SK BLOG DESIGN FILE.Cdr

Total Page:16

File Type:pdf, Size:1020Kb

SK BLOG DESIGN FILE.Cdr “The Three Women: Joanna, Mary and Salome” “On the first day of the week, very early in the morning, the women took the spices they had prepared and went to the tomb.” Luke 24:1 Today on the Lutheran Church calendar we recognize three women recorded in the Gospels; Joanna, Mary and Salome. We know from Luke’s Gospel that Joanna, was the wife of Cuza. Cuza was the manager of Herod’s household. (Luke 8:3) We know from Mark’s Gospel that there was a woman by the name of Mary who was the sister of Joseph, the step-father of our Lord. (Mark 15:40) We learn from Matthew’s Gospel that Salome was the sister of the Virgin Mary and mother of James and John, the apostles of Jesus. (Matthew 27:56, Mark 15:40) These women were with Jesus early in his ministry. They were eye witnesses to His ministry, crucifixion, death, burial and resurrection. These women provided finances and logistics as Jesus and the apostles traveled from town to town. The women we remember today make me think of two important areas of the Christian church. 1) Service – The women were an active part of the Lord’s ministry. I am grateful for the women who serve as teachers, musicians, board members, and leaders of our churches. I am also grateful for the work of our altar guild ministry which is made up of women. As the women in the Gospels prepared Jesus’ body for burial, so the Altar Guild handles the linens of the altar. These linens are like the burial cloths of Jesus. The women of the Altar Guild handle the bread and wine of Holy Communion, which will be the body and blood of our Lord Jesus Christ. Jesus chose and empowered women with the distinction of serving Him and His church. The service of the women leads to the second item to remember today. 2) Witness – The women had the privilege of being the first eye witnesses of Jesus’ resurrection. When the women told the Good News to the apostles, the Gospel of Luke records that they thought the women had lost their minds. Jesus, however, confirmed the witness of these women as He appeared to the apostles. We have good news to share with others around us, but don’t always expect an open audience. We must, like the women, stand firm in what we believe and teach. Our Lord Jesus Christ will confirm and vindicate our witness for Him. Take a moment to give thanks to the Lord and to all the faithful women who serve! Pastor Tim.
Recommended publications
  • The Chosen Study
    Episode | 1 The Chosen Study A welcoming and interactive experience for everyone: observers… skeptics… learners… seekers… followers. Bill Syrios Jesus Study.org Watch > Study > Discuss the Most Audacious Story 2 | The Chosen Study, Season One ever told. ©2021 The Chosen Study, Season One, Bill Syrios -Review Copy, Not For Sale- Scripture quotations are from the ESV® Bible (The Holy Bible, English Standard Version®), ©2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. Thanks to Michael Foster for his help with the Realistic But Real? and Knowing Those Who Knew Him Best sections. And thanks to Dietrich Gruen for his work as copy editor. The Jesus Study and Chosen Study are not affiliated with The Chosen TV series. ISBN: 978-0-9716683-3-1 The Chosen is a television drama based on the life of Jesus Christ, cre- ated, directed and co-written by American filmmaker, Dallas Jenkins. It is the first multi-season series about the life of Christ, and season one was the highest crowd-funded TV series or film project of all time. The series' creators stated that they had hoped to distinguish the new series from previous portrayals of Jesus by crafting a multi-season, episode-based story. The series portrays Jesus "through the eyes of those who met him.” --The Chosen, Wikipedia Download The Chosen App on your device and cast it to a TV: The Access The Chosen on a computer with this URL: TheChosen.tv Chosen Episode | 3 Contents . Welcome to Jesus’ Story . 4 What We Do .
    [Show full text]
  • Women with Jesus at the Cross and the Tomb Bible Study
    Women with Jesus at the Cross and the Tomb Bible Study [Please provide : musical accompaniment; Bibles, hymnals, and copies of the Bible study for attendees.] Beginning with Ash Wednesday and for 40 days following, we are in the period of the church year called Lent. It is a time to remember the suffering, death, and burial in preparation for the resurrection of our Lord and Savior, Jesus Christ. As we approach and journey through Lent, let us focus on the women who were present when Jesus was crucified on Calvary and later at His tomb. Let us begin with prayer : Lord Jesus Christ, be with us as we study Your Word, meditating upon those women who were near You at the cross and the tomb. In Your holy name. Amen. Sing “When I Survey the Wondrous Cross” LSB 425 or 426, TLH 175, LW 114 or 115 I. Standing Near the Cross – read John 19:25-27 • Four women are mentioned: o Mary, the mother of Jesus o His mother’s sister – tradition holds this is Salome, mother of James and John, the sons of Zebedee o Mary, the wife of Clopas – the only time she or Clopas are mentioned o Mary Magdalene The women took a risk by being present at the cross. It took courage for them to stand there in the midst of the hatred and ridicule. Their attendance was intended to encourage Jesus. Jesus’ mother, Mary, is experiencing what Simeon had predicted years before in Luke 2:35. As she stood there, her grief must have been nearly unbelievable.
    [Show full text]
  • Saint Mary Magdalene
    saint mary magdalene - relic tour Martha was the first to say, “Lord, I have believed that thou art Christ the Son of February 20 - March 22, 2013 the living God, who art come into this world” (John 11:27). Martha was witness to Jesus resurrection of her brother Lazarus (John 11:39-44). Martha’s relics are in Collégiale Sainte-Marthe in Tarascon. Early Christian Saints of God Mark Friedman and Janet Vogt A piece of the tibia of St. Mary Magdalene Saints of God, we stand be - fore you. This we ask you, pray for us. Ho - ly men and ho - ly wom - en, in your good - ness pray for us. 1. St. Ma - ry, God’s moth - er, our moth - er, 2. St. Jo-seph, St. Pe - ter, St. An - drew, 3. St. Mat - thew, St. Si - las, St. Bar - na - bas, 4. St. Mar - tha, St. Max-i-min, St. Ma-ry Sal-o-me, 1. All an - gels in heav - en, 1-4. pray for us. 2. St. Steph - en, St. Paul, 3. St. Luke, St. Ce-do-ni-us, 4. St. La - za - rus, St. Mar - tha, 1-4. pray for us. Ho - ly men and ho - ly wom - en, The Three Marys at the Empty Tomb Mary Magdalene, Mary Jacobe and Mary Salome 1. so ho - ly, 2. St. Law-rence, 3. St. Ma-ry Ja- co- be, pray for us. us. 4. St. Ma-ry Mag-da-lene. 1-4. in your good - ness, pray for us. us. 2, 4. Save us, Lord, from sin and ev - ‘ry A piece of the tibia of St.
    [Show full text]
  • 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 .............................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Easter Verses of the Three Marys a Medieval Short Play for Eastertide
    The Easter Verses of the Three Marys A medieval short play for Eastertide This short drama is one of the oldest and most important pieces of drama in Europe. The written version dates from the 12th Century and is recorded in a manuscript kept at Vic in Spain. The drama is an enhanced version of the encounter between Mary and the Angel at the tomb on Easter morning recorded in the gospels. This play has been performed at Eastertime for centuries and is still has great power today. By tradition, the three Marys who buy ointment and go to the tomb to anoint the body of Jesus: Mary Magdalene, Mary Jacobe (the mother of James) and Mary Salome. In this version, I imagine Mary Jacobe as the motherly, practical type; Mary Salome as younger, elegant, wanting the best; and Mary Magdalene as overwhelmed by grief and finding it almost impossible to go to the tomb but impelled to do so. In Spanish versions of the drama, Mary Magdalene carries a jar of expensive ointment, Mary Jacobe carries a broom, and Mary Salome carried an incense burner (small thurible). The merchant is an East End barrowboy, probably minding the stall while his master is away, wheeling and dealing to get a good price but also sensitive to the women’s grief. The angel is strong, straightforward, unshowy, his declaration that Christ is risen convinces and draws us in. The repeated refrain ‘How great is our grief’ needs to be carefully handled so it doesn’t become melodramatic. It needs to be heartfelt and spoken differently each time it occurs.
    [Show full text]
  • Three Trials and Three Denials
    (26) First Examined by Annas (Jn. 18:12-14,19-23) (27) Trial by Caiaphas & Council (Mt. 26:57,59-68; Mk. 14:53,55-65; Lk. 22:54,63-65; Jn. 18:24) (28) Peter’s Triple Denial (Mt. 26:58,69-75; Mk. 14:54,66-72; Lk. 22:54-62; Jn. 18:15-18,25-27) (29) Condemnation by the Council (Mt. 27:1; Mk. 15:1; Lk. 22:66-7:1) 1. Only the Gospel of John records a preliminary hearing before Annas, prior to the trial by Caiaphas (Jn. 18:12-14,19-23). a. The Roman components disappear between Jesus’ delivery to Annas (Jn. 18:12) and Jesus’ delivery to Pilate (Jn. 18:28). #452 a #2608 :ch nanyah 28x חֲנַנְיָה .b. Annas comes from the Hebrew. Ἅννας 4x: Annas (Lk. 3:2; Jn. 18:13,24; Acts 4:6) fr Hannaniah. 11 individuals in the Hebrew Bible bear this name. c. Josephus also wrote about Annas (Jos., Ant. 18, 26; 20, 197). d. A synopsis of Annas and his crime syndicate is provided in Grace Notes (Acts, Section I, Lesson 10, located at Acts 4:6). e. The Apostle John was known to the high priest and had access to his house (Jn. 18:15-16). 1) John’s mother Salome was Mary’s sister (Jn. 19:25 cp. Mt. 27:56 & Mk. 15:40). 2) This not only made John and Jesus cousins, but made them both kinsmen with Elizabeth (Lk. 1:5,36). Thus, their lineage made them royal Davidic with priestly connections.
    [Show full text]
  • Reading the Emotions of Salome: Sympathy for the Devil Or Fear and Loathing Diane Hoeveler Marquette University, [email protected]
    Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2001 Reading the Emotions of Salome: Sympathy for the Devil or Fear and Loathing Diane Hoeveler Marquette University, [email protected] Published Version. Prism(s): Essays in Romanticism, Vol. 9 (2001): 87-108. © 2001 International Conference on Romanticism. Used With Permission. A Reading of the Emotions of Salome: Sympathy for the Devil, or Fear and Loathing Diane Long Hoeveler n October 1876 Gustave Flaubert was engaged in writing what I would become perhaps his most well-known and successful piece of short fiction, "A Simple Heart." This narrative dissects the life of an innocent servant woman, ironically named Felicity, who rransfers her love and spiritual devotion from object to object until she finally settles, afrer life's many disappointments, on a stuffed and tattered parrot as the incarnation of her god of love. The horror of Flaubert's story can be located in his dark and cynical portrayal of love and spiritual devotion as a form of fetishism, a mad scramble for apparently random substitute objects to compensate for the original wound in the psyche, the primor­ dial fall we all supposedly make from a sense of original wholeness and self-sufficiency within the individual ego into psychic fragmentation. Felicity's pathetic stuffed parrot functions as a fetish, while fetishism-or the displacement of the sexual object by a metonymic substitute-stands in Flaubert as the originating source of both love and religious worship. 1 88 Diane Long Hoeveh Although often considered the exact opposite of a "romantic" work, Flaubert's tale is important as an example of what I would call the "post­ romantic residue," the reaction against romanticism that lingered in nineteenth-century literary culture, on the continent as well as in Britain.
    [Show full text]
  • THE MYRRH-BEARING WOMEN Joseph of Arimathea and Nicodemus the SEVEN DEACONS and EARLY EVANGELISM
    THE MYRRH-BEARING WOMEN Joseph of Arimathea and Nicodemus THE SEVEN DEACONS AND EARLY EVANGELISM May 19, 2013 3rd Sunday of Pascha Revision F GOSPEL: Mark 15:43-16:8 EPISTLE: Acts 6:1-7 Table of Contents Identity of the Holy Women ........................................................................................................................................ 21 Gospel Lesson: Mark 15:43-16:8 ............................................................................................................................... 22 The Virgin Mary .................................................................................................................................................... 25 Mary Magdalene .................................................................................................................................................... 25 Mary and Martha of Bethany ................................................................................................................................. 26 Salome, Mary, Joanna, and Susanna ...................................................................................................................... 26 Joseph and Nicodemus ........................................................................................................................................... 27 Epistle Lesson: Acts 6:1-7 .......................................................................................................................................... 29 Introduction ...........................................................................................................................................................
    [Show full text]
  • John the Apostle, the Revelator
    JOHN THE APOSTLE, THE REVELATOR 1. Not to be confused with John, the baptizer, whose ministry was recorded by Luke some 30 years prior to John's Revelation and whose ministry took place some 30 years or more prior to Luke's recording of it. John, the Apostle, was a disciple of John, the baptizer. 2. John, the Apostle, was the son of Zebedee, a fisherman residing near Capernaum on the Sea of Galilee (Mat 4:21, 22; Mar. 1:19, 20; Luk. 5:10). As the third woman accompanying the two women to the tomb is called Salome by Mark whereas Matthew calls her: "the mother of the sons of Zebedee", John's mother must be this same Salome. In John 19:25, the third woman at the cross is said to be the sister of Jesus' mother, hence Salome was also the sister of Mary, the Mother of Jesus (Mar. 15:40, 16:1; Mat. 27:56 with Joh. 19:25). Therefore John the Apostle was a first cousin to Jesus. This explains why Jesus placed Mary in John's keeping at the cross: "Son, behold thy mother" (John 19:27). As Jesus' brothers were unbelievers until after the Resurrection (Joh. 7:2-3, cp. Acts 15:4-7), the Lord could not place Mary under James' or the other's (Joseph, Judas and Simon - Mar. 6:3) protection. Thus, as the nearest kinsman (kinsman-redeemer) that was a converted follower, John was given this charge. JOHN 19:25 MATTHEW 27:56 MARK 15:40 1. Mary, mother of Jesus 2.
    [Show full text]
  • Who Was Responsible for the Crucifixion Ofjesus?
    C HAPTER 10 Who Was Responsible for the Crucifixion ofJesus? CAIAPHAS, PONTIUS PILATE, AND THE HERODS he question of who is responsible for putting Jesus to death has been argued and re-argued on a regular basis. Those who read the gospel T accounts literally assign the blame largely to the Jews, led by Caiaphas, and see Pilate as someone who unwillingly went along with their demands. Current scholarship points toward Pilate and the Romans who were seeking to prevent a riot, though Caiaphas and the other Jewish leaders might have encouraged such a view.1 Herod is mentioned in the gospels in relation to Jesus’ death only because Pilate sees him as a way to avoid responsibility. Historically, Herod probably had nothing to do with Jesus’ death, though he did put John the Baptist to death, whether to prevent a rebellion or because of John’s criticism of his marriage. The books of three of the five authors here—Burgess, Ricci, and Kazantzakis—divide the blame between the Romans, led by Pilate, and the Jews, led by Caiaphas. Mailer’s novel puts the burden completely on the Jews, while Ricci’s does the same for the Romans. All five writers draw on the gospels and noncanonical writings and legends in crafting their characterizations of Caiaphas, Pilate, and Herod. CAIAPHAS Burgess’ novel develops Caiaphas much more fully than do any of the other books. The novels by Kazantzakis, Ricci, and Saramago barely mention him, as does Mailer’s, though Mailer’s lack of mention means much more than those of the others.
    [Show full text]