Jesus' T Rial Before Herod Antipas
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St Michael & All Angels
Events for the week 20th —26th March 2016 th St Michael & All Angels Sun 20 10.30am Choir Practice Choir Vestry Wed 23rd 6.30pm Junior Choir Practice Choir Vestry Macclesfield Team Ministry 7.30pm Full Choir Practice Choir Vestry Our Purpose To journey inward and upward to God, whom we know in Jesus, To journey outward to other people and to all creation. Thurs 24th 10.00am Toddler Group St Michael’s 10.30am Holy Communion St Michael’s Welcome 1.00pm Toddler Group St Michael’s If you are visiting, we hope you feel at home. A welcome card is available 7.30pm Bell ringing Bell Tower near the entrance or from a sides-person. If you are new, please complete Sat 26th 10.00am Saturday Prayer Meeting Savage Chapel, St Michael’s one and hand it to a sides-person, so that we can keep in touch. Next week’s services Sunday 20th March 2016 Palm Sunday Maundy Thursday 23rd March 7.30pm Tenebrae Service: United Reformed Church th 9.30 Storytelling Service 11.00 Holy Communion Good Friday 24 March 10.30am Good Friday Service Leader Mike Strutt Good Friday 24th March 2.00-4.00pm Contemplating the Cross: Savage Chapel th Leader Jenny Speaker Rev’d Barry Langman Easter Sunday 27 March: 10.30am Joint Service of Holy Communion Storyteller Gemma Story The Last Passover Bible Passages Psalm 118:1-2, 19-29 Adult Leader Sue Luke 19:28-40 Electronic version of church notice sheet Roots Leader Jenny If you wish to be included in the list of those who receive the church notice sheet electronically each week, please email Lynne Spedding at [email protected] Roots Passage Luke 19:28-40 Roots Leaders George & Ruth Songs Make way Roots Passage Luke 19:28-40 Scout and Guide Groups We are on the Lord’s road Macclesfield Parish Church Scout and Guide Group provides youth Hymns activities throughout the week for young people aged from 5 - 26 as well MP 7 All creatures of our God and king as flexible volunteering opportunities for adults. -
John the Baptist According to Flavius Josephus, and His Incorporation in the Christian Tradition
JOHN THE BAPTIST ACCORDING TO FLAVIUS JOSEPHUS, AND HIS INCORPORATION IN THE CHRISTIAN TRADITION Johannes Tromp In Jewish Antiquities 18.116-119, Flavius Josephus includes a section on John the Baptist. His reason for including it was that it contained a widely circulating explanation for the victory of the Nabatean king Aretas over the tetrarch Herod Antipas. 1 In my translation, it reads as follows: 116. Some Jews believed that the army of Herod was destroyed by God, who quite rightly avenged the fate of John, surnamed the Baptist. 117. For Herod had John killed, although he had been a good man. He had asked the Jews to lead a virtuous life and to come together for baptism,2 while practising righteousness towards each other, and piety towards God. In this way, it seemed to him, was baptism acceptable: they should not use it to obtain forgiveness for the sins they had committed, but as a purification of the body, inasmuch as their soul had already been cleansed beforehand by righteousness. 118. When others joined them-for they became highly agitated by his preaching-Herod feared his influence on people to be so great that it might lead to some uprising; for they seemed to be doing everything according to his advice. Therefore Herod decided that it would be much better to take the initiative to have him killed before he was able to cause some revolution, than to get involved in matters once the revolt had begun, and then be sorry. 119. Because of Herod's apprehension,John was sent in chains to the aforementioned fortress of Machaerus and killed there. -
Jesus Is Crucified
Unit 26, Session 5 Unit 26, Session 5 Jesus Is Crucified SESSION IN A SENTENCE: Jesus was rejected, mocked, and forsaken as He was unjustly condemned to die, but He gave up His life willingly on the cross to glorify the Father and bring us to Him. BACKGROUND PASSAGE: Mark 15:6-47 The early Christians could have chosen plenty of symbols to represent Jesus and the gospel: the dove as a symbol of the Holy Spirit descending on Jesus at His baptism; hands as a symbol of Jesus’ healing touch; the boat from which He calmed a storm; a royal scepter as a symbol of the kingdom He came to proclaim; the mountain on which He was transfigured in glory; palm branches as a symbol of His triumphal entry into Jerusalem. Any of these could have been worthy symbols of Jesus’ life and ministry, but instead, the early Christians chose a cross as their most important symbol, representing Jesus’ sacrificial death, a centerpiece of the gospel. What are some ways you have seen the cross used to represent the Christian faith? 84 Date of My Bible Study: ______________________________ © 2020 LifeWay Christian Resources Group Time Point 1: Jesus is the rejected Savior of the world (Mark 15:6,11-15). 6 At the festival Pilate used to release for the people a prisoner whom they requested … 11 But the chief priests stirred up the crowd so that he would release Barabbas to them instead. 12 Pilate asked them again, “Then what do you want me to do with the one you call the king of the Jews?” 13 Again they shouted, “Crucify him!” 14 Pilate said to them, “Why? What has he done wrong?” But they shouted all the more, “Crucify him!” 15 Wanting to satisfy the crowd, Pilate released Barabbas to them; and after having Jesus flogged, he handed him over to be crucified. -
A Divine Round Trip: the Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2014 A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John Susan Elizabeth Humble University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Biblical Studies Commons Recommended Citation Humble, Susan Elizabeth, "A Divine Round Trip: The Literary and Christological Function of the Descent/ Ascent Leitmotif in the Gospel of John" (2014). Electronic Theses and Dissertations. 978. https://digitalcommons.du.edu/etd/978 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John _________ A Dissertation Presented to the Faculty of the University of Denver and the Iliff School of Theology Joint PhD Program University of Denver ________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _________ by Susan Elizabeth Humble November 2014 Advisor: Gregory Robbins ©Copyright by Susan Elizabeth Humble 2014 All Rights Reserved Author: Susan Elizabeth Humble Title: A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John Advisor: Gregory Robbins Degree Date: November 2014 ABSTRACT The thesis of this dissertation is that the Descent/Ascent Leitmotif, which includes the language of not only descending and ascending, but also going, coming, and being sent, performs a significant literary and christological function in the Gospel of John. -
Academic FM Temp
The Resurrection of the Messiah A Narrative Commentary on the Resurrection Accounts in the Four Gospels Francis J. Moloney, SDB PAULIST PRESS New York / Mahwah, NJ The Scripture quotations contained herein are from the author’s own translation and the Revised Standard Version of the Bible, copyright 1952 [2nd edition, 1971] by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Cover image by fotogiunta/Shutterstock.com Cover and book design by Sharyn Banks Copyright © 2013 by Francis J. Moloney All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the Publisher. Library of Congress Cataloging-in-Publication Data Moloney, Francis J. The resurrection of the Messiah : a narrative commentary on the Resurrection accounts in the four gospels / Francis J. Moloney, SDB. pages cm Includes bibliographical references and index. ISBN 978-0-8091-4847-9 (alk. paper) — ISBN 978-1-58768-296-4 1. Jesus Christ—Resurrection. 2. Passion narratives (Gospels) 3. Bible. Gospels— Commentaries. 4. Bible. Gospels—Criticism, Narrative. I. Title. BT482.M65 2013 226`.06—dc23 2013024105 ISBN: 978-0-8091-4847-9 (paperback) ISBN: 978-1-58768-296-4 (e-book) Published by Paulist Press 997 Macarthur Boulevard Mahwah, New Jersey 07430 www.paulistpress.com Printed and bound -
Greg Goswell, “Early Readers of the Gospels: the KEPHALAIA and TITLOI of Codex Alexandrinus”
[JGRChJ 6 (2009) 134-74] EARLY READERS OF THE GOSPELS: THE KEPHALAIA AND TITLOI OF CODEX ALEXANDRINUS Greg Goswell Presbyterian Theological College, Melbourne, Australia For the New Testament, the oldest system of capitulation (division into chapters) known to us is that preserved in Codex Vaticanus (B 03) of the fourth century.1 I will use the notation V1, V2 etc. to refer to chapters of Vaticanus. Even a cursory examination of Vaticanus is enough to reveal that the divisions represent an evaluation of what are the sense units of the biblical passages. Each successive chapter in the Gospels is numbered using Greek letters written in red ink to the left of the columns. Capitulation is further indicated by a space of (usually) two letters at the close of the preceding chapter, a short horizontal line (paragraphos) above the first letter of the first whole line of the new chapter marking the close of the preceding paragraph, and sometimes by a letter protruding into the left margin (ekthesis).2 The system of 1. H.K. McArthur, ‘The Earliest Divisions of the Gospels’, in Studia Evangelica, III. 2 (ed. F.L. Cross; Texte und Untersuchungen, 88; Berlin: Akademie Verlag, 1964), pp. 266-72. After rejecting three other possible explanations, McAr- thur suggests that the divisions were used for citation purposes, especially in aca- demic circles. For alternate systems of chapter division in Greek versions of the Old Testament, see Robert Devreesse, Introduction à l’étude des manuscrits grecs (Paris: Klincksieck, 1954), pp. 139-41. The major divisions in Vaticanus are called chapters, while those in Alexandrinus, which are the basis of the standard divisions used in Nestle-Aland (Novum Testamentum Graece [27th Edition] = NTG27) are called kephalaia. -
Salome: the Image of a Woman Who Never Was
Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two ............................................................................................. -
Luke 23:4-11 Pilate to Herod and Back Crossroads: Traveling with Our Savior #6 March 12, 2008 Then Pilate Announced to the Chief
Luke 23:4-11 Pilate to Herod and Back Crossroads: Traveling with Our Savior #6 March 12, 2008 Then Pilate announced to the chief priests and the crowd, “I find no basis for a charge against this man.” But they insisted, “He stirs up the people all over Judea by his teaching. He started in Galilee and has come all the way here.” On hearing this, Pilate asked if the man was a Galilean. When he learned that Jesus was under Herod’s jurisdiction, he sent him to Herod, who was also in Jerusalem at that time. When Herod saw Jesus, he was greatly pleased, because for along time he had been wanting to see him. From what he had heard about him, he hoped to see him perform some miracle. He plied him with many questions, but Jesus gave him no answer. The chief priests and the teachers of the law were standing there, vehemently accusing him. Then Herod and his soldiers ridiculed and mocked him. Dressing him in an elegant robe, they sent him back to Pilate. (NIV) Have you ever had a once-in-a-lifetime chance and blown it? Maybe you didn’t even realize at the time what you had, and as a result you spent your opportunity on worthless things—and now it’s too late. This evening Herod has just such an opportunity—and blows it. The crossroad Jesus walks this evening is a short one—maybe a mile or so round- trip. It begins at Pontius Pilate’s palace, where Pilate has had an unpleasant start to his day. -
Asko Sahlberg's Herodes
Mika Hallila Uniwersytet Warszawski Retelling Salome: Asko Sahlberg’s Herodes Abstract: The article presents an analysis on the retelling of the story of the Princess Salome in a contemporary Finnish novel, Herodes (2013) by Asko Sahlberg. In the analysis, Salome’s story is considered as an outlandish narrative of an outlandish character that has interested people through history, and especially in the modern era. Sahlberg’s narrative of Salome is contextualized within some of the most known versions of Salome’s story such as the Gospels, and the play of Oscar Wilde. Eventually, the aim is to point out how and to what ends the rewriting of the story of Salome is done in this novel. Keywords: Salome, retelling, rewriting, outlandish, Finnish literature, contemporary novel The topic of this article is one of the most famous female characters of the biblical stories: I will analyze the story of the Princess Salome. The main focus of the analysis is on the retelling of the story of Salome in one contemporary Finnish novel, Herodes (2013) by Asko Sahlberg. I am asking how and to what ends the story is retold in this novel. When analyzing Sahlberg’s novel, I will especially focus on the narrator–protagonist Herod Antipas as his voice and his point of view make a particular change in the story of the Princess Salome. The key concepts formulated in the analysis are the ideas of retelling and rewriting, and outlandishness; as shown here, the Princess Salome is an outlandish character whose mystery has remained unsolved through history. The representation of the Princess in Sahlberg’s novel is, hence, part of a long tradition of the interpretations and reinterpretations of the well-known historical narrative which took place at the beginning of Christianity. -
Daughter of Eve, Femme Fatale, and Persecuted Artist: the Mythic Transgressive Woman in Oscar Wilde’S and Richard Strauss’ Salome
MONOGRAFÍA Amaltea. Revista de Mitocrítica ISSN-e: 1989-1709 http://dx.doi.org/10.5209/AMAL.51851 Daughter of Eve, Femme Fatale, and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde’s and Richard Strauss’ Salome Corinne E. Blackmer1 Recibido: 1 de febrero de 2016 / Aceptado: 3 de julio de 2016 Abstract. Historically, Salome was a mundane figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the seductress and fallen daughter of Eve. Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head. Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represents her tragic fate musically. Keywords: Salome; Herod; John the Baptist; femme fatale; Oscar Wilde; Richard Strauss; Symbolism; Decadence. Fille d’Éve, Femme Fatale, et l’Ártiste Persécutée: La Femme Transgressive Mythique dans la Salome d’Oscar Wilde et de Richard Strauss Résumé. Selon l’histoire, Salomé était une personnalité banale qui n’a jamais précipité la mort de Jean le Baptiste. En revanche, dans les textes chrétiens, elle devient la séductrice et la fille déchue d’Ève. Son beau-père Hérode promet à Salomé son royaume si elle danse pour lui, mais elle suit le souhait de sa mère qui exige la décapitation de Jean. -
1 Luke Handout – Two Herods Herod the Great and Herod Antipas, The
1 Luke Handout – Two Herods Herod the Great and Herod Antipas, the Tetrarch Herod the Great (Luke 1:5) was appointed king of the Jews by the Roman senate in 40 BC and took control of Jerusalem in 37 BC after defeating the Hasmonean king Antigonus. He reigned for the rest of his life as a client-king of Caesar Augustus. Since he was the son of an Idumean father and an Arabian mother, he was considered a half Jew at best and certainly not a king in the line of David! Famous for his building projects, he expanded the Jerusalem temple complex; constructed the city of Caesarea, where Paul was later held in custody (Acts 25:4); and built or rebuilt fortresses such as Herodium near Bethlehem, Masada on the western shore of the Dead Sea, and Machaerus on its eastern shore, where John the Baptist was later imprisoned by Herod Antipas (Luke 3:19–20). Herod was notorious for his cruelty, killing three of his sons because of fear of conspiracies and uncertainty about his heir. When he died, his kingdom was divided among his sons Archelaus (Matt 2:22; deposed in AD 6 by the Romans), Herod Antipas, and Philip (Luke 3:1). The consensus since the end of the nineteenth century for the date of Herod’s death is 4 BC. However, several recent studies of the first-century Jewish historian Josephus’s many references to Herod, as well as of ancient inscriptions and coins, propose that he died later, in 1 BC or AD 1. -
PALM SUNDAY of the PASSION of the LORD (5 April 2020) Judas to Betray Jesus
PALM SUNDAY OF THE PASSION OF THE LORD (5 April 2020) Judas to Betray Jesus Then one of the twelve, whose name was Judas Iscariot, went to the chief priests and said, “What will you give me if I deliver him over to you?” And they paid him thirty pieces of silver. And from that moment he sought an opportunity to betray him. The Passover with the Disciples Now on the first day of Unleavened Bread the disciples came to Jesus, saying, “Where will you have us prepare for you to eat the Passover?” He said, “Go into the city to a certain man and say to him, ‘The Teacher says, My time is at hand. I will keep the Passover at your house with my disciples.’” And the disciples did as Jesus had directed them, and they prepared the Passover. When it was evening, he reclined at table with the twelve. And as they were eating, he said, “Truly, I say to you, one of you will betray me.” And they were very sorrowful and began to say to him one after another, “Is it I, Lord?” He answered, “He who has dipped his hand in the dish with me will betray me. The Son of Man goes as it is written of him, but woe to that man by whom the Son of Man is betrayed! It would have been better for that man if he had not been born.” Judas, who would betray him, answered, “Is it I, Rabbi?” He said to him, “You have said so.” Institution of the Lord’s Supper Now as they were eating, Jesus took bread, and after blessing it broke it and gave it to the disciples, and said, “Take, eat; this is my body.” And he took a cup, and when he had given thanks he gave it to them, saying, “Drink of it, all of you, for this is my blood of the covenant, which is poured out for many for the forgiveness of sins.