Rebirth language has traditionally been associated with the initiation rite of baptism and relegated to discussions within this limited framework. Analyses of 1 Peter—where rebirth language is particularly dominant—have focussed almost exclusively on a baptismal framework for understanding this language. However, a detailed reading of the letter does not reveal any association between rebirth and Christian rites of initiation. Whatever action, activity or idea triggered the use of this language, its role in the letter has never been adequately explored. This study employs socio-rhetorical analysis to examine the role of rebirth language within the letter of 1 Peter and within its larger cultural and textual context. Rebirth language is employed in the key opening section of the letter and, within the framework of familial language, serves as a central distinctive of the letter’s recipient-focussed argument. As part of the familial metaphor, rebirth highlights the readers’ identity as children whose πατήρ (“father”) is God. A comprehensive analysis of all other extant (first century) texts employing rebirth language, reveals that, while 1 Peter’s use of such language shares some points of contact with other expressions of rebirth, the meaning of rebirth in 1 Peter is not directly tied to any related language. More likely, 1 Peter contains cultural allusions to the developing idea of rebirth that is also shared—in different ways—with other extant materials. No other source, however, contains the same usage and implied meaning of rebirth language as 1 Peter. Instead, 1 Peter’s author, building upon the powerful father-child analogy, intends to shape his readers’ self-perceptions using this language to provide a sense of identity without encouraging extensive alienation from the larger society. 1 Peter’s use of rebirth language builds upon and intensifies the cultural familial metaphor in order to help firmly establish the recipients’ Christian identity in the midst of their associations and interactions within their social context.

Rebirth language has traditionally been associated with the initiation rite of baptism and relegated to discussions within this limited framework. Analyses of 1 Peter—where rebirth language is particularly dominant—have focussed almost exclusively on a baptismal framework for understanding this language. However, a detailed reading of the letter does not reveal any association between rebirth and Christian rites of initiation. Whatever action, activity or idea triggered the use of this language, its role in the letter has never been adequately explored. This study employs socio-rhetorical analysis to examine the role of rebirth language within the letter of 1 Peter and within its larger cultural and textual context. Rebirth language is employed in the key opening section of the letter and, within the framework of familial language, serves as a central distinctive of the letter’s recipient-focussed argument. As part of the familial metaphor, rebirth highlights the readers’ identity as children whose πατήρ (“father”) is God. A comprehensive analysis of all other extant (first century) texts employing rebirth language, reveals that, while 1 Peter’s use of such language shares some points of contact with other expressions of rebirth, the meaning of rebirth in 1 Peter is not directly tied to any related language. More likely, 1 Peter contains cultural allusions to the developing idea of rebirth that is also shared—in different ways—with other extant materials. No other source, however, contains the same usage and implied meaning of rebirth language as 1 Peter. Instead, 1 Peter’s author, building upon the powerful father-child analogy, intends to shape his readers’ self-perceptions using this language to provide a sense of identity without encouraging extensive alienation from the larger society. 1 Peter’s use of rebirth language builds upon and intensifies the cultural familial metaphor in order to help firmly establish the recipients’ Christian identity in the midst of their associations and interactions within their social context.

This study is a socio-rhetorical approach to the Pauline theology of reconciliation in 2 Corinthians. Scholars generally focus their attention on where καταλλάσσω and καταλλαγή terminology appears in discussing Paul’s theology of reconciliation. This has led to some scholars reducing Paul’s theology of reconciliation to simply referring to God being reconciled to men and vice versa, while other scholars tend to focus on reconciliation between human beings, almost to the exclusion of reconciliation between God and men. The current research argues that reconciliation with God is intrinsically linked to reconciliation between people in the church. Chapter One of this study looks at areas of disagreement amongst scholars concerning Paul’s theology of reconciliation. Chapter Two reviews the current state of research on Paul and his theology of reconciliation, while Chapter Three discusses the question of the Socio-historical use of the καταλλάσσειν and διαλλάσσειν terminology in the New Testament, and its uniqueness in Paul. In Chapter Four both the literary and historical contexts of Paul’s teachings on reconciliation in 2 Corinthians are explored. In Chapter Five the exegesis of 2 Corinthians 5:11-6:10 is performed and the implications for reconciliation are spelled out. / MA (New Testament), North-West University, Potchefstroom Campus, 2014

This study is a socio-rhetorical approach to the Pauline theology of reconciliation in 2 Corinthians. Scholars generally focus their attention on where καταλλάσσω and καταλλαγή terminology appears in discussing Paul’s theology of reconciliation. This has led to some scholars reducing Paul’s theology of reconciliation to simply referring to God being reconciled to men and vice versa, while other scholars tend to focus on reconciliation between human beings, almost to the exclusion of reconciliation between God and men. The current research argues that reconciliation with God is intrinsically linked to reconciliation between people in the church. Chapter One of this study looks at areas of disagreement amongst scholars concerning Paul’s theology of reconciliation. Chapter Two reviews the current state of research on Paul and his theology of reconciliation, while Chapter Three discusses the question of the Socio-historical use of the καταλλάσσειν and διαλλάσσειν terminology in the New Testament, and its uniqueness in Paul. In Chapter Four both the literary and historical contexts of Paul’s teachings on reconciliation in 2 Corinthians are explored. In Chapter Five the exegesis of 2 Corinthians 5:11-6:10 is performed and the implications for reconciliation are spelled out. / MA (New Testament), North-West University, Potchefstroom Campus, 2014

This thesis describes investigations into the language of rejection used in the Gospel of Mark, employing the methodology of socio-rhetorical interpretation. After describing the history of interpretation of Jesus’ rejection in Chapter I, Chapter II examines how the internal structure of Mark shows the references that relate to the rejection theme and are repeated in sequence. Chapter III explores the conflict issues debated between Jesus and his opponents as the social and cultural texture, in which Mark was written. The three components, Authority, the Law, and Temple, are the main issues in the Gospel. Chapter IV deals with the data of intertexture, a significant influence for the Gospel. Mark borrows rejection language from the Old Testament and ancient Jewish literature as well. In Chapter V, the ideological texture analyzes Mark’s intent responding to his opponents. Mark uses rejection language to warn that those who refuse Jesus as the Son of God cannot avoid the final judgment.

Using the methodological approach of Socio-rhetorical Analysis, this study focuses on understanding the phrase in 1 John 3:8, “the works of the devil,” from the standpoint of the original audience. A comprehensive investigation of this phrase contributes toward theological discourse about the Johannine understanding of the devil/evil and cosmic conflict. By juxtaposing the results of a number of temporarily bounded studies, the meaning of the phrase, “the works of the devil,” is seen in its historical, cultural, and literary context. The literary context of the phrase under investigation involves two pericopes at the center of 1 John: 3:4-10, and 3:11-18, where the author’s cosmic eschatological theology is presented in a chiastic climax. Inner texture analysis of these pericopes reveals complex rhetorical transitions that focus attention on the destruction of the works of the devil. Repetitive-progressive texture charts and discourse analysis of these pericopes uncover the key terms and relationships of these terms, contributing toward an understanding of the meaning of the phrase, “the works of the devil.” Scribal inter-texture analysis compares the use of these terms in other biblical and extra-biblical literature, including an original analysis of 1QS 4:15-25. In short, the works of the devil, according to 1 John and the Gospel of John, supplemented by historical evidence of ancient culture and writings, would have been seen by early Johannine believers as equated with that which leads to death. Examples show that this could be physical death, as in the example of Cain, or of disease, or spiritual death, as in the example of idols which represent unbelief, evil work, false approaches to God, and disobedience to God’s commands. While the devil’s works can be summarized as bringing death—both physical (disease and deformity, social chaos, mental chaos) and spiritual (unbelief, hatred),the Son of God appeared to give life (1 John 4:9). The appearing of the Son of God is seen to result in works and characteristics that are the opposite of those associated with the sin of the devil, thus nullifying or destroying them. / Christian Spirituality Church History and Missiology / D. Litt et Phil. (Biblical Studies)

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Old Testament & Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

This dissertation answers the following: "Why did Paul describe Jesus as hilasterion?" Throughout it, I have examined the questions of the "what" versus the "why": "What is the meaning of hilasterion (hilasterion)" versus "why has the death of Christ been metaphorised as hilasterion." Notwithstanding the uniformity among theologians that the meaning (the "what") of the text should occupy centre space, the enquiries of both Bible translators and Pauline scholars have yielded different meanings as far as iA.cronpwv is concerned. The question "why" shifts the project's focus from the meaning of the text to the performativity, which entails asking different questions. As a result, I have problematised "propitiation," "expiation" and "mercy-seat" as interpretational models for hilasterion, because these theological models neglect the rhetorical situation which leads to a misunderstanding of hilasterion. Consequently, applying the three-pronged rhetorical approaches to my text has enabled me to move the discussion away from a purely textual, away from the harmonization of "ideas," away from a traditional theological paradigm thinking only in terms of soteriology and the salvific to a paradigm where the rhetorical, to where the social-cultural and the religiopolitical contexts has been taken into consideration. Dispositio has acted as the foreground for impartiality that facilitated the accommodation of the non-Jews in the Abrahamic family which is hilasterion's performativity. I have argued that apostrophe in service of stasis theory had numerous Jewish fundamentals redefined, without which the notion of hilasterion would not have made sense. I have demonstrated how patron versus client relationship emerged in the depiction of hilasterion as a gift from God, evidence of his righteousness, and how riposte operated in dislodging the non-Jews from their social position and relocating them within the nation of God. The metaphorisation of Jesus' death and his portrayal as hilasterion had a number of tasks. It normalised a situation, it brought about an alternative situation into existence, it endorsed social solidarity, it brought about a different genealogy into effect, it sanctioned the construction of a "new and superior race," and ulitmatley it produced inclusivity of the non-Jews into the Jewish family since Jesus tremendously had high values then extreme value was assigned to the non-Jews. Thus, I have problematised decontextualised theologising, easy theologising (as "propitiation," "expiation," and " mercy-seat"), in order to demonstrate that a socio-rhetorical appraisal of hilasterion requires theologians to rethink the categories they operate with. / New Testament / M. Th. (New Testament)

Using the methodological approach of Socio-rhetorical Analysis, this study focuses on understanding the phrase in 1 John 3:8, “the works of the devil,” from the standpoint of the original audience. A comprehensive investigation of this phrase contributes toward theological discourse about the Johannine understanding of the devil/evil and cosmic conflict. By juxtaposing the results of a number of temporarily bounded studies, the meaning of the phrase, “the works of the devil,” is seen in its historical, cultural, and literary context. The literary context of the phrase under investigation involves two pericopes at the center of 1 John: 3:4-10, and 3:11-18, where the author’s cosmic eschatological theology is presented in a chiastic climax. Inner texture analysis of these pericopes reveals complex rhetorical transitions that focus attention on the destruction of the works of the devil. Repetitive-progressive texture charts and discourse analysis of these pericopes uncover the key terms and relationships of these terms, contributing toward an understanding of the meaning of the phrase, “the works of the devil.” Scribal inter-texture analysis compares the use of these terms in other biblical and extra-biblical literature, including an original analysis of 1QS 4:15-25. In short, the works of the devil, according to 1 John and the Gospel of John, supplemented by historical evidence of ancient culture and writings, would have been seen by early Johannine believers as equated with that which leads to death. Examples show that this could be physical death, as in the example of Cain, or of disease, or spiritual death, as in the example of idols which represent unbelief, evil work, false approaches to God, and disobedience to God’s commands. While the devil’s works can be summarized as bringing death—both physical (disease and deformity, social chaos, mental chaos) and spiritual (unbelief, hatred),the Son of God appeared to give life (1 John 4:9). The appearing of the Son of God is seen to result in works and characteristics that are the opposite of those associated with the sin of the devil, thus nullifying or destroying them. / Christian Spirituality Church History and Missiology / D. Litt et Phil. (Biblical Studies)

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Biblical and Ancient Studies / D. Litt. et Phil. (Biblical Studies)