Judah Knows: An Assumption of Theatre
(2025) BIVM51 20251Centre for Theology and Religious Studies
- Abstract
- This thesis is a theatrical analysis of Gen 42—44, employing delimitation criticism, poetical analysis and dramaturgical analysis to explore its research questions. The first of these questions is what perspectives on the text come to the fore when it is studied under an assumption of theatre—as if it always was theatre. The second question is whether such a study provides any tenable arguments that Gen 42—44 was originally meant to be performed in such a way—a hypothesis of theatre. It is argued that a reading under the assumption of theatre provides a wealth of arguments for and against previously established positions in the literature. Of particular note, this thesis argues that the main force behind the narrative is the utterly... (More)
- This thesis is a theatrical analysis of Gen 42—44, employing delimitation criticism, poetical analysis and dramaturgical analysis to explore its research questions. The first of these questions is what perspectives on the text come to the fore when it is studied under an assumption of theatre—as if it always was theatre. The second question is whether such a study provides any tenable arguments that Gen 42—44 was originally meant to be performed in such a way—a hypothesis of theatre. It is argued that a reading under the assumption of theatre provides a wealth of arguments for and against previously established positions in the literature. Of particular note, this thesis argues that the main force behind the narrative is the utterly unpredictable character of Joseph. It strongly disagrees with the notion that his actions in Gen 42—44 are part of any cohesive idea of a test he puts to his brothers. Is is rather his inner conflict about how to deal with them and the many different strategies he employs that fuels his actions. This thesis also shows that the assumption of theatre aligns well with a positon proposed by Moses L. Pava in 1993. Pava argued, among other things, that Judah has become aware of who Joseph is before he gives his speech in Gen 44:18—34. As for the hypothesis of theatre, it is argued that the text as received in Codex Leningradensis is suitable for use as something recognisable as a theatre script. In the narrative between sections of direct speech, a distinction is identified between the direct poetic speech of a Storyteller character, and terser stage directions. It is argued that while the hypothesis of theatre remains conjecture, it resolves all the questions raised by the analysis. Some avenues for future research are suggested. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/9203967
- author
- Jonsson, Erik LU
- supervisor
- organization
- course
- BIVM51 20251
- year
- 2025
- type
- H1 - Master's Degree (One Year)
- subject
- keywords
- Genesis 42—44, Theatrical Analysis, Delimitation Criticism, Poetry, Dramaturgical Analysis, Dramaturgy, Masoretic Accents, Judah’s Speech, Joseph.
- language
- English
- id
- 9203967
- date added to LUP
- 2025-08-04 08:40:07
- date last changed
- 2025-08-04 08:40:07
@misc{9203967,
abstract = {{This thesis is a theatrical analysis of Gen 42—44, employing delimitation criticism, poetical analysis and dramaturgical analysis to explore its research questions. The first of these questions is what perspectives on the text come to the fore when it is studied under an assumption of theatre—as if it always was theatre. The second question is whether such a study provides any tenable arguments that Gen 42—44 was originally meant to be performed in such a way—a hypothesis of theatre. It is argued that a reading under the assumption of theatre provides a wealth of arguments for and against previously established positions in the literature. Of particular note, this thesis argues that the main force behind the narrative is the utterly unpredictable character of Joseph. It strongly disagrees with the notion that his actions in Gen 42—44 are part of any cohesive idea of a test he puts to his brothers. Is is rather his inner conflict about how to deal with them and the many different strategies he employs that fuels his actions. This thesis also shows that the assumption of theatre aligns well with a positon proposed by Moses L. Pava in 1993. Pava argued, among other things, that Judah has become aware of who Joseph is before he gives his speech in Gen 44:18—34. As for the hypothesis of theatre, it is argued that the text as received in Codex Leningradensis is suitable for use as something recognisable as a theatre script. In the narrative between sections of direct speech, a distinction is identified between the direct poetic speech of a Storyteller character, and terser stage directions. It is argued that while the hypothesis of theatre remains conjecture, it resolves all the questions raised by the analysis. Some avenues for future research are suggested.}},
author = {{Jonsson, Erik}},
language = {{eng}},
note = {{Student Paper}},
title = {{Judah Knows: An Assumption of Theatre}},
year = {{2025}},
}