Re-imagining Bible Translation

Extracted text from Re-imagining_Bible_Translation.ppt:

Bible Translation and Ancient Visual Culture Rebuilding Context through Re-imagined Texts Yancy W. Smith, PhD

Theory Works of visual art helped to shape the culture in which the New Testament texts were composed. The gospel spread as a house-church movement. Greco-Roman cities and houses were very colorfully decorated.

In the public square, imperial imagery predominated. In the homes, mythological imagery was a mainstay. How is all this important for translation?

Objectives Illustrate how Jews and Christians interacted with pagan graphic arts of their world, in part, by reinterpreting those works: Christians used Christian imagination on pagan art Building upon the presence and themes of pagan art to serve their religious message

Provide examples in which viewing GrecoRoman visual imagery can inform and enrich translation

in the aesthetic world of the New Testament ...

visual communication was more important

than textual communication.

First century couple

Romans 8:12-17

8:12 So then, brothers and sisters, we are under obligation, not to the flesh, to live according to the flesh 8:13 (for if you live according to the flesh, you will15 die), but if by the Spirit you put to death the deeds of the body you will live. 8:14 For all who are led by the Spirit of God are the sons of God. 8:15 For you did not receive the spirit of slavery leading again to fear, but you received the Spirit of adoption, by whom we cry, Abba, Father. 8:16 The Spirit himself bears witness to our spirit that we are Gods children. 8:17 And if children, then heirs (namely, heirs of God and also fellow heirs with Christ) if indeed we suffer with him so we may also be glorified with him.

Romans 8:12-17

What is the key term in this paragraph?

What is the main point (new information) of this paragraph? What argument does it present? (How does it relate its claim to commonly accepted assumptions?) What evidence does it use to support the argument?

Romans 8:18-25

8:18 For I consider that our present sufferings cannot even be compared to the glory that will be revealed to us. 8:19 For the creation eagerly waits for the revelation of the sons of God. 8:20 For the creation was subjected to futility not willingly but because of God who subjected it in hope 8:21 that the creation itself will also be set free from the bondage of decay into the glorious freedom of Gods children. 8:22 For we know that the whole creation groans and suffers together until now. 8:23 Not only this, but we ourselves also, who have the firstfruits of the Spirit, groan inwardly as we eagerly await our adoption, the redemption of our bodies. 8:24 For in hope we were saved. Now hope that is seen is not hope, because who hopes for what he sees? 8:25 But if we hope for what we do not see, we eagerly wait for it with endurance.

Romans 8:18-22

What is the key term in this text? What is the main point of this paragraph? What argument does it make? What evidence supports the main argument?

How does it extend, modify, or develop the argument of the previous paragraph?

Public art emphasized the power and authority of the Emperor, who proclaimed himself, son of a god (son of the divine Juilus).

Julio-Claudian propaganda proclaimed a new golden age with their administration.

Translation exercise

Take 5-7 minutes. Use two or three sources to make a translation of Rom 8:19-22. Take another few minutes and write an appropriate footnote that would help the audience understand the meaning of this text in its ancient context.

Even hair styles and clothes (or the lack of them) communicated ones status Naked=Divine

Alexander the Great (Greek statue 3rd century BC)

... and aspirations Pompey trying to look like Alexander the Great! (Roman statue, 1st century BC)

Our focus on textual tools is natural, but ...

it helps to use other tools in the box as well.

Learn to see what you read.

Without any doubt, the mystery of our religion is great: He was revealed in flesh, vindicated in spirit, seen by angels, proclaimed among Gentiles, believed in throughout the world, taken up in glory.

Apotheosis: the process of becoming divine or being exalted.

Augustus

Roman soldier Vanquished Vanquished

The divine deceased, their children and the enslaved vanquished Great Cameo of France. Representation of the imperial destiny to rule the world and make the world obey, supported by help from heaven and built upon the backs of the vanquished. To Romans, this was the revelation of the sons of God.

Apotheosis of Antoninus Pius and Faustina, Vatican Museum

Without any doubt, the mystery of our religion is great: He was revealed in flesh, vindicated in spirit, seen by angels [when he arose from death], was proclaimed among Gentiles, believed in throughout the world, he ascended [to reign] in glory.

Text

Sardis synagogue, atrium entrance and restored wall facing 3rd century AD

Mishnah Jews could utilize Avodah Zarah 4.4-5 household implements with idolatrous imagery that either had not been worshipped or had been defaced by a Gentile. A gentile can nullify an idol by cut off the tip of the nose, the tip of the ear, the tip of the finger or battered it, in some way. Jews could not deface an idol belonging to a gentile.

Menorah, Arch of Titus

Decorated column base, Temple of Apollo, Didyma, Turkey

First Century Jewish Icon

1 Clement 6:2 Because of jealousy [Christian] women were persecuted as Danaids ...

... persecuted as ... Dircae, suffering in this way terrible and unholy tortures, but they safely reached the goal in the race of faith, and received a noble reward, despite their physical weakness.

Romans 8:18-30 Personified Creation Groaning, not at peace Eagerly awaiting the unveiling of the sons of God not resting in the previous revelation of the monstrous JulioClaudian emperors

Galatians 3:1 You foolish Galatians! Who has bewitched you? It was before your eyes that Jesus Christ was publicly portrayed as crucified! Pauls image of Christ ... portrayed is a reference to domestic art. The theme of vicarious suffering was well known.

[Jesus] is the image of God Colossians 1:15-20, 21-22; 2:9-15 Commentaries do not connect this hymn in Colossians to ancient visual culture, though it is a visual reference: image of God, body of flesh, stripping, circumcision (among others). In Colossians, the image of God (1:15) is an affirmation of Christs deity, especially his work reconciling his enemies (1:21) in his body of flesh through death to present you holy and without spot ... In 2:9-10, Paul returns to Christs deity and the theme of union of the believer in Christs death. But in 2:11-12, instead of death, burial, resurrection (as in Rom 6) we have circumcision, burial, resurrection.

Does circumcision come up through a visually imagined Christ stripped of everything on the cross?

In him also you were circumcised not with a circumcision made with hands; [but rather], by the stripping of the body of the flesh in the circumcision of Christ (Col 2:11, yws)

Crucified Christ on the door of the Church of Santa Sabina, 5th Century

Part of the shame of crucifixion was nudity.

John 19:23 says: When the soldiers had crucified Jesus, they took his clothes ...

Roman graffito, 2nd-3rd century

Syrian amulet, 2nd-3rd century

Gods often appeared nude. Nudity could be shameful. Nudity as an affirmation of spiritual power.

Mileto of Sardis, 180 AD O frightful murder! O unheard of injustice! The Lord is disfigured and he is not deemed worthy of a cloak for his naked body, so that he might not be seen exposed. For this reason the stars turned and fled, and the day grew quite dark, in order to hide the naked person hanging on the tree, darkening not the body of the Lord, but the eyes of men.

Colossians 2:15 He stripped the rulers and authorities and made a public example of them, triumphing over them in [the cross].

Are Colossians and Mark are on the same page? Then Jesus gave a loud cry and breathed his last ... Now when the centurion, who stood facing him, saw that in this way he breathed his last, he said, Truly this man was Gods Son!

A domestic context for the heavenlies in Ephesians?

Is the context for the heavenlies, the temple and family imagery in Ephesians domestic? every spiritual blessing in the heavenly places seated [with Christ] at his right hand in the heavenly places He raised us up with him and seated us with him in the heavenly places in Christ Jesus

So then you are no longer strangers and aliens, but you are citizens with the saints and also members of the household of God, built upon the foundation of the apostles and prophets (=illustrious ancestors), with Christ Jesus himself as the cornerstone. In him the whole structure is joined together and grows into a holy temple in the Lord; in whom you also are built together spiritually into a dwelling place for God.

For this reason I kneel before the Father, from whom the whole family in heaven and on earth derives its name. (NIV)

Parting thought: What was Pauls Day Job? Acts 18:3 tentmaker? leather-worker? scene artist?

Who reads BDAG 3rd Edition? No lexical evidence for tent-maker maker of stage properties (acc. to Pollux 7, 189 the Old Comedy used the word as a synonym for =either a stagehand who moved stage properties [as Aristoph., Pax 174] or a manufacturer of stage properties. Associated terms include Diog. L. 2, 125 and Arist., Poet. 1449a and Polyb. 12, 28a, 1, in ref. to painting of stage scenery) Ac 18:3. But if one understands not as scene but as tent and considers it improbable that Prisca, Aquila, and Paul would have practiced such a trade in the face of alleged religious objections (s. Schrer II 5455 on Jewish attitudes towards theatrical productions), one would follow the traditional rendering ...

What about those alleged religious objections to Jewish participation in the pagan theatre scene?

Text

Miletus Theater and Temple of Athena (2nd century C.E.)



Miletus theater seat and Jewish Inscription Reserved seating: of the Jews who are also God-fearers

A mural painter, Pompeii

Andromache leave of Hector, Porcias empathy

Summary The New Testament contains visual references that are not well understood, outside the context of the ancient visual culture. Jews and Christians both reinterpreted and subverted pagan imagery to disarm it. Imperial imagery was predominant in the public sphere whereas mythical imagery prevailed in the domestic domain. Textual references to common imperial and domestic visual themes helped the New Testaments first audience fully appropriate the gospel message.

So what, for translation? Appreciation of the visual world can help the translator:

Readers visualize what they read Disambiguates the text in some cases Provides relevant background information for notes Suggests fresh interpretations for difficult passages

Experiencing Rome: A Visual Exploration of Antiquity's Greatest Empire Course No. 3430 (36 lectures, 30 minutes/lecture) Taught by Steven L. Tuck Miami University Ph.D., University of Michigan

Extra Slides

An Example from the Domestic Sphere