Sentences with phrase «biblical narrative as»

To use biblical narrative as a descriptive tool by which to picture the local church is to reduce its meaning to that of a companion image, a metaphor that reflects and enriches careful self - understanding.

She has taken many Scriptural references out of context, and does not seem to understand the Biblical narrative as a whole.

The justifying ground of Christian belief is the trinitarian and incarnational logic of biblical narrative as expressed in Christian liturgical practices.

More than any other interpreter, Wink is dedicated to the explicit use of the biblical narrative as a transformative agent.

He boldly integrates this insight with his trinitarian theology by conceiving of the biblical narrative as «the final truth of God's own reality» in the mutual relations of God the Father, His incarnate Son, and the eschatological accomplishment of their communion by the Spirit.

Placker presents an appreciative summary of Hans Frei's understanding of biblical narrative as neither moral teachings nor historical accounts, but rather as primarily narrative.

Not exact matches

What you, as self - appointed arbiter, are saying is that no «true» Christian would embrace ID and that anything less than a strict literal reading of the Genesis narrative is not «truly» biblical.

Missouri Synod theologians had traditionally affirmed the inerrancy of the Bible, and, although such a term can mean many things, in practice it meant certain rather specific things: harmonizing of the various biblical narratives; a somewhat ahistorical reading of the Bible in which there was little room for growth or development of theological understanding; a tendency to hold that God would not have used within the Bible literary forms such as myth, legend, or saga; an unwillingness to reckon with possible creativity on the part of the evangelists who tell the story of Jesus in the Gospels or to consider what it might mean that they write that story from a post-Easter perspective; a general reluctance to consider that the canons of historical exactitude which we take as givens might have been different for the biblical authors.

I think it is incredibly unfair for you to make out that anyone who is struggling to work out what they believe, and finding it difficult to «trust the Biblical narrative,» as you put it, is only «claim [ing] to be Christian.»

The recent ferment in approaches to biblical study and new forms of criticism such as canonical criticism and narrative theology give promise of offering new insights on this subject.

In Out of Sorts, Sarah Bessey helps us grapple with core Christian issues using a mixture of beautiful storytelling and biblical teaching, a style well described as «narrative theology.»

What is less clear to me is why complementarians like Keller insist that that 1 Timothy 2:12 is a part of biblical womanhood, but Acts 2 is not; why the presence of twelve male disciples implies restrictions on female leadership, but the presence of the apostle Junia is inconsequential; why the Greco - Roman household codes represent God's ideal familial structure for husbands and wives, but not for slaves and masters; why the apostle Paul's instructions to Timothy about Ephesian women teaching in the church are universally applicable, but his instructions to Corinthian women regarding head coverings are culturally conditioned (even though Paul uses the same line of argumentation — appealing the creation narrative — to support both); why the poetry of Proverbs 31 is often applied prescriptively and other poetry is not; why Abraham, Isaac, and Jacob represent the supremecy of male leadership while Deborah and Huldah and Miriam are mere exceptions to the rule; why «wives submit to your husbands» carries more weight than «submit one to another»; why the laws of the Old Testament are treated as irrelevant in one moment, but important enough to display in public courthouses and schools the next; why a feminist reading of the text represents a capitulation to culture but a reading that turns an ancient Near Eastern text into an apologetic for the post-Industrial Revolution nuclear family is not; why the curse of Genesis 3 has the final word on gender relationships rather than the new creation that began at the resurrection.

That God is constant in God's purposes goes without saying insofar as the biblical narratives are concerned.

Centuries ago, according to the biblical narrative, a man who came to be known as Abraham felt the promise of a deeply fulfilling future summoning him to leave his ancestral home and launch forth into the unknown.

I suggest that the whole biblical narrative, including Jesus, as well as all subsequent theology, is one vast story illustrating the simple fact that, in the end, we are all one, connected to each other and to our common Ground of Being.

She then follows the biblical narrative into the complexities of Israel's coalescence into a «nation»» turning aside to critique the modern (and especially German) critics who often read the Bible as though ancient Israel had developed in the same way modern nation - states develop.

It has many sources, from redaction critics who started looking at each Gospel as a whole to literary scholars like Northrop Frye and Frank Kermode who have called renewed attention to the narrative shape of biblical texts.

as well as «The Disappearance of God», «The Hidden Book in the Bible», «Commentary on the Torah», «The Bible with Sources Revealed», and «The Exile and Biblical Narrative.»

that is, the mixing of indigenous traditions with Christian biblical narratives, are not only identified but often encouraged as a continuing creative practice.

Social historians rejected the conquest model of Israel's entry into Canaan as it is described in the biblical narrative.

In fact, the number of theologians and exegetes is increasing who consider that nothing more is expressed in this feature of the biblical narrative than the important truth that Eve is of the same equal nature with Adam, «made of the same stuff», as we might say today, using a similar figure of speech to the dramatic one in Scripture.

In these studies Buber leads us on a narrow ridge between the traditionalist's insistence on the literal truth of the biblical narrative and the modern critic's tendency to regard this narrative as of merely literary or symbolic significance.

As such, the work consists of a discussion and, in some instances, a development of themes of narrative theology in biblical and ecclesial issues.

Hermann Gunkel, in a sense the unique father of us all in modern biblical scholarship, despite his insistence on saga's supervision of the Elijah narratives as we receive them, nevertheless affirms on the one hand Elijah's kinship with the greatest of all ministers of ancient Israel, Moses, in their mutual contention with their own people; and, on the other hand, Elijah's legitimate and immediate relationship to the great prophets who follow him and who, essentially, continue the work he began.

In Out of Sorts, Sarah Bessey — award - winning blogger and author of Jesus Feminist, which was hailed as «lucid, compelling, and beautifully written» (Frank Viola, author of God's Favorite Place on Earth)-- helps us grapple with core Christian issues using a mixture of beautiful storytelling and biblical teaching, a style well described as «narrative theology.»

It has affected how man understands the origin of life (including his own) on this planet, and Christianity has had to contend with, account for, and reconcile its implications with the biblical narrative of creation and purpose as stemming from God.

Certainly Catholic Christianity has had the ability to engage the issue with seriousness, with respect for the integrity of science, and with fidelity to the biblical narrative and Tradition of the Church, as evidenced by the efforts of Pope Pius XII (Humani Generis, 1950) and Pope John Paul II [Address to the Pontifical Academy of Sciences, October 22, 1996).

the truth of biblical religion is pure and not the problem»... I envy yr faith... human artifacts, especially religious narratives are rarely as pure as you might suggest... at best, I think the scriptures shld be a means and not an end, so in that sense need not be pure... they are merely signposts along the way... ultimately, we are the judges of what is pure or impure, higher or lower, right or wrong

The third section, fifty percent longer than the first two together, considers several theological and philosophical questions raised by the relation between sacred theology and contemporary evolutionary theory, They include the distinction between spirit and matter, the unity of spirit and matter, the concepts of becoming, of cause and of operation, the creation of the spiritual soul, the insights of Aristotelian scholasticism, and the biblical narrative of man's origin as it relates to the theory of evolution.

Accepting the notion that biblical narratives are the product of many layers of oral tradition, they see scripture as paradigmatic of humanity's interpretation of the experience (there is no such thing as uninterpreted experience!)

the revision of biblical authority as an absolute, propositional standard into a narrative structure 7.

Just as the biblical narrative carries its own force and can not be reduced to a single teaching or moral, faith as expressed in story and metaphor is coherent on its own terms.

Some day, Wilson hopes, the «evolutionary epic» will replace the biblical mythology as our core religious narrative.

Whereas Wellhausen had challenged the historical reliability of the biblical account on the grounds that it was compiled from multiple sources that originated long after the events reported, his intellectual successors a century later were employing methodologies (such as rhetorical criticism and narrative criticism) that seemed to assume that the biblical writers were not particularly concerned with historical accuracy anyhow.

In the biblical narrative, hierarchy enters human relationship as part of the curse, and begins with man's oppression of women — «your desire will be for your husband, and he will rule over you» (Genesis 3:16).

The Abraham - Isaac - Jacob and David cycles are brought back in Chapter Four as evidence that Biblical narrative together with lyric is in fact rich in figures of speech and can afford insight into characters» internal and external features.

Some characteristics of biblical narrative are easily recognised as literature by modern standards.

In The Art of Biblical Narrative, Robert Alter suggests a key to characters» inner thoughts and motivations which would be helpful even to the inexperienced reader of Scripture: first, external details (appearance, clothing, gestures); second, «one character's comments on another»; third, «direct speech by the character»; fourth, «inward speech... quoted as interior monologue»; and fifth, «statements by the narrator about the attitudes and intentions of the personages» (pp.116 - 117).

And I assure you that my knowledge of biblical controversies is miniscule, but the one were discussing I have spent some time looking into, it's very intriguing to me that these things exist alongside each other... as I said earlier, John's gospel is a good example of historical detail (with respect to the synoptics) seemingly playing second fiddle to a developing narrative (the Johanine tradition).

I think Jüngel's dual role as theologian and biblical scholar stood him very well in calling attention to the importance of this insight in the biblical narrative.

«Listener to the Christian message, «2 occasional preacher, 3 dialoguer with biblical scholars, theologians, and specialists in the history of religions, 4 Ricoeur is above all a philosopher committed to constructing as comprehensive a theory as possible of the interpretation of texts.5 A thoroughly modern man (if not, indeed, a neo-Enlightenment figure) in his determination to think «within the autonomy of responsible thought, «6 Ricoeur finds it nonetheless consistent to maintain that reflection which seeks, beyond mere calculation, to «situate [us] better in being, «7 must arise from the mythical, narrative, prophetic, poetic, apocalyptic, and other sorts of texts in which human beings have avowed their encounter both with evil and with the gracious grounds of hope.

The coherence of this story made figural interpretation possible; certain events within and outside of scriptural narrative were viewed as having prefigured or reflected the central biblical events.

Again, the narrative itself, as read by the sympathetic and sensitive reader, constitutes its own best commentary; and again, therefore, we call brief attention to points in the biblical text which, in our judgment, ought to be specially noted:

We are dismayed by interpretations of biblical narratives — like Cecil B. DeMille's epics — that focus on their special - effects potential, such as Jesus» disappearing like some movie ghost.

Lutheran theologian Joseph Sittler respected the power of linear narrative, but he was constantly reminding us that to receive the full majesty of the biblical story we must accept it as an uncontrollable and unpredictable work of art.

The inspired writers introduced dramatic roles as a way of allowing the most significant characters of Scripture to manifest themselves and to speak, and so to progress the Biblical narrative from within.

Truth for postliberals is said to be merely intra textual --» true to the biblical narrative» or true as «an adequate use of concepts and symbols within the Christian linguistic community.»

But something about narrative theology (and narrative in other disciplines as well) that has inhibited its lure is how its proponents decide which narrative is preferable even within the larger whole they generally agree upon — biblical narrative.

As an artist, one of the criteria I will not use to critique the movie is how accurately it follows the biblical narrative.

N. T. Wright puts what I'm trying to say succinctly when he argues that the entire burden of the Pauline letters is to teach new Christians to «think within the biblical narrative, to see themselves as actors within the ongoing scriptural drama: to allow their erstwhile pagan thought - forms to be transformed by a biblically based renewal of the mind» (emphasis added).