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In this study I will argue that, while Matthew and Luke’s redaction of the Markan Transfiguration present Jesus as the antitype of Moses, Mark’s own account does not. Rather, Mark uses typology to narrate Jesus into the stories of Elijah and Moses, both of whom are described in the Jewish scriptures as ascending a mountain to talk with God in narratives in which the Angel of YHWH also features. Distinctive features of Mark’s account suggest that Mark wishes to associate Jesus, not with Moses, but with YHWH and his angel, using the scriptural ambiguity between the Angel of YHWH and Israel’s God to generate a similar ambiguity around the divine identity of Jesus. Consequently, Mark’s Transfiguration presents a “higher” Christology than that of the Transfigurations in the other Synoptic Gospels. In Mark’s Transfiguration, Jesus is compared, not to human prophets, but to the anthropomorphic manifestations of Israel’s God at Sinai and Horeb.
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Genesis depicts a world of tension and collaboration among the groups and families that constitute the stories of the formation of early Israel. The obedience and behaviour of characters within the narrative determine covenantal inclusion or exclusion. The narrative of Sodom-Mamre can be interpreted as a story of surveillance, wherein characters observe each other and act based on their desire for knowledge and control. Though surveillance promises omniscience, knowledge ultimately remains limited. The divine character yearns to witness human experience, while the human characters act as mirrors to this impulse. Lot’s wife highlights the chasm between the desire to see and know and the limits of a gaze. Ultimately, this desire begets violence as the surveillant gaze produces cognitive dissonance and narcissism. This essay references surveillance studies, critical biblical scholarship, psychoanalytic and philosophical traditions concerning desire, particularly the desire of the eyes, the gaze, and ancient imperial surveillance practices.
The Succession Narrative as a Satire
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In A King and a Fool? The Succession Narrative as a Satire Virginia Miller applies a new version of Douglas Muecke’s taxonomy of irony to the Succession Narrative. She argues that the narrative in 2 Samuel and 1 Kings has the essential feature of satire, namely, a pervasive sense of pejoratively critical irony. By her account, King David is the object of ironic attack, and therefore, an object of condemnation. Given that the primary purpose of satire is reform, Miller claims that the purpose of the Succession Narrative is a call for reform in the leadership of Israel.
The Succession Narrative as a Satire
Author:
In A King and a Fool? The Succession Narrative as a Satire Virginia Miller applies a new version of Douglas Muecke’s taxonomy of irony to the Succession Narrative. She argues that the narrative in 2 Samuel and 1 Kings has the essential feature of satire, namely, a pervasive sense of pejoratively critical irony. By her account, King David is the object of ironic attack, and therefore, an object of condemnation. Given that the primary purpose of satire is reform, Miller claims that the purpose of the Succession Narrative is a call for reform in the leadership of Israel.
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