orients in der (alttestamentlichen) Exegese. Dabei berücksichtigt er so bedeutende theoretische Fragen wie 'Was ist ein Bild?' und 'Was ist Kultur?' und unternimmt ein interdisziplinäre Untersuchung von geschichtlichen, kunstgeschichtlichen, archäologischen und kulturanthropologischen Themen. De Hulster schlägt eine Vorgehensweise in drei Schritten vor, die in hermeneutische und exegetische Re exionen eingebettet ist und bezieht die ikonographische Exegese auf die Interpretation von Metaphern. Anschließend wendet de Hulster seine Methode anhand von drei Fallstudien auf die Themen bildloses Denkmal (Jesaja 56,5), Licht (Jesaja 60) und das Keltern von Trauben (Jesaja 63) an. Izaak J. de Hulster Born 1979; 2008 PhD (Utrecht); since 2014 University Researcher at the Faculty of Theology, University of Helsinki; 2017 Habilitation (Göttingen). https://orcid.org/0000-0003-0706-4480

The Genesis of Iconographic Exegesis

“…Despite deriving their origins from the same scholarly works, IE differs from its German-language counterpart, Biblische Ikonographie (BI; also Ikonographie Palästinas). If IE was devised as a step within the historical-critical exegesis (Hulster 2009;, and only after a decade expanded to an interpretive approach, BI reflects either a comparative synthesis of research on texts and images (Schroer 1995;Hartenstein 2005: 200; or an independent field of study that deals with iconographical material focused on the cultural context where the biblical texts were produced or narrated (see Berlejung 2012). The latter is analogous to the neighbor discipline biblischen Archäologie/Archäologie Palästinas.…”

“…Two aspects of this new phase are notable. The first is the creation of a space for specialized discussion in the form of the "Iconography and HB/OT" panels at SBL/EABS that began in 2007, which gave visibility to the topic and evinced different approaches (Hulster and Schmitt 2009;Hulster and LeMon 2014). The second is the use of IE beyond the original circles (e.g., Doak 2019: 97-98;Prokop 2020: 4-5), which can be seen as the first step towards a yet unfulfilled phase of "institutionalization and routine" (Becher and Trowler 2001: 94), a process begun by the Fribourg scholars, who created two publishing series in Fribourg (OBO, OBO.SA) and the infrastructure of image anthologies (e.g., CSAP, CSAJ, IPIAO).…”

“…Such questions are complemented by a second focus on practices and patterns of cult which is frequently aligned with modern critical theory. Schmitt, who worked extensively in the genre (e.g., Schmitt 2009;, expanded his work from places of worship to a broader regional portrait of the religions of ancient Palestine/Israel in the Iron Age, distinguishing cultic territorialities in a synchronic fashion (Schmitt 2020). In addition to a study of the profile of deities, Schmitt also integrated architectural remains as "images" (Schmitt 2009;2020: 130; see Schmitt 2001), a strategy also used by other scholars (Schroer 2007;Garfinkel and Mumcuoglu 2013;Prokop 2020).…”

Exegese Iconográfica: uma brevíssima introdução

“…Para Hulster (2011;cf. 2008;2009a), há duas possibilidades de integração de imagens à exegese: (1) no estágio da história da tradição (Traditionsgeschichte 30 ); ou (2) no estágio de seleção do contexto histórico (Historische Ort). A escolha entre um e outro estaria ligada à possibilidade de as imagens escolhidas clarificarem, respectivamente, o contexto histórico-intelectual (geistesgeschichtlichen) ou o contexto histórico--cultural do texto.…”

Exegese Iconográfica: uma brevíssima introdução

“…WEISSENRIEDER; . Nisso, tanto o uso de "vestígios visuais" (visual remains) em lugar de "arte", e de "abordagem interpretativa" (interpretative approach) em lugar de "passo exegético" apresentam um novo vocabulário crítico, esses resultantes tanto das chamadas "viradas filosóficas", especificamente a chamada "virada visual [ou icônica]" e a "virada material" nas Ciências Humanas, quanto em refinamentos e novas nuances teórico--metodológicas (p.ex., KEEL, 1992a;UEHLINGER, 2001;SCHROER, 2008b;HULSTER, 2009a;BONFIGLIO, 2016).…”