By Mara H. Benjamin PhD
Rosenzweig's Bible examines the excessive stakes, either theological and political, of Franz Rosenzweig's try and revivify the Hebrew Bible and use it because the foundation for a Jewish textual id. Mara Benjamin's leading edge interpreting of The big name of Redemption locations Rosenzweig's best-known paintings first and foremost of an highbrow trajectory that culminated in a huge translation of the Bible, hence overturning basic assumptions that experience lengthy guided the appraisal of this titan of contemporary Jewish inspiration. She argues that Rosenzweig's reaction to modernity used to be paradoxical: he challenged his readers to come across the biblical textual content as revelation, reinventing scripture - either the Bible itself and the very proposal of a scriptural textual content - with a purpose to invigorate Jewish highbrow and social existence, yet did so in a exceptionally sleek key, eventually reinforcing the rules of German-Jewish post-Enlightenment liberal inspiration. Rosenzweig's Bible illuminates the complicated interactions that come up while smooth readers interact the sacred texts of historic spiritual traditions.
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Extra resources for Rosenzweig's Bible: Reinventing Scripture for Jewish Modernity
Star as a whole depends, I argue, on a vision of the particular, privileged role that biblical texts had to play in illustrating and even constructing a notion of revelation. No Rosenzweig scholar, it would seem, has failed to offer an interpretation of Star, and I am no different. My consideration of Star is distinct from other treatments in two important respects. First, as I have indicated, my attention to the way Rosenzweig uses biblical texts in the book enables us to understand his concept of revelation with precision.
If it is not a specific body of texts, what is it? James Kugel, in his work on the formative period in the creation of the scriptures of the Jewish and Christian canons, has identified four basic interpretive assumptions held by the earliest interpreters of the books that came to be read, venerated, and used as scripture. For ancients, he argues, the Bible was first and foremost a ‘‘fundamentally cryptic document’’ that required special rules of interpretation; second, scripture was understood not simply as a record of events but as a text whose purpose was to instruct its readers in the present.
It remains an adjective, remains within the framework of its own essence. But it ceases to 30 The first edition, published in 1921 by J. Kauffmann, omitted the subheadings. However, the 1930 edition restored them, noting that they were part of Rosenzweig’s original manuscript. SCRIPTURE IN THE STAR OF REDEMPTION 41 designate the simple, individual, uncompared attribute. It becomes a comparative; it compares . .