The Angels in Sūrat al-Malāʾika: Exegeses of Q. 35:1

2008 ◽  
Vol 10 (1) ◽  
pp. 50-70
Author(s):  
S.R. Burge
Keyword(s):  
Creative Power ◽  
Power Of God

The opening aya of Q. 35 (Sūrat al-Malāʾika or Sūrat al-Fāṭir) is one of only a few which describe the relationships between God, humans and angels: it attests to the creative power of God and describes the angels as winged messengers, the only aya in which angels are portrayed in this way. However, two of the most important words in this aya are often passed over without comment or consideration by modern translators and commentators alike: malak (malāʾika) and fāṭir, which are usually given the translations ‘angel’ or ‘messenger’ and ‘Creator’ respectively. The precise meanings of malak and fāṭir are not the only difficulties in this aya that appear to have posed problems. The three distributive adjectives found in the aya (mathnā, thulāth and rubāʿ) tend in modern translations to be given interpretations not found in the classical exegeses of the aya. This article will discuss the implications of the various different interpretations of these five terms, and explore whether they are best translated following the modern translators or the classical exegetes.

The imago Dei as a Refractive Symbol

2020 ◽  
pp. 62-85
Author(s):  
Adam Pryor
Keyword(s):  
Image Of God ◽  
Imago Dei ◽  
Living Systems ◽  
Individual Organism ◽  
Creative Power ◽  
The Image Of God ◽  
Power Of God

This chapter focuses on two key themes constructive accounts of the imago Dei must address: the continuing relevance of the image/likeness distinction beyond its original exegetical framing and how what we mean by ‘image’ might be better theologically rendered as ‘symbol.’ Situating the doctrine in the wider biblical cosmogony from which it arises, while focusing on three historical theologians—Irenaeus, Augustine, and Schleiermacher—the chapter builds a case for what constitute inescapable elements of this symbol. Building on this historical recapitulation, it is argued that to be the image of God is to be a symbol of God: one who refracts the creative power of God evidenced in cosmogonies to facilitate the flourishing intra-action of living systems with the habitable environment. The consequence of this approach is that to be the imago Dei is not something properly ascribed to any individual organism as a marker of distinctiveness, but it describes a particular type of astrobiological intra-action that extends the creative power of the divine as a refraction, not merely a reflection.

Commentary on the Johannine Prologue

2003 ◽  
Vol 60 (1) ◽  
pp. 16-33 ◽  
Author(s):  
Barbara Newman
Keyword(s):  
Human Body ◽  
Creative Power ◽  
Gender Neutral ◽  
Neutral Language ◽  
Power Of God

This article is a translation of Hildegard's commentary on the Johannine prologue, taken from her Book of Divine Works, with an introduction emphasizing the themes of the divine image and the holiness of the human body as an analogue of both the cosmos and the creative power of God. The note introducing the translation comments on Hildegard's prophetic, pictorial style and explains why her highly gendered thought cannot be rendered in contemporary gender-neutral language.

Mystical Language and Magical Language

2007 ◽  
pp. 104-134
Author(s):  
Rachel Elior
Keyword(s):  
Basic Assumption ◽  
Building Blocks ◽  
Point Of View ◽  
Jewish Mysticism ◽  
Creative Power ◽  
A Chain ◽  
Infinite Power ◽  
Power Of God

This chapter examines the role of language in Jewish mysticism, explaining the concept of mystical language. In mystical thought, the basic assumption for understanding reality is that the upper and lower worlds are joined and related. The hidden world is implied in the revealed world and is seen in its unity despite its various contrasts, whereas the revealed world reflects in its variety the hidden world and draws its life and essence from it. This reciprocity is based on language, which according to the mystical point of view has a divine source whose existence is multifaceted. Speech is the unfolding of the divine being in language, and reality is simply the unfolding and revelation of the divine word. Divine language is thus a revelation in perceptible concepts of the infinite power of God within creation, understood by mystical doctrine as an infinite stream of letters or as a chain of letters and divine names whose links are connected from the highest level of the unknown being down to its revealed end. The letters are thus understood as a ‘ladder placed on earth whose top touches heaven’. Creative power is embodied in the letters of the sacred divine language, which constitute the building blocks of being and join one another in the process of creation.

scholarly journals Rethinking the creative power of God

2016 ◽  
Vol 72 (4) ◽  
Author(s):  
Jan Muis
Keyword(s):  
Political Philosophy ◽  
Soren Kierkegaard ◽  
Thomas Hobbes ◽  
The Political ◽  
Absolute Power ◽  
Creative Power ◽  
Modern View ◽  
The Cross ◽  
Power Of God

Because the notion of ‘power’, and of ‘absolute power’ in particular, is associated with coercion, violence and oppression, it is problematic to attribute power to God. Jürgen Moltmann and Eberhard Jüngel reject a ‘theistic’, ‘metaphysical’ concept of God’s ‘absolute power’ and highlight the powerlessness of the suffering and dying God on the cross. In their view, limitation of power is also central to God’s creative power. In this article, this kenotic view on God’s creative power is examined. Firstly, the political philosophy of Thomas Hobbes is explored as an important and still influential source of the modern view on absolute power as dominion. Next, it is discussed whether the innovative view on divine, creative power of Sören Kierkegaard can be seen as kenotic. Because both Hobbes and Kierkegaard refer indirectly to the classical distinction between potentia absoluta and potentia ordinata, this distinction, and its rejection by Schleiermacher, is investigated. The article concludes by proposing ‘empowering power’ as a non-oppressive and non-kenotic view on God’s creative power.

Perkembangan Bahasa dan Seni Siswa Kelas Tinggi Madrasah Ibtidaiyah Negeri I Yogyakarta

2019 ◽  
Vol 2 (2) ◽  
pp. 32-44
Author(s):  
Muhamad Rofi Fauzi ◽  
Salmadina Saktiani
Keyword(s):  
Data Collection ◽  
Language Development ◽  
Qualitative Approach ◽  
Early Age ◽  
Data Collection Technique ◽  
Children’S Work ◽  
Power Of God

The development experienced by humans when explored deeply will make people more confident in the power of God. Simple things such as the process of developing the language and art of children, in fact there is something extraordinary in it, which if disturbed will have an impact on further developments or other aspects.Writing this journal uses a qualitative approach, through observation, interviews, and documentation as a data collection technique. Based on the results of the research conducted, there are some results, namely the indicator of language development of VA class children basically has been achieved in accordance with the task of development at his age. But there are some things that have not been maximized in achieving this, such as the use of synonyms from several words, and metaphorical sentences that do not fully understand. The development of VA class art is in the phase of the Early Realism and the Early Age of Pseudo Naturalism which in the early realism phase In the period of Early Realism, children's work more closely resembled reality. Perspective awareness begins to emerge, but based on one's own vision. Keywords: Language Development, Art, Madrasah

Reading Old Books

2019 ◽  
Author(s):  
Peter Mack
Keyword(s):  
Middle Ages ◽  
Elizabeth Gaskell ◽  
Literary Tradition ◽  
Present Situation ◽  
Ngugi Wa Thiong'o ◽  
First Century ◽  
Creative Power ◽  
Urban Deprivation ◽  
A Minor ◽  
International Character

In literary and cultural studies, “tradition” is a word everyone uses but few address critically. In this book, the author offers a wide-ranging exploration of the creative power of literary tradition, from the middle ages to the twenty-first century, revealing in new ways how it helps writers and readers make new works and meanings. The book argues that the best way to understand tradition is by examining the moments when a writer takes up an old text and writes something new out of a dialogue with that text and the promptings of the present situation. The book examines Petrarch as a user, instigator, and victim of tradition. It shows how Chaucer became the first great English writer by translating and adapting a minor poem by Boccaccio. It investigates how Ariosto, Tasso, and Spenser made new epic meanings by playing with assumptions, episodes, and phrases translated from their predecessors. It then analyzes how the Victorian novelist Elizabeth Gaskell drew on tradition to address the new problem of urban deprivation in Mary Barton. And, finally, it looks at how the Kenyan writer Ngũgĩ wa Thiong'o, in his 2004 novel Wizard of the Crow, reflects on biblical, English literary, and African traditions. Drawing on key theorists, critics, historians, and sociologists, and stressing the international character of literary tradition, the book illuminates the not entirely free choices readers and writers make to create meaning in collaboration and competition with their models.

The Concentric Structure of the Wisdom Poem in Job 28

2018 ◽  
Vol 9 (1) ◽  
pp. 26-45
Author(s):  
Ruth Henderson
Keyword(s):  
Ring Structure ◽  
Central Unit ◽  
Central Section ◽  
Book Of Job ◽  
Rhetorical Question ◽  
Linear Fashion ◽  
Creative Power ◽  
Concentric Pattern ◽  
Human Effort ◽  
Concentric Structure

The enigmatic wisdom poem of Job 28:1–28 stands apart from the rest of the book of Job in style and structure. Most read this poem in linear progression as three strophes (vv. 1–11; 15–19; 23–28) with an intervening refrain (vv. 12–14; 20–22). In this study, it is suggested that the poem has been presented in the form of a concentric or compositional ring structure, which juxtaposes arguments rather than presenting them in a linear fashion. According to this structure there are five compositional units, the centre of which holds the main point of the text (A, B, C, B1, A1). A central section (C vv. 15–19), maintains the traditional view of the supreme value of wisdom. The central unit is surrounded by two inner parallel sections each beginning with a rhetorical question concerning the location of wisdom (Sections B vv. 12–14 and B1 vv. 20–22), and two outer sections (A vv. 1–11 and A1 vv. 23–28) in which two contrasting ways of acquiring wisdom are presented: by independent human effort presented in the form of a mining metaphor (A vv. 1–11); or by contemplation of God’s omnipotent creative power and reverence for Him resulting in right behaviour (A1). Each of the major units also follows a concentric pattern.

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