By S. D. Giere
Expert by means of the knowledge that each one texts are intertexts, this paintings develops and employs a mode that makes use of the concept that of intertextuality for the aim of exploring the heritage of interpretation of a biblical textual content. With Day One, Genesis 1.1-5, because the basic textual content, the intertextuality of this biblical textual content is investigated in its Hebrew (Masoretic textual content) and Greek (Septuagint) contexts. The learn then broadens to take in the intertextuality of Day One in different Hebrew and Greek texts as much as c. 2 hundred CE, relocating from Hebrew texts comparable to Ben Sira and the lifeless Sea Scrolls to Greek texts akin to Josephus, Philo, the recent testomony, and early Christian texts. What emerges from it is a new glimpse of the intertextuality of Day person who presents perception into the complexity of the intertextuality of a biblical textual content and the function that language performs in intertextuality and interpretation. as well as the methodological insights that this strategy offers to the historical past of interpretation, the learn additionally sheds mild on textual and theological questions that relate to Day One, together with the genesis of creatio ex nihilo.
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Trained by means of the certainty that each one texts are intertexts, this paintings develops and employs a style that makes use of the idea that of intertextuality for the aim of exploring the historical past of interpretation of a biblical textual content. With Day One, Genesis 1. 1-5, because the basic textual content, the intertextuality of this biblical textual content is investigated in its Hebrew (Masoretic textual content) and Greek (Septuagint) contexts.
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Extra resources for A New Glimpse of Day One: Intertextuality, History of Interpretation, and Genesis 1.1-5
38, (42-43) given the focus changes to the wild kingdom with little cosmogonic language. 2. Habel states that these verses ‘focus on the confinement of the chaos waters of the sea to protect the newly constructed earth. 16, where it is coupled with . 1-5 in the Hebrew Bible seed for angelology when the morning stars () sing and the sons of God () shout for joy. 8. 76 Though light is mentioned first, there is no value judgment about either. 19. 1-5, appears elsewhere in the intertextual tapestry.
1-5 21 narrative and places the narrative at a beginning. 1, stating that God created the heavens and the earth, and puts the beginning that signals in context – it is a creative beginning. 20 The object(s) of this first creative verb is the merism, . 2 and function together as the simple predicate24 that describes the proto-earth. Exactly what the pair mean is unclear, though both ‘chaos’25 and ‘desert/emptiness’26 seem sufficient guesses. R. Garr, ‚God's Creation: in the Priestly Source,‛ HTR 97 (2004) finds that God's creative action as described by in the Priestly Source as both constructive of the good and counteractive of the 'turbulent land' and 'sea monsters'.
Orlinsky, ‚The Plain Meaning of Ruah in Gen. 2,‛ JQR 48 (1957): 174-182; von Rad, Genesis, 47; Speiser, Genesis, 5; Westermann, Genesis 1-11, 107f, Wenham, Genesis 1-15, 16f; Sarna, Genesis, 6. P. Smith, ‚Use of Divine Names as Superlatives,‛ AJSL 45 (1928/1929), and adopted by such notable commentators as von Rad, Genesis, 47-48, and Speiser, Genesis, 5. Westermann, Genesis 1-11, while acknowledging the possibility that can be used as a superlative, does not concur with this opinion (107-108).