Many of us were raised in churches that taught that women should be silent in the church because of the teachings of Paul in 1 Corinthians 14:34. When we read the passage, sure enough, we see the following words on the pages of the Bible, “Women should remain silent in the churches. They are not allowed to speak…” "If women want to inquire about something,” Paul continues in verse 35, “they should ask their own husbands at home; for it is disgraceful for a woman to speak in the church.”
First-century Corinth and its challenges were not so different from our own. Upwardly mobile Christians facing radically diverse ethnic, religious, economic and social conditions. The church divided over issues of leadership and authority, sexual morality, gender and worship, marriage and divorce. Sound familiar? Yet as Alan Johnson highlights in this excellent commentary, in the midst of this detailed, practical letter to a church in crisis Paul has penned one of the greatest paeans to love ever written.
Despite his special pastoral relationship with the church in Corinth, Paul confronted numerous local and cultural problems needing to be addressed. Utilizing a range of ancient sources, Craig Keener explains these problems and how Paul's arguments would have been communicated to a first-century audience.
Since the middle of the twentieth century there has been an ongoing, sometimes acrimonious debate over the meaning of “head” (Greek, kephalē) in Paul’s letters, especially 1 Corinthians 11:3 and Ephesians 5:23. This article is an attempt to review the most significant scholarly literature that has emerged in the debate and to summarize each without critique.
Two years ago, I made friends with a woman in another state via social media. We communicated through Facebook and Instagram, and sometimes on Twitter. She was thoughtful, caring, and generous. She wrote about her children, her family, and the ways God was working in her life. She has several kids, and always seemed to be laughing about the ups and downs of raising a big family. I admired her, was maybe even a little jealous of her overflowing life.
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.