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Unwarranted criticisms by evangelical scholars of Deborah’s leadership in Judg 4–5 continue to devalue her work as “abnormal,” “wrong,” something done only in private or even in subservience to Barak. Some rabbinical scholars go so far as to brand her an arrogant woman who deserves God’s punishment. In contrast, this paper argues that a close reading of her story and song reveals an ’eshet hayil, a “woman of valor” (cf. Ruth 3:11, Prov 12:4, 31:10). This is evident not only in the direct references to her, but also in the narratives regarding her associates Barak and Jael.

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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.

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In the study of female authority and church leadership in scripture, much attention has been paid to the arguments in scripture, but much less has been made of the voices in scripture.

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Now Deborah, a prophetess, the wife of Lappidoth, was judging Israel at that time. She used to sit under the palm tree of Deborah between Ramah and Bethel in the hill country of Ephraim; and the sons of Israel came to her for judgment. (Judges 4:4–5, NASB)

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