The Polemic Nature of the Genesis Oosmology by Gerhard F
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'Stupid Midas'
‘Stupid Midas’ Visualising Musical Judgement and Tim Shephard Patrick McMahon Moral Judgement in Italy ca.1520 University of Sheffield 1. Musical Judgement and Moral Judgement 3. A) Cima da Conegliano, The Judgement Sat at the centre of the painting in contemporary elite of Midas, oil on panel, 1513-17. Statens The Ancient Discourse dress, Midas looks straight at the viewer, caught at the exact moment of formulating his faulty musical judgement. Museum for Kunst, Copenhagen. Harmony is governed by proportion, and so is human tem- perament; thus music can affect human behavior ‘For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and, if education is good, bring an impart grace and beauty, if it is bad, the reverse’ (Plato, Republic) Music should therefore play a role in moral education Suggestive ‘music has indeed the power to induce a certain character of soul, and if it can do that, then An older, more position of clearly it must be applied to education’ (Aristotle, Politics) severe Tmolus, in Pan’s bow more modest makes a direct Good musical judgement engenders good moral judgement contemporary link between ‘the proper training we propose to give will make a man quick to perceive the shortcomings attire, also his musician- of works of art or nature …; anything beautiful he will welcome gladly … and so grow in true goodness of character; anything ugly he will rightly condemn and dislike’ (Plato, Republic) interrogates the ship and his viewer with his sexuality. The Renaissance Discourse gaze. -
Heracles and Philo of Alexandria: the Son of Zeus Between Torah and Philosophy, Empire and Stage
Chapter 8 Heracles and Philo of Alexandria: The Son of Zeus between Torah and Philosophy, Empire and Stage Courtney J. P. Friesen With few competitors, Heracles was one of the most popular and widely re- vered heroes of Greco-Roman antiquity. Though occupying a marginal place in the Homeric epics, he developed in complex directions within archaic Greek poetry, and in Classical Athens became a favorite protagonist among play- wrights, both of tragedy and comedy. From a famed monster-killer, to the trou- bled murderer of his own children, to the comic buffoon of prolific appetites, Heracles remained fixed in the imagination of ancient Greeks and Romans. Moreover, the son of Zeus was claimed as an ancestor for notable statesmen connected to both Alexandria and Rome (including Philip and Alexander of Macedon, the Ptolemies, and Mark Antony), and he was honored at cultic sites around the Mediterranean, including at the heart of the Roman Empire itself on the Ara Maxima. Jews living around the Greek and Roman world will inevitably have encoun- tered the mythologies and cults of Heracles in various forms. For instance, some Jewish writers, reflecting on this hero in light of their own traditions, made attempts to integrate him within the context of biblical genealogies.1 In addition, a natural correlation existed between Samson and Heracles, and al- ready in antiquity their extraordinary physical might was seen as comparable (Eusebius, PE 10.9.7; Augustine, Civ. 18.19).2 Recently, René Bloch has provided a useful survey of references to Heracles in the writings of Josephus in conjunc- tion with the Jewish historian’s wider engagement with Greek mythology.3 In 1 Cleomedus Malchus has Heracles marry the granddaughter of Abraham (Josephus, AJ 1.240–41); and according to unspecified sources, Heracles was the father of Melchizedek (Epiphanius, Pan. -
From Indo-European Dragon Slaying to Isa 27.1 a Study in the Longue Durée Wikander, Ola
From Indo-European Dragon Slaying to Isa 27.1 A Study in the Longue Durée Wikander, Ola Published in: Studies in Isaiah 2017 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Wikander, O. (2017). From Indo-European Dragon Slaying to Isa 27.1: A Study in the Longue Durée. In T. Wasserman, G. Andersson, & D. Willgren (Eds.), Studies in Isaiah: History, Theology and Reception (pp. 116- 135). (Library of Hebrew Bible/Old Testament studies, 654 ; Vol. 654). Bloomsbury T&T Clark. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 LIBRARY OF HEBREW BIBLE/ OLD TESTAMENT STUDIES 654 Formerly Journal of the Study of the Old Testament Supplement Series Editors Claudia V. -
Idolatry in the Ancient Near East1
Idolatry in the Ancient Near East1 Ancient Near Eastern Pantheons Ammonite Pantheon The chief god was Moloch/Molech/Milcom. Assyrian Pantheon The chief god was Asshur. Babylonian Pantheon At Lagash - Anu, the god of heaven and his wife Antu. At Eridu - Enlil, god of earth who was later succeeded by Marduk, and his wife Damkina. Marduk was their son. Other gods included: Sin, the moon god; Ningal, wife of Sin; Ishtar, the fertility goddess and her husband Tammuz; Allatu, goddess of the underworld ocean; Nabu, the patron of science/learning and Nusku, god of fire. Canaanite Pantheon The Canaanites borrowed heavily from the Assyrians. According to Ugaritic literature, the Canaanite pantheon was headed by El, the creator god, whose wife was Asherah. Their offspring were Baal, Anath (The OT indicates that Ashtoreth, a.k.a. Ishtar, was Baal’s wife), Mot & Ashtoreth. Dagon, Resheph, Shulman and Koshar were other gods of this pantheon. The cultic practices included animal sacrifices at high places; sacred groves, trees or carved wooden images of Asherah. Divination, snake worship and ritual prostitution were practiced. Sexual rites were supposed to ensure fertility of people, animals and lands. Edomite Pantheon The primary Edomite deity was Qos (a.k.a. Quas). Many Edomite personal names included Qos in the suffix much like YHWH is used in Hebrew names. Egyptian Pantheon2 Egyptian religion was never unified. Typically deities were prominent by locale. Only priests worshipped in the temples of the great gods and only when the gods were on parade did the populace get to worship them. These 'great gods' were treated like human kings by the priesthood: awakened in the morning with song; washed and dressed the image; served breakfast, lunch and dinner. -
Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Volume 8/Number 1/ November 2020/Article 5
ANUJAT/VOLUME 8/NUMBER 1/ NOVEMBER 2020/ARTICLE 5 Volume 8/ Number 1 November 2020 Article 5 Exploring the Relationship between the Mosaic Code and the Hammurabi Code ISAAC BOAHENG ISAAC BOAHENG is a PhD Candidate in Theology and a Research Fellow in the Department of Religion and Biblical Studies, University of the Free State, South Africa. He holds a Master of Divinity degree from the Trinity Theological Seminary and has research interests in Biblical Studies, Public Theology, Translation Studies and Mission, among others. Currently, Isaac is an ordained Minister of the Methodist Church, Ghana and serves as a Translator for the Bible Society of Ghana. For this and additional works at: anujat.anuc.edu.gh Copyright © November 2020 All Nations University Journal of Applied Thought (ANUJAT) and Authors Recommended Citation: Boateng, I. (2020). Exploring the Relationship between the Mosaic Code and the Hammurabi Code. All Nations University Journal of Applied Thought (ANUJAT),8(1): 77-89. All Nations University Press. doi: http://doi.org/ 10.47987/ CEFD7600 Available at: http://anujat.anuc.edu.gh/universityjournal/anujat/Vol8/No1/5.pdf ANUJAT/VOLUME 8/NUMBER 1/ NOVEMBER 2020/ARTICLE 5 Research Online is the Institutional repository for All Nations University College. For further information, contact the ANUC Library: [email protected] Abstract Over the years there has been a growing interest in the connections between the Old Testament and other Ancient Near East literature. The Hammurabi Code, a Babylonian legal document which predates the Mosaic Code by about 300 years, is one of the ancient documents that have featured prominently in such comparative studies. -
Who Maketh the Clouds His Chariot: the Comparative Method and The
LIBERTY UNIVERSITY SCHOOL OF RELIGION WHO MAKETH THE CLOUDS HIS CHARIOT: THE COMPARATIVE METHOD AND THE MYTHOPOETICAL MOTIF OF CLOUD-RIDING IN PSALM 104 AND THE EPIC OF BAAL A THESIS SUBMITTED TO THE FACULTY OF LIBERTY UNIVERSITY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN RELIGIOUS STUDIES BY JORDAN W. JONES LYNCHBURG, VIRGINIA APRIL 2010 “The views expressed in this thesis do not necessarily represent the views of the institution and/or of the thesis readers.” Copyright © 2009 by Jordan W. Jones All Rights Reserved ii ACKNOWLEDGMENTS To Dr. Don Fowler, who introduced me to the Hebrew Bible and the ancient Near East and who instilled in me an intellectual humility when studying the Scriptures. To Dr. Harvey Hartman, who introduced me to the Old Testament, demanded excellence in the classroom, and encouraged me to study in Jerusalem, from which I benefited greatly. To Dr. Paul Fink, who gave me the opportunity to do graduate studies and has blessed my friends and I with wisdom and a commitment to the word of God. To James and Jeanette Jones (mom and dad), who demonstrated their great love for me by rearing me in the instruction and admonition of the Lord and who thought it worthwhile to put me through college. <WqT* <yx!u&oy br)b=W dos /ya@B= tobv*j&m^ rp@h* Prov 15:22 To my patient and sympathetic wife, who endured my frequent absences during this project and supported me along the way. Hn`ovl=-lu^ ds#j#-tr~otw+ hm*k=j*b= hj*t=P* h*yP! Prov 31:26 To the King, the LORD of all the earth, whom I love and fear. -
De-Demonising the Old Testament
De-Demonising the Old Testament An Investigation of Azazel , Lilith , Deber , Qeteb and Reshef in the Hebrew Bible Judit M. Blair Doctor of Philosophy University of Edinburgh 2008 Declaration I declare that the present thesis has been composed by me, that it represents my own research, and that it has not been submitted for any other degree or professional qualification. ______________________ Judit M. Blair ii ACKNOWLEDGEMENTS There are many people to thank and acknowledge for their support and help over the past years. Firstly I would like to thank the School of Divinity for the scholarship and the opportunity they provided me in being able to do this PhD. I would like to thank my ‘numerous’ supervisors who have given of their time, energy and knowledge in making this thesis possible: To Professor Hans Barstad for his patience, advice and guiding hand, in particular for his ‘adopting’ me as his own. For his understanding and help with German I am most grateful. To Dr Peter Hayman for giving of his own time to help me in learning Hebrew, then accepting me to study for a PhD, and in particular for his attention to detail. To Professor Nick Wyatt who supervised my Masters and PhD before his retirement for his advice and support. I would also like to thank the staff at New College Library for their assistance at all times, and Dr Jessie Paterson and Bronwen Currie for computer support. My fellow colleagues have provided feedback and helpful criticism and I would especially like to thank all members of HOTS-lite I have known over the years. -
The Name of God the Golem Legend and the Demiurgic Role of the Alphabet 243
CHAPTER FIVE The Name of God The Golem Legend and the Demiurgic Role of the Alphabet Since Samaritanism must be viewed within the wider phenomenon of the Jewish religion, it will be pertinent to present material from Judaism proper which is corroborative to the thesis of the present work. In this Chapter, the idea about the agency of the Name of God in the creation process will be expounded; then, in the next Chapter, the various traditions about the Angel of the Lord which are relevant to this topic will be set forth. An apt introduction to the Jewish teaching about the Divine Name as the instrument of the creation is the so-called golem legend. It is not too well known that the greatest feat to which the Jewish magician aspired actually was that of duplicating God's making of man, the crown of the creation. In the Middle Ages, Jewish esotericism developed a great cycle of golem legends, according to which the able magician was believed to be successful in creating a o ?� (o?u)1. But the word as well as the concept is far older. Rabbinic sources call Adam agolem before he is given the soul: In the first hour [of the sixth day], his dust was gathered; in the second, it was kneaded into a golem; in the third, his limbs were shaped; in the fourth, a soul was irifused into him; in the fifth, he arose and stood on his feet[ ...]. (Sanh. 38b) In 1615, Zalman �evi of Aufenhausen published his reply (Jii.discher Theriak) to the animadversions of the apostate Samuel Friedrich Brenz (in his book Schlangenbalg) against the Jews. -
1 Genesis 1:1 'Eres Elohim Bara Bereshith the Hebrews Call This Book “Bereshith” from the First Word
Genesis 1:1 ‘eres elohim bara bereshith The Hebrews call this book “Bereshith” from the first word. This Hebrew word is translated in the Greek Septuagint by the Greek word “genesis” which means “birth, origin” The first two chapters are formed with three units: 1) Gen. 1:1 2) Gen. 1:2-2:3 3) Gen. 2:4-25 Genesis 1:1 refutes all idols and false philosophies through history: 1) Atheism (No God) 2) Pantheism (God is in All) 3) Polytheism (Many Gods) 4) Dualism (Good verse Evil 5) Humanism (Man is God) 6) Evolution (Material is God) Psalm 14:1 “The fool says in his heart ‘There is no God’.” Liberal Biblical Scholarship: 1) J = Jehovah from 850 BC 2) E = Elohim from 750 BC 3) D = Deuteronomist from 620 BC (Josiah’s reform) 4) P = Priestly from 500 BC (Ezekeil to Ezra) 1 “Toledot” According to Luke 16:31; 24:27, 44 Moses is responsible of Genesis. How did Moses write it? 1) Direct Revelation 2) Oral Stories 3) Written Documents An important word in Genesis is “ toledot”. “Toledot” is a Hebrew noun from the root “y-l-d” which means “to bear”. It is translated by these words in English: “genealogy,” “generations”, account,” family history,” “ancestral narrative.” It is found in these verses: 2:4 “the account of” is Hb. “toledot” or “generations” 5:1 - Adam’s Line 6:9 – Noah 10:1 – Shem 11:10 – Terah 11:27 – Abraham, Isaac 25:19 – Isaac, Jacob 37:2 until Exodus 1:1 – Sons of Jacob Two themes: 1) The preparation of the land 2) The blessing of the creation (’eres is the Hebrew word translated “earth” in 1:1, 2 but land later.) Seven Hebrew words form the first verse, Genesis 1:1 a) identify the Creator b) explain the origin of the world 2 c) connect these past events with man’s future The Creator “God” is “Elohim”.