Julian of Norwich, in her Revelations of Divine Love, recounts and meditates on her revelations of Christ dying and the significance of his body and blood in his work of salvation and continued work of sustaining us.
"In many modern churches, only masculine language for God is deemed acceptable. This restriction is historically and, more importantly, biblically unfounded ... By having an essentially masculine view of God, we blind ourselves to other ways we may connect to God and understand God. This not only distorts our image of God, but a purely masculine view also negatively affects the way we interact with one another—most prominently, how the church interacts with women."
This issue of Priscilla Papers includes an article by Abigail Dolan titled, “Imagining a Feminine God.” Abby’s article was among the winners of CBE International’s 2017 student paper competition. The other winners, also published here, are Haley Gabrielle and Nikki Holland. In this issue you will also read articles on 1 Peter 3 by John Nugent and on wealthy women of the NT era by Margaret Mowczko.
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.