Cain & Abel

Sönerna till Gud går in till döttrarna till människan. Det finns jättar på jorden. Vad handlar det här om?

Det fokuserar jag på i den här delen. Svaret är att det mest troligt är en snarast romantisk beskrivning hur männen ser på de vackra kvinnorna och tar dem till hustrur och får barn tillsammans - precis det som 1 Mos 5 strax innan exemplifierat.

Artiklarna baseras på den forskning som finns publicerad på www.urhistorien.com eller torejungerstam.academia.edu.

Direktlänk till boken som behandlar Människans fortsatta historia i 1 Mos 5:1-6:8: bit.ly/Adams_toledot_1Mos5

Jag har också gjort en YouTube serie om detta: bit.ly/Jättar

"Mi culpa es demasiado grande para poder soportarla. … de tu presencia me esconderé; y seré fugitivo y vagabundo en la tierra…"  Caín.
El artículo, encabezado por este pasaje del Génesis, analiza la perversa situación generada entre Netanyahu y Hamas, luego de tras décadas de liderazgo del actual primer ministro israelí.

Jag kommer i en serie artiklar att ta er med på en vandring genom urhistorien, från skapelsen fram till Abraham. Urhistorien utgör en fantastisk texthelhet skriven med enastående finess och litterär briljans. I den här artikelserien kan jag bara lyfta fram en liten del av det som är intressant. Jag kommer inte heller att diskutera olika tolkningar eller presentera vad jag grundar mina påståenden på. Den som blir intresserad av att läsa mer kan vända sig till www.urhistorien.com där allt material jag bygger artiklarna på finns publicerat. Materialet kan även beställas i bokform. Skapelseberättelsen I en tidigare artikel i Sändebudet har jag redan presenterat den inledande skapelseberättelsen. Därför lämnar jag den därhän förutom följande korta resumé.

This exegetical research paper explores Genesis 4:1–16, the account of Cain and Abel, focusing on its theological, literary, and historical dimensions. The study begins by addressing authorship, dating, and the broader literary context of Genesis, situating the narrative within primeval history. Through structural and exegetical analysis, key themes emerge, including the nature of sin, the significance of worship, human responsibility, and divine justice and mercy. The passage is examined in Hebrew, highlighting linguistic nuances such as the meaning of Cain’s and Abel’s names, the personification of sin, and the implications of Yahweh’s rejection of Cain’s offering. Theological insights are drawn from the contrast between Cain’s and Abel’s sacrifices, Yahweh’s warning about sin, and Cain’s defiant response, illustrating broader biblical themes of free will, moral accountability, and divine forbearance. Furthermore, the research explores the cultural backdrop of the ancient Near East, particularly regarding agricultural and nomadic lifestyles, societal justice, and kinship obligations. The study concludes by applying the passage’s lessons to contemporary Christian life, emphasizing self-examination, sincere worship, personal accountability, and reliance on God’s grace. Ultimately, Genesis 4:1–16 serves as a profound theological narrative that reveals the consequences of sin, the necessity of true worship, and God’s unwavering balance of justice and mercy.

De nombreuses traductions de Gn 4 excluent la dimension du regard de Dieu dans l’acceptation ou le rejet des offrandes d'Abel et Caïn. A partir d'une lecture psychanalytique de Gn 4,1-16, nous avons tenté de montrer que si le verbe שׁעה est lu avec l'acception regarder, acception qui est première dans le sens du mot hébreu, la lecture anthropologique de cette péricope s'en trouve affectée. Nous avons mis en évidence que la dimension du regard et de la parole dans Gn 4,1-16 sont les modèles de théories psychanalytiques conceptualisées au XXème siècle quant à la construction du sujet. Nous avons lu Gn 4 sous l’éclairage des questions de narcissisme, de séparation, d’individuation et de construction subjective. Le corpus psychanalytique de référence à ce travail fait appel aux travaux de Freud, Lacan, Winnicott.

Many translations of Gn 4 exclude the dimension of God's gaze in the acceptance or rejection of the offerings of Abel and Cain. From a psychoanalytic reading of Gn 4:1-16, we have attempted to show that if the verb שׁעה is read with the meaning of looking, a meaning that is primary in the sense of the Hebrew word, the anthropological reading of this pericope is affected. We have highlighted that the dimension of the gaze and speech in Gn 4:1-16 are the models of psychoanalytic theories conceptualized in the 20th century regarding the construction of the subject. We have read Gn 4 in the light of the questions of narcissism, separation, individuation and subjective construction. The psychoanalytic corpus of reference for this work draws on the works of Freud, Lacan, Winnicott.

Lord Byron – why on earth do we keep that obsolete title? – sees in  Cain a picaresque discontented unfaithful rebellious chap who lets Lucifer take him on a great trip to other dimensions of this world where he discovers that only humanity is doomed to die, each individual, one after the other because his mother disobeyed God and let the snake court her and seduce her into picking a fruit – probably a fig rather than an apple – from the Tree of Knowledge declared out of human scope by God.

That’s the whole dilemma of Prometheus, or later Dr. Faustus, or in-between of the poor Daniel who will end up with the lions, playing cat and NOT mouse with them. Cain is rebellious and Byron, with this long trip beyond death and the earth's surface into the cosmos, supports and encourages his rebellion. He also exonerates his killing his brother Abel as being an accident resulting from Abel’s subservience and obstinacy.

Blake protested at the time and evoked Abel’s ghost to support what Blake believes deeply: there exists a higher all-powerful order in this human cosmic and ethical adventure called life and man is supposed to abide by its orders and commands. There cannot be any rebellion. Let yourself be carried by this enormous power that may lead you to full communion within and with this cosmic energy. Submit to the vision of the beyond of this narrow material and human life which is doomed and has been deemed to end up in death. Life is mortal.

της Γενέσεως (4:1-26) διαβάζουμε για την επιδοκιμασία του Θεού της θυσίας του Άβελ, του κτηνοτρόφου, έναντι εκείνης του γεωργού Κάιν, 1 πράξη που οδήγησε τον δεύτερο στην αδελφοκτονία: «[Κ]αὶ εἶπε Κάιν πρὸς ῎Αβελ τὸν ἀδελφόν αὐτοῦ· διέλθωμεν εἰς τὸ πεδίον. καὶ ἐγένετο ἐν τῷ εἶναι αὐτοὺς ἐν τῷ πεδίῳ, ἀνέστη Κάιν ἐπὶ ῎Αβελ τὸν ἀδελφὸν αὐτοῦ καὶ ἀπέκτεινεν αὐτόν» (Γεν 4:8). Όταν ο Θεός θα αναζητήσει τον Άβελ και το έγκλημα του Κάιν θα αποκαλυφθεί, ο τελευταίος θα καταστεί «νῦν ἐπικατάρατος […] ἀπὸ τῆς γῆς» (Γεν 4:11). Από τη στιγμή εκείνη, ο Κάιν καταδικάζεται σε μια εξορία νομαδικής ζωής μακριά από την πατρίδα του. Ο Θεός, όμως, θέτει στο μέτωπο του Κάιν «σημείον», 2 το οποίο θα τον προστατεύει από κάθε επίδοξο δολοφόνο του: «[Κ]αὶ ἔθετο Κύριος ὁ Θεὸς σημεῖον τῷ Κάιν τοῦ μὴ ἀνελεῖν αὐτὸν πάντα τὸν εὑρίσκοντα αὐτόν» (Γεν 4:15). Δεκαέξι περίπου στίχοι αφορούν την αδελφοκτονία και περίπου άλλοι δέκα τους απογόνους του Κάιν. Εκεί, λοιπόν, που τελειώνει η αφήγηση του βιβλικού κειμένου, αρχίζει η λογοτεχνία· ο Michel Tournier, ο οποίος έχει ασχοληθεί δημιουργικά με τον Κάιν σε διάφορα έργα του, 3 γράφοντας το «Υστερόγραφο» του έργου του Γκασπάρ, Μελχιόρ και Βαλτάσαρ, αφού παραθέσει τη σχετική με την προσκύνηση των μάγων ευαγγελική περικοπή (Μτ 2:1-16), αναφέρει: Αυτές οι γραμμές του κατά Ματθαίον Ευαγγελίου αποτελούν τη μοναδική αναφορά γύρω από τους βασιλιάδες μάγους στα ιερά κείμενα. […] Επομένως, ο συγγραφέας είχε κάθε ελευθερία επινόησης, σύμφωνα με την αποθησαυρισμένη θρησκευτική του παιδεία και την εξαίρετη εικονογραφία, την εμπνευσμένη από τη λατρεία των μάγων, τη μοίρα και την προσωπικότητα των ηρώων. 4 Έχει ενδιαφέρον να παρατηρήσουμε τα δεδηλωμένα κάτοπτρα μέσα από τα οποία ο συγγραφέας θεάται το υπο-κείμενο (hypotexte) 5 του έργου του, τον ευαγγελικό, δηλαδή, λόγο: τη θρησκευτική του παιδεία και την εικονογραφία, 6 παραπληρωματικά

What is the significance of the creation narrative in Genesis? How was it read/heard by early readers/hearers? Are there actually two accounts of creation here, or just one? And, what does the biblical creation account mean for us? This essay answers these questions and more as the author takes both a macro and micro approach to reading these ancient narratives.

Dans cette étude, j’envisage le récit de Gn 4,1-16 sous trois angles successifs : en premier lieu sa structure littéraire et son analogie avec le récit de l’Éden ; ensuite les nombreuses questions qu’il soulève ; enfin une proposition de lecture. .

Bu çalışmada, insanlığın şafağındaki ilk savaş ve kardeş katli, "kötülük" kavramı temelinde ele alınmıştır. Tevrat ve Kur'an-ı Kerim'de Âdem'in iki oğlu olan Habil ve Kabil arasındaki kavgayı, yani insanoğlunun yeryüzündeki ilk savaşını anlatan bu hikayeyi, dünyada "kötülük" olarak tecelli eden küfür, günah ve bu iki kavramın sonucu ortaya çıkan "öteki" olgusunun ilk ortaya çıktığı anlatı olarak görmek mümkündür. Anlatıda, iyilik ve gerçek insanî fıtratın sembolü olan Habil, karşısına arızî olarak çıkan günahın tecellisi olan öz kardeşi Kabil ile karşı karşıya gelir. İkisi arasındaki mücadelede sonunda Kabil, kardeşi Habil'i öldürür ve o andan itibaren dünyada insanın fıtri bozulmuşluğunu temsil eden günah kavramı belirginleşmeye başlar. Çalışmanın temel hedefi, Yahudi ve İslam geleneğinde Habil ve Kabil kıssasından yola çıkarak günahın zuhur etmesine dair görüşleri ortaya koymaktır. Bu doğrultuda bir yandan dinler tarihinin fenomenolojik metodu gereği her iki dinî geleneğin anlatıya bakışı sadece kendi kaynaklarından yola çıkılarak incelenecek, diğer yandan da karşılaştırmalı metoduyla iki dinin bu konudaki benzer ve farklılıkları ortaya konacaktır. Bu sayede her iki kutsal metinde de anlatılan bu kıssasının iki din açısından hangi mesajı anlatmayı ihtiva ettiği ortaya konulmaya çalışılacaktır. Ülkemizde bu konu ile ilgili dinler tarihi sahasında fazla çalışma olmadığı için çalışma sayesinde hem ilgili anlatı hem de bu anlatının vermeye çalıştığı temel anafikir ile literatürdeki boşluğu doldurmayı hedeflemektedir.

Susan T. Foh argues the woman’s הקושׁת in Gen 3:16 is not an affectionate “desire for” her husband, as in almost all previous English translations, but rather a “desire to contend with him for leadership.” This adversarial view has gained wide acceptance among evangelicals, as can be seen by its appearance in the NLT and 2016 ESV. The present essay contends the view is seriously misguided. Its reliance on Gen 4:7, a text with its own major difficulties, makes for an unreliable foundation. Furthermore, an examination of the history of translation and interpretation of הקושׁת in its three OT occurrences, as well as its use outside the OT in the DSS, reveals both a complete lack of precedent for an adversarial reading as well as considerable evidence that the original meaning was not “desire” but rather “return.”

In meinem Beitrag möchte ich in drei Schritten untersuchen, was Josephus uns über die Akteure des ersten Mordes erzählt. Zunächst möchte ich einen kurzen allgemeinen Überblick darüber geben, wie Josephus mit dem Buch Genesis und den Ereignissen der Urgeschichte umgeht. Dann werden ich die Einzelheiten der Erzählung über den von Kain begangenen Mord im Detail untersuchen. Abschließend werde ich die Ergebnisse auswerten.

The Genesis silences let open many questions : Why God prefered Abel’s offering ?  Why Cain killed Abel ? How Cain killed his brother ? When and how did Cain die ?
The Jewish, Christian and Islamic glosis and legends suggest divergent answers.
Artistic symbolic topoi drive religious teaching.
An extensive Iconography of 223 images are enlightened by the Glosis as well as by Psychoanalysis.
We introduce a new Interpretation of the Murder of Cain by Lamech.
Abel and Cain in literature, cinema and music is introduced.
*
Les silences de l'Ecriture laissent bien des questions ouvertes sur les raisons et les circonstances du premier meurtre de l'histoire humaine, un fratricide.
L'exégèse et la légende des trois traditions juives, chrétiennes et islamiques proposent des réponses divergentes.
Les artistes inventent des marqueurs symboliques qui influencent la compréhension du drame biblique.
Une vaste iconographie de 223 images est commentée à l'éclairage de la riche glose qu'a inspirée l'entrée du crime et de la violence dans le monde ainsi que par la psychanalyse.
Une interprétation inédite du meurtre de Caïn par Lamech est proposée.
L'histoire d'Abel et Caïn dans la littérature, au cinéma et dans la musique sont introduites également.

The Genesis silences let open many questions : Why God prefered Abel’s offering ?  Why Cain killed Abel ? How Cain killed his brother ? When and how did Cain die ?
The Jewish, Christian and Islamic glosis and legends suggest divergent answers.
Artistic symbolic topoi drive religious teaching.
An extensive Iconography of 223 images are enlightened by the Glosis as well as by Psychanlysis.
We introduce a new Interpretation of the Murder of Cain by Lamech
Abel and Cain stiry in literature, cinema and music is introduced

The depiction of Cain and his descendants in the Genesis 4 narrative aligns with the key
characteristics of psychopathy and its hereditary nature. The purpose of this study is to
examine whether this narrative reflects our current understanding of psychopathy. Cleckley’s
description of the best-known traits of psychopathy includes a lack of conscience, empathy
and social controls, which ultimately lead to deviant antisocial and criminal behaviour. These
traits can be seen in Cain’s murder of Abel, as well as in his reaction when confronted. They
may have also been present in his descendants, such as Lamech and those involved in the
implied prostitution of Naäma. In this study, the narrative characters are assessed using Robert
Hare’s Psychopathy Checklist: Shortened Version, which is examined within the context of
Cleckley’s observations and the Diagnostic and Statistical Manual, 5th Edition (DSM-V). The
mark of Cain and the Kenites, as well as their nomadic existence at the fringe of the desert, are
also explained, as well as how society safeguarded itself by setting strong boundaries.

The essay reconstructs the history of a theological genealogy, the one that until the early modern age made sodomy descend from the sins of Cain and his lineage. How did this myth originate? how did it develop during the Middle Ages? how did it decline in the early modern age?

In this study, the first war and fraticide at dawn of humanity are discussed on the basis of concept of “evil”. It is possible to see this story which tells the story of the fight between Adam’s two sons in the Torah and the Holy Quran about the fight between Adams’ two sons,- Abel and Cain- that is the first war of mankind on earth, as narrative in which the phenomenon of disbelief/godlessness, sin and the “ other” that emerges as a result of these two concept, which are as “evil” in the world, first emerged. In the narrative, Abel, the epitome of goodness and true human nature, is confronted by his brother Cain the manifestation of incidental sin. In the struggle between Cain kills brother Abel and from that moment on, the concept of sin, which represents the corruption of human nature, in
emerges the world. The main goal of this study is to reveal the wievs on the emergence of sin in the Jewish and Islamic traditions based on the parable of Cain and Abel. In this direction, on the one hand, in accordance with the phenomenological method of the history of religions, the perspective of both religious traditions on the narrative will be analyzed only from their own sources, and on the other hand, he similarities and
differences of the two religions on this issue will be revealed through the comparative method. In this way, it will be tried to reveal which message this parable, which is narrated in both sacred texts, contains in terms of the two religions. Since there are not many studies on his subject in the field of religion in our country, this study aims to fill the gap in the literature with both the releated narrative and the basic idea that this narrative tries
to give.

This essay responds to a question Prof. I. J. J. (Sakkie) Spangenberg asked the author at the 2015 meeting of the OTSSA with regard to the use of the OT in current South African discourse. It pertained to the use of an OT text in a context that is historically and culturally removed from the story: why is the figure of Cain used to illustrate perpetrator discourse in postapartheid society? The author argues that the figure of Cain draws, on the one hand, attention to the responsibility of South African whiteness towards apartheid and its after effects, and explores, on the other hand, the respons(e)-ability of ordinary (white) Bible readers in this regard. There are good reasons or warrants for focusing on Cain as perpetrator by accepting or adhering to the advice fostered by post-Holocaust hermeneutics in Germany as well as by criticism of archetypal myths in the cultural archive. In framing this responsibility and respons(e)-ability, a brief discussion of the German socio-political and religious discourse after the Holocaust and its relevance for thinking about Cain is provided, followed by an exploration of the value of Cain as an archetype in the cultural archive. Lastly, the essay will analyze Fernand Cormon's painting, Cain (1880) as part of the cultural archive in order to function as a heuristic key to interrogate evil and understand the figure of Cain.

Th is article inquires about the appropriation of Cain within a critical South African whiteness. Th e main argument is that despite Cain's wrongdoing and punishment, he succeeded in living a fruitful life. Th e idea of the appropriation of Cain is based upon ideas expressed by Katharina von Kellenbach in her book, Th e Mark of Cain. Th e article looks at the story in terms of a hermeneutic of vulnerability. It starts with the notion of the decolonial turn and its delinking programme, followed by the exploring of the issue of vulnerability as illustrated by three recent incidents in South Africa as reported by some newspapers. It then proceeds to an analysis of Cain's story, starting with early Christian interpretations in terms of fratricide, typology and association with the Jews, followed by two brief references of liberationist readings of Cain before explaining Von Kellenbach's utilisation of the story. Finally, the article presents a reading of Cain that more or less provide some redemption for the character before drawing consequences for reading the story from the position of critical whiteness.

The thesis explores the literary unity of the narratives of Adam-Eve and Cain-Abel supplemented with an inquiry into the history of traditional exegesis. Most contemporary studies and commentaries reflect a varied understanding of the textual relationship between the narratives of creation and sin in Eden and outside of it (Gen 2:4b-4:16). According to one dominant stream of historical tradition, the unit of Genesis 1-3 is delimited and expounded apart from the juxtaposed chapter 4. A key figure in this hermeneutical tradition is Augustine, who devoted his Genesis commentaries to chapters 1-3 apart from the sin narrative of Cain. An important implication arising from this thesis is that Christian exegetes of Genesis should be aware of, and avoid, any uncritical adoption of the tradition represented by Augustine in their reading of the stories of the origins. According to another historic exegetical tradition of Jewish and Christian interpreters the narratives of creation and sin are treated conjointly. In their view, the narrative of Cain-Abel in Genesis 4 is closely related to the preceding narratives of Adam-Eve. These works include some representative exegetical elaborations from Second Tempe Judaism, Church Fathers, and the Protestant reformers

L' histoire du héros Samson se situe dans la Shéphélah, entre la plaine côtière d'Ashdod à Gaza et les hauteurs de Jérusalem. Le récit du livre des Juges, des chapitres 13 à 16, nous indique qu' il était affilié à la tribu d'Israël de Dan, mais ce personnage sans attache réelle est la manifestation même de la liberté d'action et de mouvement. Samson n'est d'ailleurs pas un héros israélite à l'origine.

" La Tempesta " a fait beaucoup d'encre mais a été résolue de manière certaine selon moi. J'ai vu le tableautin à l'Accademia de Venezia il y a vingt ans environ et depuis il me hante ? Je suis restée vingt minutes devant après avoir lu le cartel. Il y a plusieurs années, j'ai pris le dossier pour m'y essayer afin d'assouvir ma faim en histoire de l'art. J'ai pensé que l'élément architectural central était très important, une clef et s'il ne semble vouloir rien dire c'est qu'il est codé. Ce n 'est pas une ruine c'est-à-dire un  fragment d''une autre architecture mais bien un élément à part entière. Les colonnes m'ont aiguillées et j'ai pensé à Vitruve immédiatement car tout le monde sait que l'architecture antique grecque puis romaine prend l'homme pour élément, pour module et les caryatides d'aujourd'hui en sont l'archétype.  J'ai vu que l'une était sous l'autre et que le blanc et le rouge étaient indiqués. Une deuxième élément probant pour m'aiguiller sur le sujet fut le nu. Une baigneuse comme celle de Michel-Ange, même, mais avec un voile sur l'épaule c'est-à-dire une retenue, un aspect sacré. une peinture à sujet sacré donc biblique plutôt que profane ? Des plantes poussent devant son entrejambe, c'est cohérent. Et voilà tout était résolu. Le plus difficile fut de lire Settis ? Parcouru en dix minutes, pardon. L'idée d'un sujet sacré était la seule bonne chose Je commençais donc la lecture de la Bible que je ne connais pas par cœur mais aussitôt Caen et Abel m'apparurent. En une heure et demie à peine, tout était résolu. La difficulté ? Ce n'est pas un sujet courant voire convenable. :) Le tombeau  médicéen , florentin blanc et pietra serena m'apparut également comme important, enfin la tempête, les minarets. La roue ocre rouge était à chercher et je ne tardais pas à la trouver sur le web avec le tigre ailé ? Samarcande ? Non Venise la grande et le lion ailé de Saint-Marc face à la lagune en haut d'une très haute et vertigineuse colonne comme un saint Syméon stylite mais c'est peut-être une allusion aux reliques que conservait la Sérénissime ? STASI  dite laure-marie Stasi

The fabled water-monster of Loch Ness has been designated a member of the putative genus Nessiteras and is referred to affectionately in media reports by the feminine diminutive “Nessie.” This paper points out that, by pure serendipity, such Nessi- appellations recall the name of the Slavic nežit of eastern and central Europe and the Latin nessia of western Europe – the archaic (and predominantly female) parasitic bone-worm which, in Celtic mythology, had a nasty habit of escaping from its human host, growing to enormous size, and taking up residence in a local lake or river, from which it would thereafter terrorise the local population in the manner of an aquatic dragon.

Peter’s reference to ‘spiritual sacrifices’ in 1 Pet. 2:5 is unspecified and scholars have proposed a variety of possible solutions to identify their referent. In this pa- per, we shed light on this question by considering how the term may have been heard by the readers in their historical context. Most scholars consider the audi- ence to be majority Gentile and clearly in a diaspora setting (1 Pet. 1:1). Philo, as a Hellenistic Jewish author writing to the diaspora, has much to say about spiritual sacrifices, connecting them with the rational soul of virtue, which is purified from the passions and issues in virtuous conduct. Returning to 1 Peter, we observe the wider context of 1 Pet. 2:5 emphasizes purity of heart and soul, a disciplined mind and a self-controlled avoidance of passion, which also issues in virtuous conduct. This framework would have helped the original readers to identify the spiritual sacrifices.

Im Anschluss an die griechische Bibelübersetzung (J'Septuaginta) wird das erste Buch des J'Pentateuch wegen seines Inhalts m eist Gen esis = ,,Ent-stehw1g, Ursprung" genannt. Dieses Profil des ersten Buches der Bibel wird auch daran erkennbar, dass an strukturell wichtigen Stellen genealogische N otizen als Überschriften (vgl. 2 ,4 als Überschrift zu 2,4-4 ,26 und 5,1 als Überschrift zu 5,1-9,29) und entfaltete Genealogien (,,Stammbäwne/ J'Völkertafeln") stehen (z.B. 10-11 und 3 5,21-36,4 3 als Rahm un g um die Erzelterngeschichte Gen 10-36). Es gibt sogar Vorschläge, das Buch Genesis insgesamt nach den Überschriften "Dies sind die Ursprünge/ Generationenfolgen/ Anfangsgeschichten" (toledot: wörtlich "Zeugungen") zu gliedern. Das Buch erzählt zum einen vom "Urs prung" der Welt und des Lebens (Gen 1-9) und zum anderen vom "Ursprung" des Volkes Israel inmitten der Völker des Alten Orients (Gen 10-36: Die Erzeltern; Gen 37-50: Jakob und seine Söhne 2,4 Hier erscheint zum ersten Mal der Gottesname, vgl. Einleitung. 2,7 Im Hebräischen klingen die Worte Mensch (adam) und Erdboden (adam a) ähnlich.

This article is a revised version of “Beowulf's Monsters: Comparing the Mythology of Grendel, Cain, & Satan,” which was hosted at Academia.edu for many years (original URL: https://www.academia.edu/es/3727183/Beowulf_s_Monsters_Comparing_the_Mythology_of_Grendel_Cain_and_Satan)

The Line of Her Seed This paper will attempt an exegesis of Genesis 6:1-2 that fits well within the storyline context to which the verses are written. This context analysis will include a brief introduction into the prophecy of Genesis 3:15, the connective verses within Genesis chapter four that pertain to the prophecy, and the exegesis of Genesis 6:1-2 as a continuation of the context storyline. It is the purpose of this paper to use scripture to interpret scripture that supports the use of Genesis 6:1-2 as referring to restrictive groups. Within this paper it will be asserted that "sons of God" should be considered a moniker representing ownership, i.e., to whom they belong, and not just another name for angels. This paper will consider the possibility that "daughter of man" (ESV) is also to be considered a moniker, i.e., imagery, denoting defilement. This paper will further explore the use of the Hebrew phrase, "to take wife" within the book of Genesis, and how it relates to Genesis 6:1-2. Additional exploration will be done within the book of Job in the attempt to shed light upon the use of "sons of God" and how it should influence the interpretation of Genesis 6:1-2. Introduction: The Coming Kingdom of God It is best to start the analysis of Genesis 6:1-2 by reviewing the context in which the controversial verses are given. This review of context will begin with one verse in Genesis chapter 3 that lays the foundation by which the storyline of the coming Kingdom of God (Matt 6:10) will be restored here on earth. This Kingdom of God storyline was established at creation (

Culpa mía © by MercedesRonn ¿Cómo iba a saber que cuando mi madre se fue en aquel crucero de vacaciones iba a terminar volviendo con un anillo de diamantes en el dedo y con un marido millonario colgando del brazo? No paro de repetirme que todo esto no puede ser real, que no es posible que se haya casado de sopetón en medio de la nada, que mi madre es una persona responsable, que no haría algo así, que no me haría algo así. Pues lo ha hecho. Y no solo eso, sino que ahora tenemos que mudarnos, tenemos que cruzar todo el país para vivir con ese hombre y con su hijo; tengo que dejar mi instituto, mis amigos, y mi novio, y todo ¿para qué? Para que mi madre pueda vivir su sueño adolescente y hacer como si todo lo que hemos tenido que superar durante años no hubiese existido. Lo que sí que no esperaba, y esto lo digo completamente enserio, era tener que convivir con alguien como Nicholas. Alto, ojazos azules, pelo negro como la noche... ¿suena genial verdad? Pues no, un rotundo no. Le odio... y bueno, él también me odia a mí. La cosa es ver quien termina por matarse antes... Porque os lo digo de todo corazón, Nicholas Leister ha sido creado para amargarme la vida. ¿Quién diría que iba a terminar enamorándome de él? Espero que os guste la historia de amor de Nick y Noah; he trabajado muy duro en ella y le tengo mucho cariño, la comparto aquí para que otros puedan conocerlos y enamorarse con ellos :) Me encanta escribir y puesto que esta no es mi primera novela, dependiendo de como la acoja la gente decidiré subir las demás! Culpa mía esta registrada en Safe Creative: con el código #1501142999966 por lo que no se puede copiar o plagiar o difundir por ningún medio. ¡¡Muchas gracias y espero vuestros comentarios, hacerme saber si os gusta!! ;) ================= Prólogo-Déjame en paz-dijo ella rodeándome para salir por la puerta. La cogí inmediatamente por los brazos y la obligue a mirarme.-¿Me puedes explicar qué demonios te está pasando?-le dije furioso. Ella me miró y vi en sus ojos algo oscuro y profundo que me ocultaba, sin embargo me sonrió sin alegría.-Este es tu mundo, Nicholas-me dijo con calma-Simplemente estoy viviendo tu vida, disfrutando de tus amigos y sintiéndome libre de problemas. Esto es lo que hacéis y esto es lo que se supone que tengo que hacer yo-dijo y dio un paso hacia atrás para apartarse de mí. Yo no daba a crédito a lo que oía.-Has perdido completamente el control-le dije bajando el tono de voz. No me gustaba lo que veían mis ojos, no me gustaba en quien se estaba convirtiendo la chica de la que yo creía estar enamorado. Pero pensándolo bien... lo que hacía y como lo hacía... era lo mismo que yo había hecho, lo mismo que había estado haciendo antes de conocerla; yo la había metido en todas estas cosas; había sido mi culpa. Era culpa mía que se estuviese autodestruyendo. De cierta forma habíamos cambiado los papeles. Ella había aparecido y me había sacado del oscuro agujero en el que yo me había metido, pero al hacerlo había terminado por ocupar mi lugar. **He querido compartir este vídeo, porque fué éste videoclip el que me inspiró para escribir el libro; me encanta esta canción y las imágenes, la letra, todo, creo que la hacen magnifica, y complementan perfectamente lo que cuento en estas páginas. Espero que os guste el libro, y lo disfrutéis tanto como yo escribiéndolo! Muchos besos :)** ================= Capítulo 1 NOAH Mientras subía y bajaba la ventanilla del nuevo coche de mi madre, no podía dejar de pensar en lo que me depararía el siguiente e infernal año que tenía por delante. Aún no dejaba de preguntarme cómo es que habíamos acabado así, yéndonos de nuestra casa, de nuestro hogar para cruzar todo el país hasta California. Habían pasado tres meses desde que había recibido la fatal noticia, la misma que cambiaría mi vida por completo, la misma que me hacía querer llorar

Hur ska man förstå trädet i Edens mitt - kunskapens träd - gott och ont. Jag går kort igenom vilka förslag som är vanliga i forskningen och till sist ger jag min tolkning av vad trädet kan avse

Det är ett kort utdrag från mitt arbete om Edenberättelsen

The article intends to deepen the peculiar notion of fraternity that emerges from the writings of Emmanuel Lévinas in relation to his rereading of the biblical story of Cain and Abel. At first, after briefly outlining the theoretical importance of biblical categories for the author's philosophy, we will show how Levinas's ethical framework can, in fact, be reread as an affirmative answer to Cain's provocative question "Am I my brother’s keeper?". This path will unfold through various paths aimed at showing how a good part of the philosophical categories used by our author can find their original phenomenological reinterpretation right from the fourth chapter of Genesis. Finally, it will be shown how the specific sense of fraternity that emerges from Lévinas's writings manages to hold together that sense of human plurality and dignity which is instead impossible for a fraternity founded on a merely biological or ethnic-cultural datum.

Kardes iliskisi sevgi ve sicakligin yani sira catisma ve rekabet olarak da tanimlanan, bireylerin yasamlarindaki en uzun sureli iliskilerden biridir. Bu uzun sureli iliski bireylerin gelisimleri uzerinde oldukca guclu bir etkiye sahiptir. Yasanan uyumlu kardes iliskilerinin bireyin gelisimine katkisi ne kadar fazlaysa, uyumsuz kardes iliskisinin bireyde olusturdugu zarar da bir o kadar fazladir. Ne yazik ki kardes iliskilerinde yasanan catisma, saldirganlik ve siddet gibi durumlar bazi aileler tarafindan gelisimin normal bir parcasi olarak gorulmekte, bu durum kardesler arasinda meydana gelen davranisin istismar olarak gorulmesini guclestirmektedir. Bu surecte onemli olan hangi davranislarin normal, hangilerinin istismar kabul edilecegidir. Bu makalede kardes istismarinin tanimina ve turlerine deginerek, konu ile ilgili farkindaligi artirmak amaclanmistir.

Jag analyserar hur den hebreiska texten harmonierar med den analys som dokumenthypotesen förfäktar. Mitt resultat är att den hebreiska texten inte harmonierar överhuvudtaget med vad som förväntas.

Bland annat är ett problem att det som tillskrivs J har i regel typiska kännetecken för P och vice versa.

Detta är ett utdrag från det här arbetet:

Flodberättelsen i GT och Gilgamesheposet. En komparativ analys
Hur förhåller sig flodberättelsen i GT till de mesopotamiska
flodberättelserna

This essay proposes a close analysis of the introduction to the Kabbalist text known as Midrash ha-Ne’lam al Eichah, an interpretation of the biblical book of Lamentations which integrates the medieval text of the Sefer ha-Zohar. While the biblical version centers the destruction of the First Temple in 586 B.C.E., the medieval narrative of the Midrash ha-Ne’lam opens with an anachronistic argument between the two Jewish communities historically formed with the fall of the First Temple: the one in Babylon, the symbol of the Jewish Diaspora, and the other in Jerusalem, the heart of the Holy Land of the Jewish people. Collapsing the destruction of the First Temple with the subsequent destruction of the Second Temple in 70 C.E., the Midrash ha-Ne’lam intersperses literal and figurative meaning to craft a cosmic narrative of loss and longing, which runs parallel to the original biblical account. By focusing on the argument between the Babylonian and Jewish communities, the present articl...

Mythisches Denken-so hat es Ernst Cassirer anschaulich beschriebenordnet (ebenso wie die anderen symbolischen Formen) die chaotischen Sinneseindrücke des Menschen und fügt sie zu einem geordneten Ganzen. Dabei findet eine »Übersetzung, eine Übertragung wahrgenommener und gefühlter Qualitäten in räumliche Bilder und Anschauungen« 1 statt. Auf Grundlage der Unterscheidung von Heiligem und Profanem wird jeder Richtung sowie den einzelnen Orten im Raum eine eigene Tönung, ein eigener Akzent zugewiesen. 2 Und ebenso wie den Orten und Richtungen im Raum spezifische Qualitäten anhaften, so haften auch den Dingen und den Geschehnissen, die mit diesen Orten und Richtungen verbunden sind, eben diese Qualitäten an-das mythische Denken kennt keine »Scheidung von ›Stelle‹ und ›Inhalt‹« 3. Im mythischen Denken sind Raum und Inhalt untrennbar miteinander verwoben, »an sich unanschauliche, aber existenzielle Aspekte des Lebens [werden] räumlich und zeitlich entfaltet« 4. Klaus Bieberstein zeigt dies ganz konkret an der Erinnerungslandschaft Jerusalems. 5 Dabei unterscheidet er »zwei geometrische […] Grundfiguren […], die einander nicht ausschließen, sondern auch interferierend begegnen und schlagwortartig als ›axial‹ und ›konzen-trisch‹ bezeichnet werden können« 6. Das Aufladen von Räumen mit Be-1

El relato prototípico de Caín y Abel, situado en los albores de la humanidad, no se trata de una mera enseñanza moral acerca de las relaciones intrafamiliares o interculturales, sino que contiene ante todo una profunda teología, es decir, revela el rostro de Dios y su íntima relación con el ser humano. Por su parte, el fratricidio de Caín trae consigo múltiples consecuencias que afectan la relación del hombre con la tierra e incluye a las futuras generaciones: un espiral de violencia que parece no tener límites. De estos temas y otros detalles importantes nos rinde cuentas la aplicación del método narrativo al análisis de Gn 4,1-16, fijando especial atención en las repeticiones, en los vacíos narrativos, en los diálogos y silencios, y en las diversas técnicas utilizadas por el hagiógrafo para descubrir el mensaje del texto.

The article begins by asking after a definition and program of "biblical theology" and what it might or should mean in a Catholic context, drawing Dei Verbum 24 into the conversation particularly. Then it proceeds to suggest methods for doing such a thing with sacramental practices and offers a biblical-theological reading of Genesis 4 under the aspects of sin, repentance, and divine mercy and judgment

Genesis 6:1-4 is usually considered as an obscure passage difficult of interpretation. Many consider it as a mythological account depicting the marriage of angels, or other celestial beings, with women. Others see in it a narrative that describes the violence and abuse of power practiced by kings and powerful rulers in the world before the Flood. A third group interprets this passage as an account narrating the apostasy of men of the Sethite lineage when they united themselves in marriage with women from the Cainite family. The present study approaches the text from the perspective of the Close Reading Method. It finds in the literary context, in the text's structure, in the sequence of the narrative in Genesis 4-6, and in the themes and words that are used support for the interpretation of the "sons of Gods" as men from the Sethite lineage and the "daughters of man" as women from the Cainite family.

Rapide étude de l'anthropologie de la Genèse à travers l'examen de quelques personnages: Caïn, Abraham et Jacob, Joseph et ses frères, Rachel et Léa. L'étude met en évidence le sens de la complexité humaine qui ressort des récits de la Genèse et de la difficulté du devenir humain

This article offers a hypothesis regarding John Steinbeck's use of the Hebrew word "Timshel" in his novel East of Eden.  This article discusses how Steinbeck discovered the Hebrew term that form the spiritual core of his novel and focuses on how Steinbeck came to pronounce the word the way he did in contravention of the conventional Hebrew pronunciation.

La mundialmente reconocida doctora y predicadora Cindy Jacobs, es la Presidenta y cofundadora de Generales Internacionales, una organización misionera dedicada a la reforma y transformación social en las naciones.

    En su reciente visita a Guatemala y en homenaje a su amplia trayectoria, recibió el proyecto de la escultura “Angel de la visión” elaborada por el escultor guatemalteco Pepo Toledo, de manos de su hija Ana Regina Toledo (marzo de 2023).
    Esta es la maqueta de la escultura urbana con el mismo nombre inaugurada por Pepo Toledo en John Brown Universtity en Siloam Springs, Arkansas, en 2016.

    El señor Sam Walton y su esposa Helen tuvieron la visión de bendecir a cientos de jóvenes de Centroamérica y México con las Becas Walton de la fundación que lleva su nombre.

    Un grupo de alumnos de la primera generación de los 400 becados centroamericanos tomó la iniciativa de agradecer al matrimonio Walton por el impacto que estas becas tuvieron en sus vidas y en sus comunidades.

    Representantes de los alumnos contactaron a Pepo Toledo. En una sesión de lluvia de ideas, escogieron como tema de la escultura la frase de Santo Tomás de Aquino que dice: “Un ángel puede iluminar el pensamiento y la mente del hombre, fortaleciendo el poder de la visión.” Así nació el proyecto del “Ángel de la Visión”.