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1
Gur, Zeev. "The Bathsheba Affair as a Royal Apology of King Solomon." Journal of Ancient Judaism 10, no. 3 (2019): 288–353. http://dx.doi.org/10.30965/21967954-01003003.
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Analysis of the story of David and Bathsheba in 2 Samuel 11:1–12:25 reveals that it possesses several layers. The report of the second Ammonite War, which represents the initial content of 2 Samuel 11:1–12:31 and serves as the basis of the original Bathsheba Affair story, glorified David as a great warrior and gracious king, who married the widow of his fallen-in-action officer, Uriah the Hittite, and adopted Uriah’s newborn son, Solomon. The later Bathsheba Affair story, written by a pro-Solomonic author during Solomon’s reign, introduced the arbitrary taking of Bathsheba, Uriah the Hittite’s wife, by David before her husband met a natural warrior’s death. According to this version, Bathsheba remained with David in his palace and conceived there. The story demonstrates that Solomon, Bathsheba’s firstborn child, was not Uriah’s son but rather, by claiming direct royal lineage to King David, was David’s legitimate successor to the Throne of Israel. The next three revisions of the story 1) introduced Nathan the Prophet’s accusations against David, presumed to have been written between the late ninth and late eighth centuries B.C.E. by a prophetic author; 2) replaced Solomon with a fictitious firstborn child, written by a Deuteronomistic writer in the exilic period; and 3) introduced David’s second transgression – the murder of Uriah – written by an anti-Davidic author in the post-exilic period.
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Bodner, Keith. "Motives for defection: Ahithophel's agenda in 2 Samuel 15-17." Studies in Religion/Sciences Religieuses 31, no. 1 (2002): 63–78. http://dx.doi.org/10.1177/000842980203100105.
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In the biblical narrative of 2 Samuel 15-17, Absalom conspires against his father, King David, and attempts to seize the throne of Israel. Absalom's rebellion gains a key ally when Ahithophel, designated as one of David's senior advisors, joins the forces of Absalom. The reasons behind this défection are obscure in the narrative, and there is no motive stated in the text explaining why Ahithophel would act in this manner toward David. However, the German biblical scholar Gerhard von Rad has drawn attention to an interesting connection between Bathsheba (with whom David has an affair in 2 Sam. 11) and Ahithophel. In 2 Samuel 11:3, Bathsheba is mentioned as "the daughter of Eliam." In 2 Samuel 23:34, Eliam is mentioned as "the son of Ahithophel," hence Bathsheba and Ahithophel seem to be close relatives. This article surveys the major scenes where Ahithophel appears in 2 Samuel 15-17, and explores this genealogical connection as a possible motive for Ahithophel's defection: he is angry and disillusioned with David after the Bathsheba affair and subsequent murder by proxy of her husband, Uriah the Hittite.
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Abasili, Alexander Izuchukwu. "Was it Rape? The David and Bathsheba Pericope Re-examined." Vetus Testamentum 61, no. 1 (2011): 1–15. http://dx.doi.org/10.1163/156853311x548596.
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AbstractIn view of the academic debate on whether David raped Bathsheba, this article takes a new approach to 2 Sam 11-12. Using narrative analysis, it reinterprets 2 Sam 11-12 with the Hebrew biblical definition of rape in mind. This new approach reveals that some of the opposing views of exegetes on this pericope are caused by the imposition of today’s definition of rape upon the narrative of 2 Sam 11-12. Our conclusion questions, on the one hand, the basis upon which some scholars suggest that David raped Bathsheba. Are they talking about ‘biblical-rape’ or are they using a contemporary concept of rape to judge the Hebrew bible? On the other hand, it disagrees with those scholars who accuse Bathsheba of seducing David for whatever motive.
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Zaluchu, Sonny, Mesiwarati Waruwu, and Martina Novalina. "Batsyeba: dari selingkuhan menjadi ibu Suri dan leluhur Kristus." Khazanah Theologia 3, no. 3 (2021): 161–70. http://dx.doi.org/10.15575/kt.v3i3.12710.
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This study analyzes cases of adultery in the Bible between David, the King of Israel, and Bathsheba, the wife of one of his officers. The approach taken for analysis is a mixed narrative analysis with psychology and sociology perspectives. However, the theological frame remains the mainframe in the discussion, especially in finding the motive behind Bathsheba's desire to grant all of David's requests. The result is the conclusion that this narrative should not stop after sin and adultery. Without realizing it, both Bathsheba and David turned out to be in a divine setting that it could only read in the ending of the New Testament, where the descendants of David and Bathsheba became an essential element in the lineage of Judah that gave birth to Jesus the Messiah.
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Grey, Jacqueline. "A Prophetic Call to Repentance." PNEUMA 41, no. 1 (2019): 9–25. http://dx.doi.org/10.1163/15700747-04101032.
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Abstract There has been much debate in biblical scholarship over the alleged “rape” of Bathsheba by David as described in 2 Samuel 11–12. Scholars such as Bailey and Nichol claim that Bathsheba was a consenting partner, while others, including Davidson and Brueggemann, suggest she was a victim of David’s abuse of power. This analysis will explore 2 Samuel 11–12 with a special focus on the themes of power, honor, and shame that emerge in the pericope. These themes are also central to the overall narrative of Samuel. Using literary analysis, I highlight Bathsheba’s isolation and powerlessness as she is “taken” to King David by royal attendants after he has spied her bathing. Bathsheba’s lack of resistance is often compared to the rape of Tamar, which subsequently occurs in the vicinity of the palace in 2 Samuel 13. While Tamar objects to Amnon’s sexual advances in the narrative, Bathsheba does not voice an objection. It is primarily on the basis of her silence that scholars suggest she was a consensual partner. However, there are many differences between Tamar and Bathsheba. Tamar was a daughter of the king and could appeal to relatives in the palace to rescue her from rape. Bathsheba was alone with no one to rescue her. Her silence should not suggest complicity. This is reinforced by the prophetic condemnation by Nathan delivered to King David regarding his abuse of power. While not initially directly accusing the king, the prophet presents a judicial parable to trap the king into condemning himself. Yet, if King David is not corrupted by his power, why does the prophet Nathan need to use a rhetorical strategy to confront him? Convicted and guilty, David repents. The repentance for abuses of power and sexual sin by national leaders is emphasized and modeled by King David. This also provides a model of repentance for the pentecostal community for comparable abuses against victims of power and sexual sin.
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Pregill, Michael. "David in the Muslim Tradition: The Bathsheba Affair." Islam and Christian–Muslim Relations 27, no. 3 (2015): 349–51. http://dx.doi.org/10.1080/09596410.2015.1108631.
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Shimoff, Sandra R. "David and Bathsheba: the Political Function of Rabbinic Aggada." Journal for the Study of Judaism 24, no. 2 (1993): 246–56. http://dx.doi.org/10.1163/157006393x00051.
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Berger, Yitzhak. "Ruth and the David—Bathsheba Story: Allusions and Contrasts." Journal for the Study of the Old Testament 33, no. 4 (2009): 433–52. http://dx.doi.org/10.1177/0309089209105688.
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Sharpe, R. A. "Moral Tales." Philosophy 67, no. 260 (1992): 155–68. http://dx.doi.org/10.1017/s0031819100039577.
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In the 11th chapter of the second book of Samuel, we read how King David saw Bathsheba in the evening: ‘v.2. And it came to pass in an eveningtide, that David arose from off his bed, and walked upon the roof of the king's house: and from the roof he saw a woman washing herself; and the woman was very beautiful to look upon.’
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Weigle, Brett D., and Charles D. Allen. "Keeping David From Bathsheba: The Four-Star General’s Staff as Nathan." Journal of Military Ethics 16, no. 1-2 (2017): 94–113. http://dx.doi.org/10.1080/15027570.2017.1357327.
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Dorn, L. O. "Untranslatable Features in the David and Bathsheba Story (2 Samuel 11–12)." Bible Translator 50, no. 4 (1999): 406–11. http://dx.doi.org/10.1177/026009439905000402.
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Nicol, George G. "David, Abigail and Bathsheba, nab al and Uriah: Transformations within a triangle." Scandinavian Journal of the Old Testament 12, no. 1 (1998): 130–45. http://dx.doi.org/10.1080/09018329808585131.
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Willis, Joyce. "Conversation in the Succession Narrative of Solomon." Vetus Testamentum 61, no. 1 (2011): 133–47. http://dx.doi.org/10.1163/156853311x551466.
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AbstractReading 1 Kings 1-2, the account of the succession of Solomon, one is left with a strange impression. On the one hand, in its current telling and context it clearly seeks to offer a favourable account of the process. On the other hand, one just has to scratch the surface of this story to see an underlying and less favourable account. The paper notes the importance role that private conversations play in the story to argue that an earlier telling of the story was largely fabricated by a party opposed to the Davidic monarchy and Solomon in particular. According to this telling, a cloud stood over Solomon’s legitimacy; David was hoodwinked by Nathan and Bathsheba into believing that he had made an earlier promise that Solomon would succeed; Solomon came to the throne by means of a palace coup; Abishag was not David’s concubine and Adonijah’s request for her was quite innocent; however, his approach and private conversation with Bathsheba was manipulated by Solomon and his supporters to remove significant personal opponents.
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Goodblatt, Chanita. "An Intertextual Discourse on Sin and Salvation: John Donne's Sermon on Psalm 51." Renaissance and Reformation 32, no. 3 (2009): 23–40. http://dx.doi.org/10.33137/rr.v32i3.11574.
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John Donne as preacher invokes the "Protestant paradigm of salvation," stressing the marring of human nature by Original Sin and the dependence upon God's grace for spiritual reatoration. This paradigm informs his participation in the intertextual discourse on sin and salvation begun by the biblical narrative of David and Bathsheba (II Samuel 11 and 12), and continued by exegetical texts. Donne's sermon on Psalm 51 reveals how he translates the biblical narrative on adultery and murder into an exhortation on the blinded state of the post-Fall Christian.
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Shinan, Avigdor. "King David of the sages." Nordisk Judaistik/Scandinavian Jewish Studies 24, no. 1-2 (2003): 53–78. http://dx.doi.org/10.30752/nj.69599.
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The article opens by discussing the different ways in which the ancient rabbis (in the Talmudic literature) described King David. It seems that they preferred to follow the image of David which emerges from the books of Psalms and Chronicles rather than his description in the books of Samuel. Various verses from Psalms served the rabbis for completing David’s biography (seeing this book as his own autobiography), describing him as godfearing, a very kind person, humble and pious, a prophet, a scholar of Torah, a philosopher and a poet. Even his greatest sin – regarding Bathsheba and Uriah the Hettite – was described in such a way that it justifies the famous statement: “Whoever says that David sinned is merely erring” (BT Shabbat 56a). Some sources, on the other hand, admitted his sin but attached to it a long period of suffering and repentance, diminishing by that its impact. This part of the article ends with a discussion of the main motives for this rabbinic treatment of David: their general tendency to purge the biblical protagonists of sin&&David’s role as the founder of the Israeli kingship and various messianic hopes connected to his descendants. The possibility that “David” served sometimes as a code for the Patriarch in the Land of Israel (or, in Babylonia, the Exilarch) is also discussed as another explanation of David’s descriptions in rabbinic literature.
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Stehle, Maria. "Temporal tapestries: Transforming cityscapes in Berlin pop music videos." Journal of European Popular Culture 10, no. 2 (2019): 109–25. http://dx.doi.org/10.1386/jepc_00004_1.
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This article analyses a selection of pop music videos released between 2012 and 2014 that rescript Berlin’s Zeitlichkeit (temporality), the relationship between city spaces, history, and time. Examples include videos by German and non-German artists, ranging from David Bowie to Miss Platnum, Lilly Wood & the Prick, Alanis Morissette and Andreas Bourani. Striking synergies between the different sound-image-texts emerge around questions of historic memory, time, and time passing. Close analyses show how these Berlin music videos released between 2012 and 2014 challenge linear narratives of pasts and progress. In the non-linear conceptions of time suggested in these videos and songs, new and old agents can coexist and create images and narratives of a different temporal tapestry of the city.
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Kok, Erna. "A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 119–40. http://dx.doi.org/10.1163/187501711798264201.
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AbstractJacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story. In this article I propose that the painting is a portrait historié of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638. The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission. The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historié of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.
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Koenig, Sara M. "Make War Not Love." biblical interpretation 23, no. 4-5 (2015): 489–517. http://dx.doi.org/10.1163/15685152-02345p02.
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David has been held up as an ideal(ized) man, one against whom other men are to be defined: a hegemonic male. His hegemonic masculinity is clearly visible in 2 Samuel 10–12, which takes place during the Ammonite wars. But hegemony is a social construct, and it gets expressed in social relationships. David’s relationships with three other characters in this pericope – Joab, Bathsheba and Uriah – illustrate how a hegemonic man maintains his hegemony through the trifecta of violence, sex, and race. Ultimately, David’s actions in 2 Samuel 10–12 vis-à-vis these three show the limitations and perils of hegemonic masculinity. Rather than glorifying hegemonic masculinity, this text ends up undermining it, exposing cracks in this image of masculinity.
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de Jong, Jan L. "Spying and Speculating: Francesco Salviati's Painting of King David and Bathsheba in the Palazzo Ricci-Sacchetti in Rome." Konsthistorisk Tidskrift/Journal of Art History 79, no. 2 (2010): 91–126. http://dx.doi.org/10.1080/00233601003717257.
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Jacobs, Jonathan. "The Death of David’s Son by Bathsheba (II Sam 12:13-25): A Narrative in Context." Vetus Testamentum 63, no. 4 (2013): 566–76. http://dx.doi.org/10.1163/15685330-12341135.
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Abstract The episode of David’s sin and his punishment (II Sam 11-12) represents a turning point in the description of David’s reign. While this dramatic episode has received extensive attention in biblical exegesis, the final section of the narrative, recording the death of Bathsheba’s son, has been largely neglected, with little attention to its contribution to the story. In this article I propose that the main contribution of the story is its exposure of his inner world following the revelation of his sin by the prophet Nathan. The biblical narrative conveys its ideas in an indirect manner, through various literary devices. By means of analogies, discrepancies between descriptions, and secondary characters, the text hints at David’s process of repentance for his sin. We might say that David undergoes a process in two stages: Initially, immediately after the speech by the prophet Nathan, he demonstrates a repentance that is quick and spontaneous, but only partial. Thereafter he undergoes a process of slow and gradual repentance, in which he repairs all the levels of his sin.
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Avioz, Michael. "The Motif of Beauty in the Books of Samuel and Kings." Vetus Testamentum 59, no. 3 (2009): 341–59. http://dx.doi.org/10.1163/156853309x445025.
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AbstractIt is well-known that there are no detailed descriptions of the physical beauty of specific characters in the Bible. Despite this “disclaimer”, we seek to treat descriptions of such beauty in the books of Samuel and Kings in this article as they are manifested in stories of male (Saul, Eliab, David, Absalom, and Adonijah) and female figures (Abigail, Bathsheba, Tamar, and Abishag the Shunammite). We shall attempt to answer the following questions: What are the opinions of the authors of Samuel and Kings on physical appearance? Is a distinction drawn between masculine and feminine beauty? What are the purposes of pointing out a specific character's physical beauty? An analysis of the Biblical convocations is conducted according to the literary approach. The article focuses on methods used to cast the characters and on analogies between the various stories, and tries to draw conclusions regarding trends in the books of Samuel and Kings, as well as on the homogeneity of Deuteronomistic history.
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Menn, Esther M. "No Ordinary Lament: Relecture and the Identity of the Distressed in Psalm 22." Harvard Theological Review 93, no. 4 (2000): 301–41. http://dx.doi.org/10.1017/s0017816000016370.
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One of the most significant shifts in Psalms scholarship in recent years has been the emergence of a new interest in tracing how early religious communities interpreted this religious poetry within the context of an emerging scriptural canon. Whereas the form-critical studies that dominated much of the twentieth century concentrate on recovering the originalSitz im Leben(or “life setting”) of the liturgical compositions collected in the Psalter within Israel's religious cult, the recent scholarly turn emphasizes how these prayers and praises came to be reread in light of narratives and other material found elsewhere in the Bible. In point of fact, the earliest evidence for this practice of canonical relecture is preserved within the Book of Psalms itself, where historical superscriptions correlate a number of psalms with specific events in King David's life. Through the addition of superscriptions, the moving penitential prayer found in Psalm 51 becomes “A Psalm of David, when Nathan the prophet came to him, after he had gone in to Bathsheba” (compare 2 Samuel 11-12), the lament of an individual surrounded by threatening enemies found in Psalm 3 becomes “A Psalm of David, when he fled from Absalom his son” (compare 2 Samuel 15-18), and so forth.
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Pinto, Leonardo Pessoa da Silva. "O ADULTÉRIO DE DAVI E BETSABÉIA: LEITURA FEMINISTA E TÉCNICA NARRATIVA EM 2SAMUEL 11." Perspectiva Teológica 49, no. 2 (2017): 277. http://dx.doi.org/10.20911/21768757v49n2p277/2017.
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RESUMO: A leitura feminista da Bíblia faz parte da pluralidade de métodos e abordagens utilizadas no campo dos estudos bíblicos nas últimas décadas. Esse artigo estuda a relação entre interpretação feminista e outros métodos exegéticos por meio da comparação entre as leituras feministas da história de Davi e Betsabéia em 2 Samuel 11 e outros estudos de Análise Narrativa. O estudo atento das técnicas narrativas usadas nesta excelente narrativa ajuda a evitar incompreensões por parte do intérprete mais concentrado em questões de gênero. A conclusão é que os princípios narrativos centrais na técnica usada pelo narrador desta história desautorizam interpretações mais radicais dos papéis de Davi e de Betsabéia no episódio do adultério.ABSTRACT: The feminist reading of the biblical texts is part of the plurality of methods and approaches used in biblical scholarship in recent decades. This article studies the relationship between feminist interpretation and other exegetical methods by comparing the feminist readings of the David and Bathsheba story in 2Samuel 11 to other studies of Narrative Analysis. The careful study of the narrative techniques used in this fine narrative helps to prevent miscomprehensions from the interpreter more focused on questions of gender. The conclusion is that the core narrative principles worked by the narrator of this story disallows the more radical interpretations of David and Bathsheba’s roles in the episode of the adultery.
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Van Den Brink, Peter B. R. "Davidgeeft Uria de brief voor Joab: Niet Govert Flinck, maar Jacob Backer." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 177–86. http://dx.doi.org/10.1163/187501797x00203.
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AbstractThe large Daivid gives Uriah Joab's letter in the Gemäldegalerie Alte Meister in Dresden has long been regarded as a late work by Govert Flinck, and compared with his David and Bathsheba, dated 1651, in Dublin. The two paintings are undoubtedly comparable as far as the composition is concerned. Nevertheless, these two history pieces differ considerably in style and technique. The figures in the Dublin picture are clearly recognizable as Flinck's stock-in-trade types, whereas none of the figures in David and Uriah seem to display any relationship to his painted oeuvre. Kurt Bauch pointed out the close relationship between the Dresden composition and the work of Jacob Backer as early as 1926, but did not question the traditional attribution. However, David gives Uriah Joab's letter was indeed painted by Jacob Backer and not by Flinck, his younger companion in Lambert Jacobsz.' Leeuwarden workshop. The painting, an early one, might best be compared with Backer's Saint John the Baptist Admonishing Herod and Herodias, signed and dated 1633, in Leeuwarden. Other paintings from this period, such as David and Nathan, Tribute Money (Stockholm) and thc recently auctioned Christ und the Woman Taken in Adultery, also have much in common stylistically with David and Uriah. Two figures in the Dresden painting certainly merit a closer examination. The old clerk who has just written Uriah's death sentence is a familiar face in Backer's oeuvre. He can be seen in several other paintings, including the early Democritus and Hippocrates, now in the collection of Alfred Bader. This face was evidently one of Backer's favourite 'tronies', for he painted at least four versions of this old man's head, two of which are also in Dresden. Another familiar face is that of Uriah himself. We encounter it in two studies, one of a Shepherd in Leeuwarden, the other of a Drinker in Berlin. Like the 'tronies' of the old man, these two seem to have been painted in the early 1630s. One wonders why the obvious relationship between the Dresden painting and several of Backer's history pieces and 'tronied' went unnoticed for so long. The chief reason seems to be that our knowledge of Backer's early development as a history painter has always been obscure: the signed Duvid and Nathan and the signed and dated Saint John the Baptist were published only recently.
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Powers, David Stephan. "Sinless, Sonless and Seal of Prophets: Muḥammad and Kor 33, 36-40, Revisited". Arabica 67, № 4 (2020): 333–408. http://dx.doi.org/10.1163/15700585-12341576.
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Abstract In his article, “Between History and Exegesis: the Origins and Transformation of the Story of Muḥammad and Zaynab bt Ǧaḥš,” published in Arabica, 65/1-2 (2018), p. 31-63, Andreas Görke argues that the reference in Kor 33, 37 to Muḥammad’s marriage to the former wife of a man named Zayd “seems to refer to an historical event” and that later exegetical expansions of the episode are based on an “historical kernel.” He adds that these exegetical expansions were modeled on the encounter between David and Bathsheba in II Samuel 11-12 and that the connection between the Islamic and biblical episodes stands at the beginning of the Muslim “preoccupation” with v. 37. Building upon Görke’s scholarship, I show how the early Muslim community created a plausible Sitz im Leben for the episode; establish with greater precision the starting point of the Muslim “preoccupation” with the connection between Muḥammad’s marriage to Zayd’s former wife and David’s marriage to the wife of Uriah the Hittite; and suggest that the qurʾānic treatment of the episode contains a seed of what would become the doctrine of ʿiṣma or the impeccability of prophets. Finally, I propose that the important question for historians is not the event to which the episode purportedly refers but rather the larger geo-political context for the emergence of the qurʾānic proclamation that Muḥammad is ḫātam al-nabiyyīn or the Seal of Prophets. To this end, I seek to shift the scholarly gaze from a domestic crisis in the household of Muḥammad in Medina ca AH 5 to early Christian polemics against Islam and its Prophet and to Byzantine imperial ideology.
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Hayes, Tracy. "Aural disturbance in the stories of M. R. James." Short Fiction in Theory & Practice 11, no. 1-2 (2021): 111–25. http://dx.doi.org/10.1386/fict_00039_1.
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The physical process of receiving and interpreting sound creates not just an auditory experience through vibrations registering within our bodies; sounds can also evoke feeling and conjure up mental images. This is especially true of acousmatic sounds, which Michel Chion describes as sounds that are heard while their source remains invisible, and such sounds are thus perfect vehicles for conveying one feeling in particular: terror. If one is not able to see what one can hear, the ensuing sense of terror is heightened. Through the use of sound, and indeed the deliberate absence of sound, M. R. James, I would like to argue, is able to concoct in his stories an atmosphere of malevolence, in which his ‘executors of unappeasable malice’ (as Michael Cox describes them) are often heard rather than seen. This emphasis on sound over image, and the manipulation of it, can be traced back to the fact that James was an oral storyteller before he was a writer of fiction, and that his tales were originally intended for a listening audience. A linguist with an ‘ear’ for language and an aptitude for mimetic brilliance, James deploys alien soundscapes and aural disturbance to create sound as a tangible element within rich sonic tapestries that feature unique aural signatures and instances of acoustic chaos. Drawing on the work of David Hendy on ‘the primalness of the auditory’, Leigh Schmidt on ‘sound corporeality’, and Jonathan Sterne on ‘acoustic culture’, this article demonstrates how James utilized auscultation (or the act of listening) to promulgate terror through auditory images as elusive shape-shifters.
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Bezuidenhout, L. C. "Voorstellings van Batseba: Intertekstualiteit in literere kuns, beeldende kuns en werklikheid." HTS Teologiese Studies / Theological Studies 53, no. 3 (1997). http://dx.doi.org/10.4102/hts.v53i3.1661.
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Representations of Bathsheba: Intextuality in literary art, the visual arts and reality. Interesting parallels between literary and visual arts exist. A text may possess visuality, while visual arts may possess textuality. In this paper, the interrelations between the literary description of the story of David and Bathsheba (2 Sm 11) and depictions of this story in the visual arts are explored. For some reason, this story possesses exceptional creative potential. Particular attention is given to the painting 'The Toilet of Bathsheba (1654)' by Rembrandt. An analysis of this painting sheds light on the subtle dynamics of the story. Its haunting beauty succeeds in communicating the complex implications of the story. Sexuality serves as an interface between the story and reality, luring the reader into this intrigue. The reader finds himself unexpectedly in David's position. By acknowledging this kind of intertextuality, new dimensions of meaning can be explored.
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Ademiluka, Solomon O. "Interpreting the David–Bathsheba narrative (2 Sm 11:2–4) as a response by the church in Nigeria to masculine abuse of power for sexual assault." HTS Teologiese Studies / Theological Studies 76, no. 1 (2020). http://dx.doi.org/10.4102/hts.v76i1.5802.
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Ademiluka, Solomon O. "Interpreting the David–Bathsheba narrative (2 Sm 11:2–4) as a response by the church in Nigeria to masculine abuse of power for sexual assault." HTS Teologiese Studies / Theological Studies 77, no. 4 (2021). http://dx.doi.org/10.4102/hts.v77i4.5802.
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"Language teaching." Language Teaching 40, no. 3 (2007): 251–56. http://dx.doi.org/10.1017/s0261444807004375.
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