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Luke 12:13-34 among Ancient Conversations on Death and Possessions
Rindge reads Luke’s parable of the Rich Fool (12:16–21) as a sapiential narrative and situates this parable within a Second Temple intertextual conversation on the interplay of death and possessions. A rich analysis of Jewish (Qoheleth, Ben Sira, 1 Enoch, Testament of Abraham) and Greco-Roman (Lucian, Seneca) texts reveals a web of disparate perspectives regarding how possessions can be used meaningfully, given life’s fragility and death’s inevitability and uncertain timing. Departing from standard interpretations of Luke’s parable as a simple critique of avarice, Rindge explicates the multiple ways in which the parable and its immediate literary context (12:13–34) appropriate, reconfigure, and illustrate this contested conversation, and shows how these themes are chosen and adapted for Luke’s own existential, ethical, and theological concerns.
Luke 12:13-34 among Ancient Conversations on Death and Possessions
Rindge reads Luke’s parable of the Rich Fool (12:16–21) as a sapiential narrative and situates this parable within a Second Temple intertextual conversation on the interplay of death and possessions. A rich analysis of Jewish (Qoheleth, Ben Sira, 1 Enoch, Testament of Abraham) and Greco-Roman (Lucian, Seneca) texts reveals a web of disparate perspectives regarding how possessions can be used meaningfully, given life’s fragility and death’s inevitability and uncertain timing. Departing from standard interpretations of Luke’s parable as a simple critique of avarice, Rindge explicates the multiple ways in which the parable and its immediate literary context (12:13–34) appropriate, reconfigure, and illustrate this contested conversation, and shows how these themes are chosen and adapted for Luke’s own existential, ethical, and theological concerns.
Abstract
This article argues that Martin Scorsese’s Mary Magdalene is as unique as Scorsese’s Jesus; she plays an integral role in the film, both in her own journey, and as a central catalyst in Jesus’ transformation. In these and other ways, The Last Temptation of Christ both redeems Mary Magdalene and portrays her as a redeemer of Jesus.