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Given the strong mimetic and dramatic qualities found in Judith the authors make the suggestion that perhaps, before LXX Judith became a fixed, written text, the basic fabula might well have been part of an oral tradition. The authors accept that an appropriately written dramatic work, whether transmitted through reading or an oral presentation, by means of its performative qualities, has the potential to achieve immediacy. Here, the audience may become captivated with its own familiarity and memory of popular, communally shared narratives. Accordingly, this article attempts to find evidence in the Greek text of LXX Judith for a possible oral precursor. In this context, corroboration is sought for the employment of verbal aspect and mood of the Greek language as well as instances of drama, theatrics, bodily gestures, mnemonic devices or special emphasis on the employment of the senses such as sight, taste and smell. The authors suggest that based on an analysis of the text of Chapter 13, there is much circumstantial evidence for the Judith fabula once being an oral narrative – one that embodies the dramatic and even encourages audience participation. This characteristic strongly suggests the removal of the fourth wall – the notion of an imaginary boundary between any fictional work and its audience. Contribution: This article shows that Judith 13 is indeed the climax of the narrative. However, it goes further. It is a vivid scene with various performative aspects. There are props, dialogue and audience participation. This research is cutting-edge and paves the way for new explorations. [ABSTRACT FROM AUTHOR]

The view of the deity and the people in 2 Maccabees seems to be a dynamic rather than a stagnant relationship. On the one hand, the deity sometimes punishes his people through the enemy. However, in other instances, he defends them against the same enemy. In this sequence of events, the 'Heliodorus scene' in 2 Maccabees 3 is quite unique. A protagonist and his helpers (a man on a horse and two youths) as well as an antagonist and his helpers (Heliodorus and his bodyguard) can be shown. Minor, seemingly insignificant players – the 'widows and orphans' – are also found. Doran states that mentioning them in this scene is possibly a rhetorical ploy and refers to LXX Psalms 67:6 (Ps 68:5) as possible background. However, Doran, unfortunately, does not investigate LXX Psalms 67 further. Upon closer inquiry, this text might show an interesting context for the Heliodorus scene and the making of the people. It demonstrates how 'the people' should conduct themselves, the role of the sanctuary, and if one can expect the deity to get involved. Contribution: This is a new contribution as the relationship between LXX Psalms 67 and 2 Maccabees 3 has never been looked at in this way. [ABSTRACT FROM AUTHOR]

The Septuagint Book of Judith and its derivatives have had an enormous influence on the history of Western Europe and the Christian church. Judith has been employed in various situations to incite violence against a perceived opposition. In this regard, this article focuses on the climax of this book (Jdt 13:1–9) as performance text. In this context, many of the insights proffered by Perry in his seminal work Insights from Performance Criticism (2016) have been expanded upon from the perspective of a Greek and/or Hellenistic environment. Contribution: The value of reading LXXJudith as performance is clearly demonstrated. The conclusion is reached that this pericope is indeed highly subversive. Suggestion is also made that, contrary to more conservative wisdom, with reference specifically to LXXJudith 13:1–9, the Judith fabula is not really reconciliatory in nature. Rather, it seems to provoke conflict between competing powers. [ABSTRACT FROM AUTHOR]

This document is an editorial from the journal "In die Skriflig" announcing the publication of a collection of research articles dedicated to Professor Nicholas Peter Legh Allen, who retired from the Faculty of Theology at the North-West University in 2020. The collection showcases the wide range of Professor Allen's interests and expertise, with contributions from scholars in various disciplines. It highlights his extensive academic career, including his roles as a lecturer, researcher, and administrator, and his numerous qualifications in fields such as art history, aesthetics, philosophy, and Greek. The editorial also mentions Professor Allen's notable contributions to topics such as African Elephant Conservation, Sindonology, film studies, and medieval technology, particularly his work on the Shroud of Turin. Additionally, it acknowledges his artistic endeavors as a sculptor and portrait artist. The articles in the collection cover a diverse range of subjects, including history, literature, theology, and papyrology, reflecting the breadth of Professor Allen's career. [Extracted from the article]

This article addresses the highly disputed distribution of roles in the story of Susanna. Susanna consists of a number of actors of whom only a few such as Susanna, the two elders, the Jewish people and Daniel are directly related to the central action of the story. With regard to the roles of these actors in the story however, a question arises: Who is the subject of the story of Susanna? Most scholars question the attribution of the role of subject to Susanna. Their contention however, has not yet been sustained by convincing evidence stemming from the use of a suitable method. This study attempts to fill this gap by using the Greimassian approach to narratives, as refined by Everaert-Desmedt. The approach comprises three levels of analysis: the figurative, the narrative and the thematic. The contribution focuses only on the narrative level of analysis, particularly on the actantial model because the main role of this structure is to reveal different functions of actors called here actants. It is the contention here that following the actantial model of the Greimassian approach of analysis, Susanna emerges as the subject of the main concern of the story. [ABSTRACT FROM AUTHOR]

This article utilised the theory of intertextuality to investigate the way in which religious texts, specifically Judith 16, generate meaning in the act of the production of texts. The groundbreaking work on intertextuality done by Julia Kristeva served as the theoretical point of departure. Kristeva utilised Mikhail Bakhtin's literary theory to develop her own views on intertextuality. According to the theory of intertextuality, all texts are intersections of different texts and are therefore polyvalent. The article argued that the ideology (or ideologies) of author(s) of texts underpin the ways in which other texts are used and alluded to. The purpose of the investigation was to illustrate how intertextual allusions in Judith 16 are used to describe 'God/the Lord' as a God of war and, thereby, to maintain an already existing ideology of war: We know now that a text is not a line of words releasing a single 'theological' meaning (the 'message' of the Author-God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture. [ABSTRACT FROM AUTHOR]

This article analysed the different narratives implied in Philemon by utilising the narrative therapeutic approach, as developed by Epston and White (1990). A dominant narrative (the harsh treatment of slaves in the early Christian environment) and a challenging narrative (a more humane conduct of slaves) were clearly distinguished. The article showed Paul's attempt to bridge the gap between these two narratives by using certain pointers, possibly taken from mystery religions and Jesus' example. In conclusion, the narrative therapeutic approach proved to be a new and unique way of looking at Philemon's narrative world. [ABSTRACT FROM AUTHOR]