Circumscribing the Prostitute
In Jeremiah 3.1-4.4, the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and of the need for them to change before it is too late.
In Jeremiah 3.1-4.4 the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and their need to change before it is too late. As well as metaphor and gender, another important thread in the tapestry is intertextuality, according to which the historical, political and social contexts of both author and reader enter into dialogue and thus produce different interpretations. But, as Shields shows in her final chapter, it is in the end the rhetoric of gender that actually constructs the text, providing the frame, the warp and woof, of the entire tapestry, and thus the prophet's primary means of persuasion.
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In Jeremiah 3.1-4.4, the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and of the need for them to change before it is too late.
In Jeremiah 3.1-4.4 the prophet employs the image of Israel as God's unfaithful wife, who acts like a prostitute. The entire passage is a rich and complex rhetorical tapestry designed to convince the people of Israel of the error of their political and religious ways, and their need to change before it is too late. As well as metaphor and gender, another important thread in the tapestry is intertextuality, according to which the historical, political and social contexts of both author and reader enter into dialogue and thus produce different interpretations. But, as Shields shows in her final chapter, it is in the end the rhetoric of gender that actually constructs the text, providing the frame, the warp and woof, of the entire tapestry, and thus the prophet's primary means of persuasion.
