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Abstract
This article argues that the principal background against which the clothing metaphor in Eph 4:22, 24 would have been understood by the letter’s original hearers is that of the theater, within which changes of costume signalled changes of identity, character, or fate. After a brief survey of recent scholarly commentaries (which pay surprisingly little attention to the possibility of a theatrical background to the metaphor in these verses) it highlights instances of similar expressions within Greco-Roman theatrical contexts, both literal and metaphorical, discusses the relevant aspects of ancient dramatic theory and practice, and explores the implications of this reading for theological interpretation of Ephesians.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 543 | 104 | 58 |
| Full Text Views | 289 | 6 | 1 |
| PDF Views & Downloads | 383 | 18 | 3 |
Search for other papers by David Starling in
Current site
Google Scholar
PubMed
Abstract
This article argues that the principal background against which the clothing metaphor in Eph 4:22, 24 would have been understood by the letter’s original hearers is that of the theater, within which changes of costume signalled changes of identity, character, or fate. After a brief survey of recent scholarly commentaries (which pay surprisingly little attention to the possibility of a theatrical background to the metaphor in these verses) it highlights instances of similar expressions within Greco-Roman theatrical contexts, both literal and metaphorical, discusses the relevant aspects of ancient dramatic theory and practice, and explores the implications of this reading for theological interpretation of Ephesians.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 543 | 104 | 58 |
| Full Text Views | 289 | 6 | 1 |
| PDF Views & Downloads | 383 | 18 | 3 |