In the current issue of the Journal for the Scientific Study of Religion , Richard Pitt of Vanderbilt examines the coping mechanisms used by black gay men within congregations that oppose homosexuality. His abstract summarizes: “Using interviews with black gay Christian men, I uncover a . . . . Continue Reading »
James Jordan has handled the problems surrounding Jesus’ “three days and three nights in the heart of the earth” (Matthew 12:40) not by pushing Jesus’ death back from Friday to mid-week but by reinterpreting what “heart of the earth” means. Earth often . . . . Continue Reading »
A few structural features of the crucifixion narrative in Matthew 27. First, there are a couple of fairly clear small chiasms. The scene of mockery in the Praetorium is a neat chiasm: A. Soldiers gather and strip Jesus, vv 27-28a B. Robe on Jesus, v 28b C. Crown of thorns on Jesus’ head, . . . . Continue Reading »
Song of Songs 7:11-12 contains a neat little allegory of redemptive history. It begins with an invitation from the bride to the lover to “lodge the night” in the field. The NASB’s “in the villages” in 7:11 might be translated “in the coverings,” . . . . Continue Reading »
Yahweh breathed into Adam’s nostrils and he became a living soul. According to the Song, it’s the fruity breath of the beloved that enlivens the lover (7:8). Keel notes that apples were considered an aphrodisiac in the ancient world. Soul is desire in Scripture. Having . . . . Continue Reading »
In his commentary on the Song of Songs, Jenson raises the question of God’s impassibility (how could he not!?). Israel’s God is not impassible if that connotes, as it usually did for extra-biblical thought, timelessness. Yet, Israel’s God is also not passible in a . . . . Continue Reading »
Song of Songs 7 contains a number of references to the conquest. The bride’s eyes are like “pools in Heshbon” (7:4), and Heshbon is the capital city of Sihon of the Amorites (Numbers 21:26), who was one of the first kings conquered by the Hebrews as they came to the . . . . Continue Reading »
The romantic approach in the Song of Songs mimics the liturgical approach of Bride Israel to her Husband in sacrificial worship. She is spiced and fragrant, so the King can delight in her aroma. He inspects her and finds her “flawless” (4:7), and draws her near to taste her . . . . Continue Reading »
The bride’s navel is full of “mixed” or “spiced wine.” Her belly is like a heap of wheat among the lotuses. That is, she is the land of wheat and vineyards, she is the Eucharistic bride who never lacks bread and wine. In loving her, the bridegroom . . . . Continue Reading »
“Your belly is a heap of wheat surrounded by lotuses,” says the lover in Song of Songs 7:3. Shortly (7:7), he will change the image to say that the beloved is a palm tree that he wishes to climb to gather the clusters that are his beloved’s breasts. Much of this imagery is . . . . Continue Reading »
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