Exodus 34:29--35 contains an ambiguous Hebrew phrase that describes the peculiar condition of Moses' face after his encounter with God on Mt. Sinai. The iconographic tradition of Moses in religious art includes many depictions of him as "horned," yet the early exegetes described his condition as some kind of radiance, Divine glory, or as a metaphor for strength. How, then, is this iconography of horns based on the biblical text or early biblical exegesis? / The primary sources evaluated for this study encompass more than two thousand years of biblical interpretation, but the subject of this thesis comprises exegetical material from the time of the canonisation of the Bible until Jerome in the fourth century. This material includes selections from the Hebrew Bible and the New Testament, the Old Testament Pseudepigrapha, Jewish and Christian post-biblical narratives, rabbinic midrash, and translations of the Pentateuch into Aramaic, Greek and Latin.

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While studying narratives in the context of its own religious tradition may uncover that religious tradition's doctrines and priorities, this study assumes that a comparative model contributes to a clearer understanding of the uniqueness of each religion's ideas. By comparing religions rather than studying them in isolation, we may understand each with greater clarity. / The narratives compared and contrasted in this study are the birth narratives of Moses and the Buddha. These two figures may be identified as the respective heroes of the Jewish and Buddhist religions. This comparative study highlights and examines the similarities and differences presented in their birth narratives and seeks to determine the significance these narratives have from within the context of their respective doctrinal traditions. Although studying one tradition alone produces important results, it is only by comparing and contrasting religious traditions, and in this case the birth narratives of different religious traditions, that the uniqueness and qualities of each come into full view. / This study begins with an examination of Moses' birth narrative, first as it has been understood by modern scholarship, and then as it has been presented in the classical literature of early Judaism. In the second part, the Buddha's birth narrative is explored, first from the perspective of modern, Western scholarship, and then as it appears in the Pali and Sanskrit literature of early Buddhism. The third part of this study is committed to a comparative analysis of the two birth narratives.

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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.

This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.

This study is about Moses, charismatic leadership, and the beginnings of Israel's religion. At a time when traditional and time-honoured customs were revered and preserved, but proved inadequate, Moses, a charismatically endowed leader, arose and overthrew the old order, and in its place proffered the new in the form of mono-Yahwism, which ultimately became the national Israelite religion. This claim is analysed and discussed in four chapters. Chapter 1 is a preliminary to the thesis and deals with the reason for, and aim of this study, methodological considerations, and has a section presenting, very briefly, the debate on the historicity of Moses. Chapter 2 was composed using literary principles and narrative literature in the book of Exodus, to glean a description of the character of Moses. The next two chapters form the main thrust of this study. Chapter 3 examined Weber's typology of leadership, providing the groundwork for the understanding and contextualization of charismatic leadership. The aim of chapter 4 was to show the characteristics of the charismatic leader, Moses, and how they were instrumental in his formulation of mono-Yahwism. The main points discussed were: Moses' personality, and the social context as a source of his charismatic leadership; the recognition of the charismatic leader and his message; the importance of charisma in Moses' achievements; and some factors that drive the charismatic person. The main methodological thrust is socio-religious, within which Max Weber's interpretative framework of charismatic leadership is employed. The work shows that Moses has the traits of a charismatic leader, and that, through the effect of his personality, he influenced the beginnings of Israelite religion. / Prof. J.H. Coetzee

Through a contextual reading of the exodus narrative, this study explores various struggles that Moses faced as he led the Hebrew slaves out of Egypt. During the journey the people complained, not only because of the hardship in the wilderness, but, at a time, they rebelled against Moses' leadership and challenged the institutions he put in place. Moses responded to these rebellions, either by earnest intercession in favor of the community or by letting God's wrath suppress violently the contention. The narrative raises a number of issues related to the exercise of leadership, especially leadership contest that many leaders today still wrestle with. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

Thesis (MA (Theol.)-University of Pretoria, 2008. / Includes bibliographical references.

Chapter One contains a lengthy discussion of tafsír, outlining its meaning, its need to the present study and the different forms in which it exists, whilst at the same time clarifying its obscurities and commending it as an indispensable science. Chapter Two offers a concise overview of five Qur'ánic commentators selected for this particular study. This assessment is based on the eras from which they emerged which has a definite bearing on their commentaries. Chapter Three is a résumé of my subject's biography adopted primarily from Qur'ánic sources. As a frequently mentioned prophet in the Qur'án the story of Músá [p.b.u.h] is drawn from various chapters highlighting substantial aspects of his life. Chapter Four concentrates on two frequently mentioned events in the life of prophet Músá [ p.b.u.h], namely, his call to prophethood and the proclamation to the pharaoh and his people. Chapter Five concludes this work by presenting an overview of the perspectives of the different commentators. / Religious Studies and Arabic / M.A.