The PentateuchExodus–Deuteronomy Christopher T. Begg, Richard A. Taylor, Fred W. Guyette, and Brian J. Meldrum 486. [Moses's Embodied Encounter in Exod 3:1-4:17] Narelle Jane Coetzee, "Moses' Embodied Encounter: Bare Feet Grounded in the Wilderness (Exodus 3.1–4.17)," JPT 31 (1, 2022) 1-15. This article investigates the implications of Moses's unshod feet within the Burning Bush pericope (Exod 3:1–4:17). Scholars have traditionally maintained that the act of removing one's shoes is merely an ancient sign of honor, with Yhwh's command to Moses that he remove his sandals signifying that he is on holy ground. Here, C. argues that, via a narrative-geographical reading of the passage, one can discern additional insights into this feature of the story, specifically that Moses is being asked to participate in the encounter [End Page 164] as an embodied person, with all his senses. He is literally being "grounded" for this experience, through his unshod feet. C. further argues that a larger creational relationship is implied here, wherein Moses is the Deity's new (re-)creational partner (ʾādām), who through this bare-footed encounter is being connected back to the divine creational purposes, via the ʾādāmâ on which he is standing. Finally, in view of the fact that Pentecostal readers of the Bible seek an ongoing experience of the Spirit, C. suggests that the above narrative-geographical reading complements and re-energizes our whole-bodied spirituality and expectations of a divine encounter. [Adapted from published abstract—C.T.B.] 487. [Exod 7:14-25] Hindy Nahman and Konrad Schmid, "Reading the Blood Plague (Exodus 7:14–25): The Hermeneutics of a Composite Text," JBL 141 (1, 2022) 23–42. This essay proposes a methodological commitment for rethinking the presuppositions about compositional practices with respect to the assembly and production of what we have come to call the Pentateuch. Throughout the article the authors highlight the commitment of the ancient biblical writers and readers to producing difference—rather than an overall seamless linear narrative. Their textual example focuses on the blood plague in Exod 7:14-25 but considers the composition of the Pentateuch and biblical composition more generally. [Adapted from published abstract—B.J.M.] 488. [The Ugaritic Baal Cycle and Exod 15:1-18] Nicolas Wyatt, "An Echo of the Ugaritic Baal Cycle in the Song of the Sea? An Exploration in Historical Theology," From Words to Meaning, 17-34 [see #911]. As reconstructed by W., the Ugaritic Baal Cycle (UBC) was composed ca. 1210 b.c.e. in commemoration of the dedication of the replacement edifice for Ugarit's earlier Baal temple which had been destroyed by a tidal wave ca. 1250 and would itself subsequently be wrecked by the Sea Peoples who assaulted Ugarit ca. 1185. W.'s essay highlights the affinities between this Ugaritic composition and the "Song of the Sea" (Exod 15:1-18), e.g., their shared and distinctive reference to a deity's (Baal/Yhwh) "inheritance," and posits that the former eventually found its way south to the territory of Israel, where it was drawn on, but also modified (e.g., in the "Song the Sea" the sea is not Yhwh's adversary the way Yam is Baal's opponent in the UBC, but rather his obedient agent).—C.T.B. 489. [Exod 19:1–31:18] Nico Riemersma, "De afbakening, delen en opbouw van Exodus 19:1–31:18 [The Delimitation, Component Parts and Structure of Exod 19:1-31:18]," JTSR 76 (1, 2022) 42-60. Many scholars consider Exodus 19–24 to be the first major narrative unit with the concluding segment of the Book of Exodus (19:1–40:38). Questions arise, however, concerning the delimitation, component parts, and structure of this proposed unit. First, while Exod 19:1 may be seen as the beginning of a narrative unit, it is also the concluding element for the preceding chap. 18; Secondly, whereas many commentators regard 24:18 as the end of the narrative unit that begins in 19:1, I argue that there is greater reason to...