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By Sung-Hee Yoon

The level of the so-called historical past of David's upward push has been indecisive, and for this reason, a variety of concerns round the rfile were left tremendous versatile. This complete monograph sees the foundation of the matter in insufficient methodological mirrored image, and seeks to supply good solutions to the source-critical query at the foundation of hermeneutic and literary mirrored image.

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Extra resources for The Question of the Beginning and the Ending of the So-Called History of David’s Rise: A Methodological Reflection and Its Implications

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Granted, the frame does not need to betray total integration into the other materials or to demonstrate a direct connection with the other parts in detail. Rather, it just needs to reiterate the most important elements of the work, and reveal the intention of the composer. As long as it includes in a nutshell the motive and the purpose of the entire composition, and gives the grandeur of the finale, say, any part of 2Sam 2–8 can be the ending of the HDR. After all, whether a passage can be the ending of the HDR depends largely on the understanding of the motive and the purpose of the whole.

Therefore, if we want to distinguish the HDR from other sources on the basis of the cultic element, we cannot exclude 2Sam 6–7. One might object to this view, saying that we should limit ourselves only to the consultation motif. But the consultation motif first appears in 1Sam 23, and between 1Sam 15 and 2Sam 8, it occurs only thrice (the Keilah incident, the Ziklag incident, the movement to Hebron). With further specification, the evidence is too little to suggest any significant information about the author’s stylistic features, and even less about the source division.

13)”. Since the narrator occasionally utters important messages elsewhere in the HDR, 16:1–13 may not be unusual. ¹¹⁶ Chapter 15 does seem to be alien to the HDR on the basis of this stylistic feature. The contradictory results obtained so far lead us to consider the last stylistic feature in the HDR, namely, to what extent each unit shows a trace of intentional structuring. That a narrative has been structured not by accident but deliberately can be known mainly from two indications: (i) it has been chronologically arranged, or (ii) a passage is organically connected with the other parts of the HDR.

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