The essays of Patristic Exegesis in Context examine the biblical exegesis of early Christians beyond the formal genre of biblical commentary. The past couple of decades have seen a broadening of perspective on the study of patristic exegesis; the phenomenon is increasingly situated within its various literary contexts and genres, and the definition of what counts as patristic exegesis is therefore widened. This volume thus situates itself within this emerging scholarly tradition, which aims not to give an account of exegetical strategies and methodologies as found primarily in exegetical commentaries and homilies, but to demonstrate the highly sophisticated nature of biblical exegesis in other genres, and the manifold uses to which this exegesis was put. Ancient Christian authors lived and breathed scripture; it served as their primary source of theological and liturgical vocabulary, their way of processing the world, their social ethic, and their mode of constructing self and communal identity. Scripture therefore permeates all ancient Christian literature, regardless of genre, and the various contexts in which interpretation of scripture took place resulted in a wide variety of uses of the church’s authoritative texts. The essays in this volume demonstrate the interpretive skill, creativity, and sophistication of early Christian authors in a myriad of other early Christian genres, such as poetry, paraphrase, hymns, martyr accounts, homilies, prophetic vision accounts, monastic writings, argumentative treatises, encomia, apocalypses, and catenae. Accordingly, the volume aims to help the modern person, who is used to hearing the Bible explained in explicitly expository situations (for example, in academic commentaries or religious sermons) to become more habituated to ancient ways of interacting with and expounding the biblical text. These essays attempt to contextualize various types of patristic exegesis, in order for us to glimpse the complex and diverse uses of the Bible in this period.

Horror is one of the most enduringly popular genres in cinema. The term “horror film” was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty kinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term “horror film.”

Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since.

What is poetry? Often it is understood as a largely self-enclosed verbal system—“suspended from any mutual interaction with alien discourse,” in the words of Mikhail Bakhtin. But in Poetry and Its Others, Jahan Ramazani reveals modern and contemporary poetry’s animated dialogue with other genres and discourses. Poetry generates rich new possibilities, he argues, by absorbing and contending with its near verbal relatives.

    In 1833 Alexander Pushkin began to explore the topic of madness, a subject little explored in Russian literature before his time. The works he produced on the theme are three of his greatest masterpieces: the prose novella The Queen of Spades, the narrative poem The Bronze Horseman, and the lyric "God Grant That I Not Lose My Mind." Gary Rosenshield presents a new interpretation of Pushkin’s genius through an examination of his various representations of madness.
    Pushkin brilliantly explored both the destructive and creative sides of madness, a strange fusion of violence and insight. In this study, Rosenshield illustrates the surprising valorization of madness in The Queen of Spades and "God Grant That I Not Lose My Mind" and analyzes The Bronze Horseman’s confrontation with the legacy of Peter the Great, a cornerstone figure of Russian history. Drawing on themes of madness in western literature, Rosenshield situates Pushkin in a greater framework with such luminaries as Shakespeare, Sophocles, Cervantes, and Dostoevsky providing an insightful and absorbing study of Russia’s greatest writer.