The Protevangelium of James. Lily C. Vuong

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СКАЧАТЬ Isa. Ascension of Isaiah

      b. San. Babylonian Talmud Sanhedrin

      1 Clem. 1 Clement

      Clement of Alexandria

      Strom. Stromateis

      3 Cor. 3 Corinthians

      Hippolytus

      Trad. Ap. Traditio apostolica

      Hist. Jos. Carp. History of Joseph the Carpenter

      Ignatius

      Eph. Epistle to the Ephesians

      Inf. Gos. Thom. Infancy Gospel of Thomas

      Irenaeus

      Epid. Epideixis tou apostolikou kērygmatos

      Haer. Adversus haereses

      Jerome

      Helv. Adversus Helvidium de Mariae virginitate perpetua

      Jos. Asen. Joseph and Aseneth

      Josephus

      A.J. Antiquitates judaicae

      B.J. Bellum judaicum

      Justin Martyr

      1 Apol. First Apology

      Dial. Dialogue with Trypho

      LAB Liber antiquitatum biblicarum

      LAE Life of Adam and Eve

      m. Ket. Mishnah Ketubbot

      m. Nid. Mishnah Niddah

      m. Sotah Mishnah Sotah

      m. Ta’an. Mishnah Ta’anit

      m. Yoma Mishnah Yoma

      Nat. Mary Nativity of Mary

      Origen

      Cels. Contra Celsum

      Comm. Matt. Commentarium in evangelium Matthaei

      Hom. Luc. Homiliae in Lucam

      Philo

      Mos. De vita Mosis

      Somn. De Somniis

      Spec. De specialibus legibus

      Prot. Jas. Protevangelium of James

      Ps.-Mt. Gospel of Pseudo-Matthew

      Rev. Magi Revelation of the Magi

      T. Adam Testament of Adam

      T. Benj. Testament of Benjamin

      T. Dan Testament of Dan

      T. Gad Testament of Gad

      T. Levi Testament of Levi

      t. Hull. Tosefta Hullin

      t. Pesah. Tosefta Pesahim

      Tertullian

      Carn. Chr. De carne Christi

      Virg. De virginibus velandis

      Modern

      ANRW Aufstieg und Niedergang der römischen Welt

      CCSA Corpus Christianorum: Series apocryphorum

      CRRAI Compte rendu, Rencontre Assyriologique Internationale

      CSCO Corpus Scriptorum Christianorum Orientalium

      CSEL Corpus Scriptorum Ecclesiasticorum Latinorum

      ExpT Expository Times

      GCS Die griechische christliche Schriftsteller der ersten [drei] Jahrhunderte

      HTR Harvard Theological Review

      JECS Journal of Early Christian Studies

      JJS Journal of Jewish Studies

      JQR Jewish Quarterly Review

      LCL Loeb Classical Library

      NTTS New Testament Tools and Studies

      NovT Novum Testamentum

      PG Patrologia Graeca

      SBFA Studium Biblicum Franciscanum Analecta

      SBLSP Society of Biblical Literature Seminar Papers

      SH Subsidia Hagiographica

      TS Theological Studies

      TSK Theologische Studien und Kritiken

      TUGAL Texte und Untersuchungen zur Geschichte der altchristlichen Literatur

      VT Vetus Testamentum

      WUNT Wissenschaftliche Untersuchungen zum Neuen Testament

      Conventions

      HB Hebrew Bible

      LXX Septuagint

      NT New Testament

      Introduction

      On display at the Yale University Art Gallery is a painting from Dura-Europos, an ancient city in eastern Syria and the location of major excavations in the 1920s and 1930s. Yale archaeologists found the painting in the remains of a third-century house that was used as a church—the earliest Christian church ever discovered. On the southern wall of the building’s baptistery is the image of a woman drawing water from a well, while looking over her left shoulder. While most scholars have assumed it is a depiction of the Samaritan woman narrated from the Gospel of John, Michael Peppard has suggested that the painting is better interpreted as Mary at the well.1 The canonical Gospels of Matthew and Luke do not give a specific location for the Annunciation, despite general assumptions that place the scene at her home based on centuries-long depictions of the Annunciation in Western art. While the scene of Mary drawing water from the well or spring is not a detail found in the canonical infancy narratives, it is a feature of the Protevangelium of James (Protevangelium hereafter) in which the divine voice attempts to make contact with Mary to announce her special role in salvation history (Prot. Jas. 11:1–9). Additionally, the image also depicts a vacant space behind the woman, most likely representing the invisible divine voice of the Annunciation,2 a detail again found in the Protevangelium which describes a bodiless voice speaking to Mary before the appearance of an angel; hence Mary is said to have been looking “all around her, to the right and left, to see from where the voice was coming” (Prot. Jas. 11:3). If Peppard’s interpretation is correct, this painting would be the oldest depiction of Mary’s Annunciation СКАЧАТЬ