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John's Gospel begins: "In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through him all things were made; without him, nothing was made that has been made." This opening reflects the presentation of the Creation sequence in the first book of the Bible. Beyond this, we hypothesize that John's Gospel presents Jesus' life and ministry as a spiritual parallel to the physical creation sequence in Genesis. This makes John's Gospel markedly different form the other three Gospels, which portray a more chronological narrative. This spiritual creation structure is employed in interpreting John's Gospel, though the interpretations are not constrained by this thought. Successive chapters in this analysis consider the successive days of the spiritual creation sequence in John's gospel; with an expositional section and an exhortational one. This couplet is repeated seven times in the book, for each of the spiritual days. In each chapter, the spiritual equivalent of the component in the 'physical day' of the Genesis creation is considered alongside the presentation of Jesus Christ in each "spiritual day" of John's Gospel. The final chapter addresses questions of overall conceptual format to ensure that we have not "missed the forest for the trees," i.e.: - How are the Father and Son glorified from a spiritual creation sequence embedded in a Gospel? - Are there othe portions of scripture patterned this way and, if so, what do we gain perceiving the spiritual creation sequence within them? - How does the perception of John's spiritual creation help us to be better disciples of Jesus Christ? It is hoped the analysis presented in John's Creation will answer these questions and therefore prove of genuine worth to one walking the path of discipleship in Christ.
Sosa Siliezar investigates the presence and significance of creation imagery in the Gospel of John. He argues that John has intentionally included only a limited (albeit significant) number of instances of creation imagery and that he has positioned them carefully to highlight their significance. Sosa Siliezar contends that the instances of creation imagery used in varying contexts function collectively in a threefold way that is consonant with John's overall argument. First, John uses them to portray Jesus in close relationship with his Father, existing apart from and prior to the created order. Second, John uses creation imagery to assert the primal and universal significance of Jesus and the message about him, and to privilege him over other important figures in the story of Israel. Third, John uses creation imagery to link past reality with present and future reality, portraying Jesus as the agent of creation whom the reader should regard as the primal agent of revelation and salvation. The book concludes by underscoring how these findings inform our understanding of John's Christology and Johannine dualism.
Revised and enlarged papers from a conference held July 30-Aug. 1, 2005, in Eisenach, Germany, with additional contributions.
This book gathers together a selection of essays and articles by the author that have as their main focus the Gospel of John. They explore the symbolism of the text and the way it communicates key Johannine themes, using a narrative critical approach, with attention to the theology emerging from the literary structures. The contents employ but also seek to move beyond critical methodology to a perspective that takes seriously feminist studies, as well as Eastern Orthodox theological emphasis on the integrity of creation.
What kind of book is the Bible? Is it a rulebook or a guidebook for moral living? Is it a history book or a book filled with fascinating (and sometimes fantastic) stories? Did humans write the Bible or did God somehow speak a perfect message that the authors transcribed? Many people have asked these questions about the nature of this beautiful, odd, comforting, disturbing book the church calls its “Holy Scripture.” Charlotte Vaughan Coyle shares her own journey to make sense of the Bible in this read-through-the-Bible-in-a-year project. She discovered that the crucial work of asking hard questions and even arguing with the Bible revealed the Scriptures to be a symphony of polyphonic voices, a work of art that paints an alternative vision of reality, a complex novel-like story unavoidably embedded in its own culture and time, and yet able to give witness to the God beyond history who has acted (and continues to act) within history. With the heart of a pastor and the passion of a preacher, Rev. Coyle invites seekers and students (both churched and un-churched) to strap on their scuba gear and join her for a deeper dive beneath the surface of this immense, colorful, mysterious world of the Bible.
In this astute mix of cultural critique and biblical studies, John H. Walton presents and defends twenty propositions supporting a literary and theological understanding of Genesis 1 within the context of the ancient Near Eastern world and unpacks its implications for our modern scientific understanding of origins.
Was Mary Magdalene really mistaken when she took the Risen Lord to be a 'gardener' working near the tomb where Christ was laid after the crucifixion? In this compelling volume, Anthony M. Moore persuasively argues that Jesus must be recognised, at atheological level, as the Gardener: the Creator-God Himself. The author skilfully examines the strong evidence available to the reader that the narrative material of the Book of Signs (John 2-12), together with the 'High Priestly Prayer' of John 17, is deliberately infused with the fundamental theme of creation. The first sentence of the Gospel, 'in the beginning', meaningfully echoes the start of Genesis, and sets the tone for what is to come. 'Creation indicators', or leitmotifs, which link the signs narratives in the Fourth Gospel to the sequence of the days of creation, are unpicked in this volume in a careful survey of the placement of particular nouns and verbs within the narratives and how often they occur. Upon these foundations, the author builds his strikingly original thesis: that each miraculous 'sign' of John 2-12 corresponds to a day of creation, and that, subtly but unmistakably, John intends to reveal Jesus as the Creator in all His glory. A book that offers a novel and enlightening way of reading John's Gospel, 'Signs of Salvation' will interest any reader seeking a deeper understanding of a fundamental truth about Christ's nature: He is the God of creation, at one with and participating in the creative work of the Father.
This book is a radical exploration of the mystical teachings in the Gospel of John. It helps the reader to experience these spiritual truths for themselves, and go beyond the everyday mind, which is dominated by the ego and realize their eternal Being, which Johns Gospel calls Logos. By approaching the teachings in a meditative state, the symbolism contained within the Greek text opens out and comes alive in the present moment. The Gospel is not a historical document; it speaks directly to each person now and the states of consciousness represented in the stories are accessible now. The book contains guided meditations to help bring this to life for the reader. This awakening concerns our relationship with the whole of life. Spiritual consciousness means that we are aware of the sacredness of our connections to each other as fellow human beings, and to the creatures of the natural world. Christ and the Logos contain both masculine and feminine in balance; at this critical time, our well-being and that of our fellow creatures is dependent on this realization. ,