The issue of the so-called Elohistic Psalter has intrigued biblical scholars since the rise of the historical-critical enterprise. Scholars have attempted to discover why the name Elohim is used almost exclusively within Pss 42–83, and in particular they have attempted to identify the historical circumstances which explain this phenomenon. Traditionally, an original Yhwh was understood to have been replaced by Elohim. Frank-Lothar Hossfeld and the late Erich Zenger propose that the use of the title Elohim is theologically motivated, and they account for this phenomenon in their redaction-historical work. Wardlaw here builds upon their work (1) by integrating insights from Dell Hymes, William Miles Foley, and Susan Niditch with regard to oral-traditional cultures, and (2) by following the text-linguistic approach of Eep Talstra and Christof Hardmeier and listening to canonical texture as a faithful witness to Israel's religious traditions. Wardlaw proposes that the name Elohim within the Psalms is a theologically-laden term, and that its usage is related to pentateuchal traditions.
In a culture where gender neutrality is the ideal, why is it significant that we were created differently as male and female? As the ethical consequences of the gender debate in the last generation manifest themselves, this book explores biblical teaching in order to work toward a Christian perspective. This discussion traces the theme of creation as male and female through the canon from the Pentateuch to the epistles and demonstrates how Pauline interpretation flows from Genesis 1-3. The grounding of the distinction between male and female in Genesis 1 as the climax of creation suggests the ethics associated with creation as male and female abide universally and for all time. This book intends to present a comprehensive, yet reasonably concise, presentation of biblical teaching on creation as male and female without bogging down in the detailed disputes between complementarian and egalitarian writers. This discussion considers each passage within its literary context, and patristic writers from the first few centuries of the church function as a control on interpretation.
The issue of the so-called Elohistic Psalter has intrigued biblical scholars since the rise of the historical-critical enterprise. Scholars have attempted to discover why the name Elohim is used almost exclusively within Pss 42–83, and in particular they have attempted to identify the historical circumstances which explain this phenomenon. Traditionally, an original Yhwh was understood to have been replaced by Elohim. Frank-Lothar Hossfeld and the late Erich Zenger propose that the use of the title Elohim is theologically motivated, and they account for this phenomenon in their redaction-historical work. Wardlaw here builds upon their work (1) by integrating insights from Dell Hymes, William Miles Foley, and Susan Niditch with regard to oral-traditional cultures, and (2) by following the text-linguistic approach of Eep Talstra and Christof Hardmeier and listening to canonical texture as a faithful witness to Israel's religious traditions. Wardlaw proposes that the name Elohim within the Psalms is a theologically-laden term, and that its usage is related to pentateuchal traditions.
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