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Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov's consideration.
Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov’s consideration.
In Ontological Aspects of Early Jewish Anthropology, Tyson L. Putthoff explores early Jewish beliefs about how the human self reacts ontologically in God’s presence. Combining contemporary theory with sound exegesis, Putthoff demonstrates that early Jews widely considered the self to be intrinsically malleable, such that it mimics the ontological state of the space it inhabits. In divine space, they believed, the self therefore shares in the ontological state of God himself. The book is critical for students and scholars alike. In putting forth a new framework for conceptualising early Jewish anthropology, it challenges scholars to rethink not only what early Jews believed about the self but how we approach the subject in the first place.
"[Girard's] methods of extrapolating to find cultural history behind myths, and of reading hidden verification through silence, are worthy enrichments of the critic's arsenal." -- John Yoder, Religion and Literature.
Dark Mirrors is a wide-ranging study of two central figures in early Jewish demonology—the fallen angels Azazel and Satanael. Andrei A. Orlov explores the mediating role of these paradigmatic celestial rebels in the development of Jewish demonological traditions from Second Temple apocalypticism to later Jewish mysticism, such as that of the Hekhalot and Shi'ur Qomah materials. Throughout, Orlov makes use of Jewish pseudepigraphical materials in Slavonic that are not widely known. Orlov traces the origins of Azazel and Satanael to different and competing mythologies of evil, one to the Fall in the Garden of Eden, the other to the revolt of angels in the antediluvian period. Although Azazel and Satanael are initially representatives of rival etiologies of corruption, in later Jewish and Christian demonological lore each is able to enter the other's stories in new conceptual capacities. Dark Mirrors also examines the symmetrical patterns of early Jewish demonology that are often manifested in these fallen angels' imitation of the attributes of various heavenly beings, including principal angels and even God himself.
The study explores the eschatological reinterpretation of the Yom Kippur ritual found in the Apocalypse of Abraham where the protagonist of the story, the patriarch Abraham, takes on the role of a celestial goat for YHWH, while the text’s antagonist, the fallen angel Azazel, is envisioned as the demonic scapegoat. The study treats the application of the two goats typology to human and otherworldly figures in its full historical and interpretive complexity through a broad variety of Jewish and Christian sources, from the patriarchical narratives of the Hebrew Bible to early Christian materials in which Yom Kippur traditions were applied to Jesus’ story.
Antagonistic imagery has a striking presence in apocalyptic writings of Second Temple Judaism and early Christianity. In these visionary accounts, the role of the divine warrior fighting against demonic forces is often taken by a human adept, who becomes exalted and glorified as a result of his encounter with otherworldly antagonists, serving as a prerequisite for his final apotheosis. Demons of Change examines the meaning of these interactions for the transformations of the hero and antihero of early Jewish and Christian apocalyptic accounts. Andrei A. Orlov traces the roots of this trope to ancient Near Eastern traditions, paying special attention to the significance of conflict in the adept's ascent and apotheosis and to the formative value of these developments for Jewish and Christian martyrological accounts. This antagonistic tension plays a critical role both for the exaltation of the protagonist and for the demotion of his opponent. Orlov treats the motif of the hero's apotheosis in the midst of conflict in its full historical and interpretive complexity using a broad variety of Jewish sources, from the creational narratives of the Hebrew Bible to later Jewish mystical testimonies.