268 MARK LEUCHTER SUMMARY The closing verses of the Song of Deborah include a curious reference to chariotry (Judg 5,28) at a rhetorically potent moment in the poem. The present study examines the implications of the use of this image against the mythopoeic impulses in the poem, the larger historical background of early Israel’s confrontations with Canaanite aggression in the 12th century BCE and the memory of Egyptian strategies of hegemony from the late Bronze Age. The effects of these memories and experiences leave profound impressions in the social and mythic matrices embedded in a broad spectrum of Biblical traditions. in relative temporal tandem, with one representing a more folkloristic tradition (the Song of Deborah) while the other became the basis for a cultic recitation and the result of a process of liturgization. This does not, however, necessarily lead to the views of some scholars that the Song of the Sea was composed by a member of the Jerusalem Temple establishment during the monarchic period, e.g., B.F. BATTO, Slaying the Dragon. Mythmaking in the Biblical tradition (Louisville, KY 1992) 109; H. SPIECKERMANN, Heilsgegenwart. Eine Theologie der Psalmen (FRLANT 148; Göttigen 1989) 96-115, esp. 114. The terminology often cited as specific to the Zion tradition is entirely applicable to a pre (or at least non) monarchic setting, and may well have influenced royal literature. See D.S. VANDERHOOFT, “Dwelling Beneath the Sacred Space: A Proposal for Reading ”, JBL 118 (1999) 627-628; W.H.C. PROPP, Exodus 1-18 (AB 2; New York 1998) 532-533, 542-545.