It is always our duty to ask ourselves whether the kind of speech we voice and the kind of rhetoric we listen to engenders respect for our neighbor, no matter how different she or he might be from ourselves, or whether it is sowing the seeds of hatred and violence.
Jacob ben Aaron ben Shelamah was the Samaritan high priest from 1861 until his death in 1916. Jacob ben Aaron was not only the spiritual leader of his people, he also represented the Samaritans to Western scholars who, in the late nineteenth century, had begun to take an interest in the history and customs of the Samaritan people.
The parable of the Good Samaritan came as a response to the lawyer’s question, “And who is my neighbor?” The lawyer wanted Jesus to draw a circle defining who is inside, and therefore the neighbor I must love, and who is outside. Jesus, by using Leviticus 19:34, ingeniously turned the lawyer’s question on its head.
This article is a sample chapter of Marc Turnage’s, Windows into the Bible: Cultural and Historical Insights into the Bible for Modern Readers (Springfield, Mo.: Logion, 2016), which will be released at the end of March 2016.
In an important study entitled The Gospel of Signs, Robert Fortna correctly identified a Jewish-Christian source embedded in the Fourth Gospel. This article is based upon the conclusions of Fortna’s research and explores their significance. I will also point out additional evidence Fortna overlooked that clarifies the origins and intentions of the Jewish-Christian source embedded in the text of the Fourth Gospel.
Scholarship has recognized the similarities between the Parable of the Talents and the historical account of Archelaus’ attempts to inherit the kingdom of his father, Herod the Great. When Herod died, Caesar Augustus divided the kingdom between Herod’s three sons, Archelaus, Antipas and Philip.
Salome’s image has been obscured and marred due to the personas created for her by writers of the past 150 years. Salome is famous for the part she played in the execution of John the Baptist. Since 1863, she has been depicted in books and films as morally depraved. Diligent research reveals, however, that the real Salome is much different than popular portrayals.