Das Moselied gilt wegen seiner kompositorisch zentralen Position am Ende des Pentateuch und seiner poetischen Form als theologischer Spitzentext. Die Autorin fragt nach der Konstruktion des Gottesbildes durch die drei zentralen Metaphern Fels, Geier und Eltern. Nach einer Analyse der Gesamtstruktur des Liedes untersucht sie die Metaphern in zwei Schritten. Dabei bildet die Einordnung der Metaphern in den literarischen Kontext der Hebräischen Bibel den Hintergrund der semantischen und intertextuellen Untersuchung der Metaphern im Moselied. Die Studie ermöglicht damit - jenseits der verbreiteten Dichotomie von »positiven« und »negativen « Gottesbildern - einen differenzierteren Blick auf die Spannungen und Komplexitäten des alttestamentlichen Gottesbildes.
Due to its compositionally central position at the end of the Pentateuch and its poetical form, the Song of Moses is counted among the seminal theological texts of the Old Testament. The author explores the construction of the image of God by analysing the three central metaphors of the rock, vulture, and parents. A synchronic and diachronic analysis of the overall structure is followed by an analysis of the metaphors in the light of the history of motives, which places it in the literary context of the Hebrew Bible, as well as opening up the perspective of deutercanonical and Qumran literature, and taking into account iconographic and textual sources from the Ancient Near East. The purpose is to offer a differentiated consideration of the tensions and complexities of the Old Testament image of God beyond the dichotomy of "positive" and "negative".
Due to its compositionally central position at the end of the Pentateuch and its poetical form, the Song of Moses is counted among the seminal theological texts of the Old Testament. The author explores the construction of the image of God by analysing the three central metaphors of the rock, vulture, and parents. A synchronic and diachronic analysis of the overall structure is followed by an analysis of the metaphors in the light of the history of motives, which places it in the literary context of the Hebrew Bible, as well as opening up the perspective of deutercanonical and Qumran literature, and taking into account iconographic and textual sources from the Ancient Near East. The purpose is to offer a differentiated consideration of the tensions and complexities of the Old Testament image of God beyond the dichotomy of "positive" and "negative".
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