Christians are used to hearing about Joseph and Mary, usually around Christmas. Then, they’re the supporting cast, and Jesus is the focus. They certainly don’t often come up in conversations about Christian marriage. Perhaps they should. If we pay attention, Joseph and Mary point us toward what makes a good marriage.
Most evangelicals are accustomed to the Mary of icons with an emotionless face, the Mary of statues draped in a powder blue robe, and the Mary of piety who quietly and submissively obeys orders. And, if you are like me, you have been nurtured in a faith that, intentionally or not, ignores Mary.
Despite the positive reviews I had heard of The Nativity Story, I went to the movie prepared to be a critic. After all, I thought, it was my duty to see through the cinematic gimmicks and factual errors to produce a film review. Though I came to the film a bit cynically, I left feeling uplifted and moved.
Greater awareness of Mary Magdalene’s exceptional role in the events surrounding Jesus’ death, burial, and resurrection and her leadership in the early church should not only help us do justice to her memory but also inspire us in our struggle for gender equality.
Digging deeper into Prov 31:10–31 in context reveals it was never intended to be a how-to manual for becoming the perfect woman. In the context of Proverbs, this passage is the parting mnemonic incentivizing young men to pursue wisdom and marry wisely.
Over the past forty years, the remarkable presence of women in Prov 1–9 has drawn an equally remarkable number of studies, a gift from the rise of feminism and women in the academy. The combination of these two forces brings attention to the once invisible women in the text, figures generally overlooked or ignored as males have read and interpreted the text for other males. Now, however, the text again gives birth to these marginalized figures, providing them with bodies, eyes, ears, hands, feet, and especially, mouths for speech. Of 256 verses in Prov 1–9, 132 specifically mention or speak about women and another seventeen verses either introduce these texts or draw conclusions from them;hence fifty-eight percent of Prov 1–9. Yet, ironically, all this attention to women comes because of the writer’s interest and concern for young men (1:4), with a secondary appeal to older, wise men (1:5). For the sages, it would seem that the way to a man’s heart is not through food, but through women. After all, the author seems to assume, what better way to engage the attention of a young man than by speaking about or describing women?
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.