As we walk with Hannah, we see how she encounters and discovers who God says she is. This is a message not just for moms, but for all of us. Every day of our lives, we are asked to fit into a certain shape, but we don’t always fit the mold.
Luke 1:46–55 is both a beautiful hymn sung to glorify God and an interpretive puzzle. This text, widely known as the Magnificat, is one of several songs Luke uses at a crucial moment in the birth narratives in order for characters to explain the amazing ways in which God is moving. Luke includes it in his narrative to foreshadow the ministry of reversal Jesus will bring, first to Israel and eventually to all people. It is a praise hymn made up of a combination of OT allusions—more specifically, allusions to the Greek translation of the OT commonly referred as the Septuagint and abbreviated LXX. What follows is a study of the LXX allusions that combine to make up this praise hymn—allusions which have the cumulative effect of presenting Mary as a key character in the continuation of God’s OT promises and plan.
The struggles of Christian women with sexuality, food, and their bodies reflect the Church’s historic ambivalence towards the body—particularly the female body. The embodiment of God in the Incarnation, Jesus’ embrace of lepers, prostitutes, and women, and Jesus’ bodily resurrection establish a radical foundation of body affirmation. Yet the history of the Church demonstrates a decidedly negative view of the body and sexuality.