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.
This article considers strategies shared by Islamic and Christian feminists in exposing and upending biased historical and exegetical methodologies that further attitudes, laws, and social practices that marginalize and oppress women.
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?
This paper argues that a close reading of Deborah's 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.
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.
The unilateral authority of males is evident in shaping nearly every culture throughout history. Further, when patriarchy is framed as a biblical ideal, it is not only at odds with the teachings of Scripture and the purposes of God’s covenant people, it also becomes a deadly spiritual disease that chokes life all around it.
While agreeing that God is not male, some tradition-minded Christians have taught that God is masculine. The difference here is that God may represent a kind of masculine spiritual principle without being “male” in the literal sense. The purpose of this article is to refute this idea
This article has shown that the Gen 3:15 Edenic covenant began in the Garden with the woman. It was then initially fulfilled with Deborah and Jael in Judg 4 and 5. Indeed, the Jael story actualizes the Gen 3:15 promise.