Elliott Thesis, Final Draft
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The Song of Songs: Translation and Notes
The Song of Songs: Translation and Notes Our translation of the Song of Songs attempts to adhere as closely as pos- sible to the Hebrew text. As such, we follow the lead set by Everett Fox, most prominently, in his approach to translation. In addition, we have attempted to utilize common English words to render common Hebrew words and rare English words to render rare Hebrew words (see notes h and ac, for example). We also follow Fox’s lead in our representation of proper names. Throughout this volume we have used standard English forms for proper names (Gilead, Lebanon, Solomon, etc.). In our translation, however, we have opted for a closer representation of the Hebrew (i.e., Masoretic) forms (Gilʿad, Levanon, Shelomo, etc.). We further believe that the Masoretic paragraphing should be indicated in an English translation, and thus we have done so in our presentation of the text. While we consider (with most scholars) the Aleppo Codex to be the most authoritative witness to the biblical text, in this case we are encumbered by the fact that only Song 1:1–3:11 is preserved in the extant part of the Aleppo Codex. Accordingly, we have elected to follow the paragraphing system of the Leningrad Codex. Setuma breaks are indicated by an extra blank line. The sole petuha break in the book, after 8:10, is indicated by two blank lines. The Aleppo Codex, as preserved, has petuha breaks after 1:4 and 1:8, whereas the Leningrad Codex has setuma breaks in these two places. As for the remain- ing part of the Song of Songs in the “Aleppo tradition,” we note a difference of opinions by the editors responsible for the two major publications of the Aleppo Codex at one place. -
A Crisis in Faith: an Exegesis of Psalm 73
Restoration Quarterly 17.3 (1974) 162-184. Copyright © 1974 by Restoration Quarterly, cited with permission. A Crisis in Faith: An Exegesis of Psalm 73 TERRY L. SMITH Starkville, Mississippi Introduction Psalm 73 is a striking witness to the vitality of the individual life of faith in Israel. It represents the struggles through which the Old Testament faith had to pass. The psalm, a powerful testimony to a battle that is fought within one's soul, reminds one of the book of Job.1 Experiencing serious threat to his assurance of God in a desperate struggle with the Jewish doctrine of retribution, the poet of Psalm 73 raised the question, "How is Yahweh's help to and blessing of those who are loyal to him realized in face of the prosperity of the godless?"2 His consolation is the fact that God holds fast to the righteous one and "remains his God in every situation in life," and even death cannot remove the communion between them.3 He finds a "solution" not in a new or revised interpretation of the old retribution doctrine, but in a "more profound vision of that in which human life is truly grounded, and from which it derives its value."4 But Weiser argues, and rightly so, that what is at stake here is more than a mere theological or intellectual problem; it is a matter of life or death—the question of the survival of faith generally.5 The poem represents an 1. A. Weiser, The Psalms, Old Testament Library (Philadelphia: Westminster Press, 1962), p. -
What If the Gospel According to the Hebrews Was Q?
What If the Gospel according to the Hebrews Was Q? Introduction The absence of references to Q in the Church Fathers has often been taken as evidence against the two- document hypothesis. Michael Goulder writes: “There is no reference to Q in any ancient source.”1 Eta Linnemann says: “The writings of the ancient church give not the slightest hint that such a source ever existed. Among the early church fathers there is not even a rumor of a lost canonical gospel.”2 And Nicholas Perrin writes: “We have no manuscript of Q, no attestation in the early Church Fathers or elsewhere that such a text ever existed. We have no hard evidence at all for Q.”3 Today I want to consider the evidence for and the implications of the idea that Q continued to be used by Christian Jews for centuries after it was taken up by Matthew and Luke and that several of the church fathers were aware of this gospel and have even provided us with a handful of quotations of it. Q specialists often hold that Q originated among a group of Christians who maintained their Jewish identity.4 Since the church fathers tell us that Christian Jews used a different gospel, known as the Gospel according to the Hebrews (GHeb),5 it is paramount to ask whether GHeb might have been Q. Clement of Alexandria, Origen, Eusebius, Epiphanius, and Jerome quote twenty-six passages from GHeb.6 I do not have the time to defend the unpopular notion that these five authors are indeed working from the same gospel,7 but let me say that it would only help my case if I could bracket out, for example, the quotations by Jerome as not being from GHeb. -
Psalm 76 Author and Date
Psalm 76 Title: God is Great and Glorious Author and Date: Asaph Key Verses: Psalm 76:1, 4, 12 Type: Praise Outline A. God’s great name (verses 1-3). B. God’s excellent judgment (verses 4-9). C. God’s terrible fear (verses 10-12). Notes Title: “For the Chief Musician; on stringed instruments. A Psalm of Asaph, a Song.” For “Chief Musician”, see the notes on the title of Psalm 4. For “stringed instruments”, see the title of Psalm 4, 6, 54, 55, and 67. For “Asaph”, see the notes on the title of Psalm 50 and Psalm 73. Because the LXX reads, “a Song regarding the Assyrian”, some Bible students believe this psalm is describing the military victory over the Assyrian army in Hezekiah’s day (701 B.C.). Thus, this psalm would praise God for his giving the victory over Israel’s enemies, the Assyrian army (2 K. 18-19; Isa. 36-37). Summary: Psalm 76 is a psalm of praise (verse 10). God is great (verse 1). He dwells in Jerusalem (verse 2) and it is there that he defends it and defeats the army of Israel’s enemies in battle (verse 3). God is glorious and excellent (verse 4). He demonstrates his victorious power over the soldiers (verse 5) and he rebukes their war-horses (verse 6). As a result, he is feared by men and earth (verses 7-8). He judges and saves the meek of the earth (verse 9). The psalmist closes with some reminders about God. First, the wrath of man actually gives occasion to praise God (verse 10). -
The Book of Psalms “Bless the Lord, O My Soul, and Forget Not All His Benefits” (103:2)
THE BOOK OF PSALMS “BLESS THE LORD, O MY SOUL, AND FORGET NOT ALL HIS BENEFITS” (103:2) BOOK I BOOK II BOOK III BOOK IV BOOK V 41 psalms 31 psalms 17 psalms 17 psalms 44 psalms 1 41 42 72 73 89 90 106 107 150 DOXOLOGY AT THESE VERSES CONCLUDES EACH BOOK 41:13 72:18-19 89:52 106:48 150:6 JEWISH TRADITION ASCRIBES TOPICAL LIKENESS TO PENTATEUCH GENESIS EXODUS LEVITICUS NUMBERS DEUTERONOMY ────AUTHORS ──── mainly mainly (or all) DAVID mainly mainly mainly DAVID and KORAH ASAPH ANONYMOUS DAVID BOOKS II AND III ADDED MISCELLANEOUS ORIGINAL GROUP BY DURING THE REIGNS OF COLLECTIONS DAVID HEZEKIAH AND JOSIAH COMPILED IN TIMES OF EZRA AND NEHEMIAH POSSIBLE CHRONOLOGICAL STAGES IN THE GROWTH AND COLLECTION OF THE PSALTER 1 The Book of Psalms I. Book Title The word psalms comes from the Greek word psalmoi. It suggests the idea of a “praise song,” as does the Hebrew word tehillim. It is related to a Hebrew concept which means “the plucking of strings.” It means a song to be sung to the accompaniment of stringed instruments. The Psalms is a collection of worship songs sung to God by the people of Israel with musical accompaniment. The collection of these 150 psalms into one book served as the first hymnbook for God’s people, written and compiled to assist them in their worship of God. At first, because of the wide variety of these songs, this praise book was unnamed, but eventually the ancient Hebrews called it “The Book of Praises,” or simply “Praises.” This title reflects its main purpose──to assist believers in the proper worship of God. -
Psalms Psalm
Cultivate - PSALMS PSALM 126: We now come to the seventh of the "Songs of Ascent," a lovely group of Psalms that God's people would sing and pray together as they journeyed up to Jerusalem. Here in this Psalm they are praying for the day when the Lord would "restore the fortunes" of God's people (vs.1,4). 126 is a prayer for spiritual revival and reawakening. The first half is all happiness and joy, remembering how God answered this prayer once. But now that's just a memory... like a dream. They need to be renewed again. So they call out to God once more: transform, restore, deliver us again. Don't you think this is a prayer that God's people could stand to sing and pray today? Pray it this week. We'll pray it together on Sunday. God is here inviting such prayer; he's even putting the very words in our mouths. PSALM 127: This is now the eighth of the "Songs of Ascent," which God's people would sing on their procession up to the temple. We've seen that Zion / Jerusalem / The House of the Lord are all common themes in these Psalms. But the "house" that Psalm 127 refers to (in v.1) is that of a dwelling for a family. 127 speaks plainly and clearly to our anxiety-ridden thirst for success. How can anything be strong or successful or sufficient or secure... if it does not come from the Lord? Without the blessing of the Lord, our lives will come to nothing. -
Islam in the Bible Than Special Recognition of Friday
Author(s): Thomas McElwain [3] Common beliefs and practices in Islam and Christianity including the concept of God, Divine Guidance, leadership, prayer, fasting, sacrifice and marriage. Category: Comparative Religion [4] Topic Tags: Islam [5] Christianity [6] Beliefs [7] Miscellaneous information: Printed In: Great Britian for Minerva Press ISBN: 0-75410-217-3 In the name of God Gracious, Beneficent! The publication of this book has been made possible by Funding from a group of Kuwaiti people Who hope that it may guide many into the path of truth. Thomas McElwain was born into a devout family in the United States in 1949. He was occupied by religious subjects from an early age and wanted to become a pastor. He studied theology and history at the Seminaire du Salève in France from 1968 to 1972, after which he continued studies in religion at Andrews University in Michigan. Already in France he was considered a rebel in terms of theology, but his expertise in languages earned him respect. In 1974 he entered the University of Uppsala to study Biblical Languages and Ethnography. He completed a PhD degree in 1979 from the University of Stockholm with a dissertation on American Indian religious traditions, Mythological Tales and the Allegany Seneca. He has written several books and many articles on Native American religion, Christianity, Judaism and Islam. For many years he has lectured at various universities, especially the University of Turku in Finland where he was active from 1979-1984. He was editorial secretary for the Nordic journal of comparative religion, Temenos, for five volumes. -
The Psalms As Hymns in the Temple of Jerusalem Gary A
4 The Psalms as Hymns in the Temple of Jerusalem Gary A. Rendsburg From as far back as our sources allow, hymns were part of Near Eastern temple ritual, with their performers an essential component of the temple functionaries. 1 These sources include Sumerian, Akkadian, and Egyptian texts 2 from as early as the third millennium BCE. From the second millennium BCE, we gain further examples of hymns from the Hittite realm, even if most (if not all) of the poems are based on Mesopotamian precursors.3 Ugarit, our main source of information on ancient Canaan, has not yielded songs of this sort in 1. For the performers, see Richard Henshaw, Female and Male: The Cu/tic Personnel: The Bible and Rest ~(the Ancient Near East (Allison Park, PA: Pickwick, 1994) esp. ch. 2, "Singers, Musicians, and Dancers," 84-134. Note, however, that this volume does not treat the Egyptian cultic personnel. 2. As the reader can imagine, the literature is ~xtensive, and hence I offer here but a sampling of bibliographic items. For Sumerian hymns, which include compositions directed both to specific deities and to the temples themselves, see Thorkild Jacobsen, The Harps that Once ... : Sumerian Poetry in Translation (New Haven: Yale University Press, 1987), esp. 99-142, 375--444. Notwithstanding the much larger corpus of Akkadian literarure, hymn~ are less well represented; see the discussion in Alan Lenzi, ed., Reading Akkadian Prayers and Hymns: An Introduction, Ancient Near East Monographs (Atlanta: Society of Biblical Literature, 2011), 56-60, with the most important texts included in said volume. For Egyptian hymns, see Jan A%mann, Agyptische Hymnen und Gebete, Orbis Biblicus et Orientalis (Gottingen: Vandenhoeck & Ruprecht, 1999); Andre Barucq and Frarn;:ois Daumas, Hymnes et prieres de /'Egypte ancienne, Litteratures anciennes du Proche-Orient (Paris: Cerf, 1980); and John L. -
1 Psalms 76-77 – John Karmelich 1. This Is a Lesson That Best Starts By
Psalms 76-77 – John Karmelich 1. This is a lesson that best starts by giving my title. I call it "God does not leave us half done". a) Visualize food that requires baking before eating. I'll use a pizza as an example. Would we consider eating a pizza that is only "half-baked"? Assuming we are not starving and desperate for food, we would rather that pizza is fully cooked before we eat it. b) The point of my title has nothing to do with pizza or any other baked food. My point is that if God has called us to be one of His, He won't leave us "half-done". Remember that salvation is not just a one-time commitment, but is a life long journey of trusting in God. i) What I also mean by that is we are suffering at the present moment, or if we are going through some sort of difficult situation, a god that has called us to salvation, does not want us to just "sit there" and be miserable. God wants us to trust Him to guide us through our lives and help us through our current situation. ii) To put that last statement another way, God will never leave us "half done". 2. At this point, let me summarize the two psalms in this lesson, and then tie it to that title theme. a) In this lesson, we have two more psalms written by someone named Asaph. b) (Just so you know Asaph will continue to be the writer all the way through Psalm 83.) c) Psalm 76 appears to be describing some sort of a great victory in the history of Israel. -
Archaeological Sources for the History of Palestine: the Late Bronze Age Author(S): Albert Leonard, Jr
Archaeological Sources for the History of Palestine: The Late Bronze Age Author(s): Albert Leonard, Jr. Reviewed work(s): Source: The Biblical Archaeologist, Vol. 52, No. 1, The Late Bronze Age in Palestine (Mar., 1989), pp. 4-39 Published by: The American Schools of Oriental Research Stable URL: http://www.jstor.org/stable/3210180 . Accessed: 04/01/2012 03:14 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The American Schools of Oriental Research is collaborating with JSTOR to digitize, preserve and extend access to The Biblical Archaeologist. http://www.jstor.org ArchaeologicalSources for the History of Palestine Te ate Bronzege by Albert Leonard, Jr. heLate Bronze Age in both events and help illuminate the will discuss each of the subphases of Canaan began and ended more than three centuries of cul- the Late Bronze Age in Canaan- with large-scalepopula- tural development that took place in first in terms of the history revealed tion shifts: the Egyptian Canaan between them. In fact, Syro- by Egyptiansources and then in repulsion of the so-called Hyksos Palestine can be seen better against view of Canaan'sceramic, architec- around1550 B.C.E. -
Apistoi</Em>? Symbolic Boundaries and Anthropological Language in 2
BearWorks MSU Graduate Theses Summer 2017 Who Are the Apistoi? Symbolic Boundaries and Anthropological Language in 2 Cor 6:14-7:1 Nii Addo Kobina Abrahams Missouri State University As with any intellectual project, the content and views expressed in this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been judged to have academic value by the student’s thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the Biblical Studies Commons, Biological and Physical Anthropology Commons, Comparative Methodologies and Theories Commons, Rhetoric Commons, and the Social and Cultural Anthropology Commons Recommended Citation Abrahams, Nii Addo Kobina, "Who Are the Apistoi? Symbolic Boundaries and Anthropological Language in 2 Cor 6:14-7:1" (2017). MSU Graduate Theses. 3115. https://bearworks.missouristate.edu/theses/3115 This article or document was made available through BearWorks, the institutional repository of Missouri State University. The work contained in it may be protected by copyright and require permission of the copyright holder for reuse or redistribution. For more information, please contact [email protected]. WHO ARE THE APISTOI? SYMBOLIC BOUNDARIES AND ANTHROPOLOGICAL LANGUAGE IN 2 COR 6:14-7:1 A Masters Thesis Presented to The Graduate College of Missouri State University TEMPLATE In Partial Fulfillment Of the Requirements for the Degree Master of Arts, Religious Studies By Nii Addo Kobina Abrahams August 2017 © 2017, Nii Addo Kobina Abrahams ii WHO ARE THE APISTOI? SYMBOLIC BOUNDARIES AND ANTHROPOLOGICAL LANGUAGE IN 2 COR 6:14-7:1 Religious Studies Missouri State University, August 2017 Master of Arts Nii Addo Kobina Abrahams ABSTRACT Joseph A. -
ISSN 0989-5671 N°4 (Décembre) NOTES BRÈVES
ISSN 0989-5671 2016 N°4 (décembre) NOTES BRÈVES 84) Observations of the planet Venus in archaic Uruk: the problem and researches — It is well known that the three heavenly bodies – the Moon, the Sun and the Venus – were worshiped as the deities Nanna, Utu and Inanna in Ancient Mesopotamia of the IIIrd millennium BC. Their symbols on seals were, respectively, a crescent, a disc and the eight-pointed star. Encountering an image of crescent on a seal we can therefore assume that the scene depicted on it has to do with the lunar deity Nanna; and the presence of entry dNanna in a text suggests that in epoch of this draft the moon was already worshiped as a deity in Ancient Mesopotamia. Such statements, undoubtedly, are true for the second half of the IIIrd millennium BC and later on as there exist some text confirmations 1). But what can be said about earlier times? It is not known exactly whether Nanna, Utu and Inanna were originally astral deities. Thus it is natural to ask, whether Nanna, Utu and Inanna were always identified as luminaries in Ancient Mesopotamia, and if not always, then when did they acquire the astral meaning? Answering this question unambiguously now is not possible, yet we can make some assumptions. First we see, that of the three pictographic signs in proto-Sumerian texts which stand for Nanna, Utu and Inanna two, namely ŠEŠ.KI (= Nanna) and MUŠ3 (= Inanna), do not suggest astral meaning visually: they do not look as luminaries designated 2). Perhaps, initially these signs were not introduced to refer to the Moon and Venus, and only later did they acquire the astral meaning 3).