Daughter Zion: Her Portrait, Her Response by Mark J. Boda, Carol J. Dempsey, LeAnn Snow Flesher

By Mark J. Boda, Carol J. Dempsey, LeAnn Snow Flesher

This quantity showcases fresh exploration of the portrait of Daughter Zion as she looks in biblical Hebrew poetry. utilizing Carleen Mandolfos Daughter Zion Talks again to the Prophets (Society of Biblical Literature, 2007) as some degree of departure, the individuals to this quantity discover a dead ringer for Daughter Zion in its many dimensions in numerous texts within the Hebrew Bible. ways used variety from poetic, rhetorical, and linguistic to sociological and ideological. To convey the dialog complete circle, Carleen Mandolfo engages in a dialogic reaction together with her interlocutors.

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It begins and ends with an 10. Benjamin Johnson, “Form and Message in Lamentations,” ZAW 97 (1985): 58–73. 11. Michael S. Moore, “Human Suffering in Lamentations,” RB 83 (1990): 539–43; and Benjamin Morse, “The Lamentations Project: Biblical Mourning through Modern Montage,” JSOT 28 (2003): 113–27. 12. ” 13. William H. Shea, “The qinah Structure of the Book of Lamentations,” Bib 60 (1979): 103–7. 14. Jill Middlemas, “The Violent Storm in Lamentations,” JSOT 29 (2004): 81–97. MIDDLEMAS: SPEAKING OF SPEAKING 43 individual lament (vv.

Claus Westermann, Lamentations: Issues and Interpretation (trans. Charles Muenchow; Minneapolis: Fortress, 1994). 19. Adele Berlin, Lamentations (OTL; Louisville: Westminster John Knox, 2002). 20. Lee, Singers of Lamentation. 44 DAUGHTER ZION: HER PORTRAIT, HER RESPONSE the dirge elements of chapters 1, 2, and 4 recede to be completely replaced by a communal lament in chapter 5. 21 The form of the poems of the book of Lamentations, furthermore, conveys meaning in that another genre, in addition to the dirge and the lament, is present.

The first two poems in the book represent a mixing of two genres—the dirge and the lament form common to the Psalter. Drawing on new approaches in form-critical studies, Mandolfo suggests that what otherwise appears as a deterioration in form is actually a creative adaptation responding to alterations in circumstances. Finally, Mandolfo’s approach explores how the biblical book of Lamentations fails to blame Zion and presents instead her counterstory, or, in Walter Brueggemann’s terminology, her countertestimony.

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