Exodus–Deuteronomy Christopher T. Begg, John M. Halligan, Fred W. Guyette, Joseph E. Jensen, and Michael W. Duggan 2060. [Exod 1:15-22] Facundo Mela, "Análisis narrativo y exégesis de Éxodo 1,15-22," RevistB 81 (2019) 247-71. The story of the midwives of the Hebrews as told in Exod 1:15-22 is one which has not received much attention either in the Bible itself or in older or more modern commentaries. Accordingly, in this article, M. presents a narratological analysis and exegesis of this rather neglected story. In so doing, M. highlights the heroic act of the midwives Shiprah and Puah in their fight against Pharaoh's oppression and the defense of innocent human life. [Adapted from published abstract—C.T.B.] [End Page 737] 2061. [Exodus 2; Ruth] Jutta Hausmann, "Pharaoh's Daughter and Ruth: Cornerstones in the History of Israel," Foreign Women, 175-85 [see #2425]. With Pharaoh's daughter in Exodus 2 and Ruth in the book named after her, we meet two foreign women in the OT, who are of indispensable—but often little appreciated—positive significance for the stories of two great figures of Israel's history, i.e. Moses and David respectively. Their unconventional decisions lead to the establishment of family ties and thus contribute significantly to the (future) lives and biographies of those two figures. As such, the two women represent a plea for Israel to open itself to other peoples in all-inclusive fashion. [Adapted from published abstract—C.T.B.] 2062. [Exod 15:1-18, etc.] Martin Leuenberger, "Meerwunder Tradition im Moselied. Traditions- und redaktionsgeschichtliche Überlegungen zu Exod 15,1-18," Ein Freund des Wortes, 196-211 [see #2428]. L.'s essay seeks to reconstruct the composition history of the "Song of Moses" (Exod 15:1-18), which in its extant form constitutes a four-part (vv. 1b-3, 6-12, 13-17, 18) "hymn of the individual addressed to Yhwh." The originally independent core of the current Song, i.e. vv. (3), 6-11/12, dates from the middle monarchical period and evidences a distinctive conception of the "miracle at the sea" happening characterized by mythological terminology regarding Yhwh's use of the destructive waters. Subsequently, this pre-existing Song was inserted into the (pre-P) sequence of Exodus 14 + 15:20-21 by means of a "preface," vv. 1b-5, which served to "subordinate" the Song of Miriam (15:21) to the more expansive and evolving Song of Moses. At a still later stage, the sequence of Exod 15:4-5 was incorporated into the text of the Song with the intent of integrating—also terminologically—this more closely with the earlier account of the Sea Miracle in Exodus 14.—C.T.B. 2063. [Exod 17:8-16] Charlie Trimm, "God's Staff and Moses' Hand(s): The Battle against the Amalekites as a Turning Point in the Role of the Divine Warrior," JSOT 44 (1, 2019) 198-214. The account of the battle against the Amalekites in Exod 17:8-16 contains several contested elements, including the interpretation of the raising of Moses's hands, the significance of the staff of God, and the number of hands Moses holds up. T. argues that the ambiguity surrounding the presence/absence of the staff and the number of upraised hands functions to portray the episode as a transition in the narrative (a high-level Janus parallelism) in relation to the role of the divine warrior in Israelite combat. The presence of the staff of God in the one hand raised by Moses recalls the great works of God in the exodus and emphasizes divine initiative in battle, while the raising of two hands by Moses signifies prayer (as suggested by parallels in the Zakkur stela and Egyptian reliefs) and looks forward to Israel fighting on its own initiative in future battles. [Adapted from published abstract—J.M.H.] 2064. [Exodus 18] Nathan Laufer, "Moses' Misplaced Speech Inviting His Father-in-Law to Join the Israelites," JBQ 47 (2019) 237-53. The story of Jethro's arrival at the encampment of the Hebrews in Exodus 18...