Lazarus

Hundezungen heilen Wunden: Nicht zuletzt aufgrund dieser medizinischen Funktion war die Zunge der Hunde in der älteren Literatur oft Metapher für die Sprache der Menschen. Vor allem die Hunde, die nach dem Evangelium die Wunden des armen Lazarus leckten, konnten auf das tröstende (,heilende‘) Sprechen von Predigern und Beichtvätern bezogen werden. Ein Gegenbild dazu ließ sich im Bellen und Beißen finden, wenn es um Tadel und Mahnung (etwa Ketzern gegenüber) ging. Sah man von der Heilwirkung des Hundeleckens ab, dann wurde meist die ,hündische‘ Schmeichelei kritisiert: eine der traditionellen ,Sünden der Zunge‘. Mit dieser Bedeutungsambivalenz der Hundezunge problematisiert ein spätes Gedicht Heines (,Jehuda ben Halevy‘) die Leistungen der (modernen) Poesie.

The desire to shed light on all the enigmas contained in the New Testament has led many scholars to search for an answer to one of the most disputed ones, the identity of the Beloved Disciple in the Fourth Gospel (FG) which is traditionally known as the Gospel according to John. The genre of the Gospels, being different from the apostolic letters, did not require a previous identification from the author, since the authority of the writing seemed not to rely on the writer but on the story itself, “the account of the life and teaching of Jesus.”  Thus, none of the four Gospels which we considered canonical in the New Testament contained any identification of who is the person who eventually put them into writing.
Accordingly, no internal evidence  is found about the identity of that anonymous disciple who seems to have witnessed most of the accounts found in the Fourth Gospel and it is simply described by the Evangelist as the Beloved Disciple, traditionally known as the Beloved Disciple (BD). Through external evidences the Church was able to identify a likely candidate, John the son of Zebedee and so Tradition has attributed the authorship of the Fourth Gospel to him who has been acknowledged, as well, along the centuries as the BD. Those external evidences are found in the writings of some of the Fathers of the Church  and, as a result, some internal evidences from the text of the Gospel seemed to support this hypothesis also.
Over the last century, though, when the Bible became the object of serious scholarly investigation and research, countless doubts arose about the plausibility of that hypothesis. Brown and Schnackenburg abandoned the idea of John being the BD and they came to agree that the BD could not be one of the Twelve.  Charlesworth in his thorough volume fully devoted to the search of the identity of the Beloved Disciple summarizes the development of scholarly researches over the last century, and one of the common features is the unlikely authorship of John the Son of Zebedee: “As Brown and Schnackenburg have stated, P. Parker published the most complete list of objections against the hypothesis that the apostle John was the author of the GosJn.”  Charlesworth also enumerated that list published by Parker: a long list of 21 objections!! As a summary, I will mention three of these objections, and I am adding a personal one, which in my opinion provides the reasonable doubt about the authorship of John the son of Zebedee of the FG

The article offers a compositional proposal of John 11,1-46 worked out according to the Rhetorical Analysis and enriched by biblical context and interpretation. The story of the  resurrection  of  Lazarus  is  composed  of  three  passages  (11,1-19;  20-32;  33-46), arranged  in  a  perfect  symmetry,  each  in  turn  divided  into  five  parts  and  placed concentrically. The very center of the text is the confession of faith by Marta (Jn 11,27) which becomes the key to interpret the whole story. The seventh «sign» of Jesus, who restores  the  physical  life  of  Lazarus,  anticipates  and  prepares  the  gift  of  eternal  life offered by the Son of God on the cross. The life given back to the dead paradoxically becomes  the  reason  to  put  the  Donor  of  live  to  death  (cf.  Jn 11,53).  However,  true resurrection, the one without death, requires faith in Jesus Christ, the Son of God.

Sylvia Plath's poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.

Though well hidden, the theme of baptism informs the whole story of the raising of Lazarus (John 11). The note about Jesus' sojourn at the very place where John the Baptist had previously been active (John 10:40-42) forms the introduction to the Lazarus story. Just as a musical clef dictates pitch, this passage announces the theme: baptism. Once readers are set on this track, they cannot miss the hidden point. Ritually, the person being baptised is pushed into the realm of death, so that he can emerge to a new life. Keywords: baptism – gospel of John – implicit commentary – Lazarus – mystery religions

The article studies the story of Lazarus (John 11) in the context of three ancient texts: Plato’s parable of the cave, novels based on ancient mystery cults exemplified by the Greek story of „Kallirhoë“ by Chariton, and the Secret Gospel of Mark. Conclusion: though well hidden, the theme of baptism informs the whole story of the raising of Lazarus. Ritually, the person being baptised is pushed into the realm of death (the cave), so that he can emerge to a new life.
Bernhard Lang, “Lazarus resurrectus: Platons Höhlengleichnis, die Taufe und der antike Roman. Ein religionsgeschichtlicher Versuch über Johannes 11”, in: Gerhard Bosinski – Harald Strohm (eds.), Höhlen, Kultplätze, sakrale Kunst: Kunst der Urgeschichte im Spiegel sprachdokumentierter Religionen. Paderborn: Fink 2016, 269¬–299. – An English version of part of this article is published as “The Baptismal Raising of Lazarus: A New Interpretation of John 11”, Novum Testamentum 58 (2016): 301–317.

L’épisode de la Résurrection de Lazare, plusieurs fois représenté en Italie pendant le XIVe siècle, apparaît à l’intérieur des cycles consacrés à la vie du Christ, comme à celle de Marie Madeleine. En général, la scène se déroule en suivant un modèle iconographique plutôt standardisé, fidèle au texte évangélique. Toutefois, une analyse plus approfondie de quelques œuvres – entre les autres les fresques de Giotto à Padoue et à Assise et celle de Giovanni da Milano dans l’église de Santa Croce à Florence – met en évidence des détails de cet épisode, qui trouvent une explication grâce aux commentaires des Pères sur le récit évangélique. On pourra comprendre alors que la scène est chargée de multiples significations, en tant que préfiguration de la résurrection de chaque fidèle au jour du Jugement final, mais aussi invitation à se relever, déjà sur la terre, de la mort spirituelle, c’est-à-dire du péché. De plus, on observera que, quand cet épisode est figuré parmi les scènes de la vie de Marie Madeleine, il devient une exaltation de sa foi qui conduit au miracle. 

Readers of John from Origen to the present have asked: Is the Lazarus of John 11-12 wholly separate from the Lazarus of Luke 16, or are they, somehow, one and the same? Whence John’s Lazarus, however, cannot be answered without also asking When, How, and Why. When was the story composed relative to the contiguous text? How is it interwoven with the rest of John? Whence came this otherwise unknown brother of Mary and Martha? Why is his story here at this turn in the Fourth Gospel? The interpretation of John’s Lazarus narrative has languished in virtual stalemate for some time. This study aims to bring new evidence to the table, to gain a fresh perspective on the composition of that story and its relationship to Luke 16, in the context of a carefully constructed array of network connections with earlier and later texts in John.  Along the way, new connections revealed between Lazarus and the Temple Cleansing unexpectedly illuminate why John moved his Cleansing from Crucifixion week all the way back to join with Jesus’ first miraculous sign at the wedding.

The published version of this article now appears in Novum Testamentum 64/2 (2022) 184-209. My author’s manuscript is available from the UMass repository Selected Works at https://works.bepress.com/klyoder/60/ .

This is the author's original submission (pre-peer-review, but without the double-spacing) revision of a paper I presented at the March 2018 Annual Meeting of the Eastern Great Lakes Biblical Society (SBL) in Akron, Ohio, which has been published in Novum Testamentum 62.1 (2020). This pdf is available at this link on my SelectedWorks page, https://works.bepress.com/klyoder/34/. The published article is now available at https://doi.org/10.1163/15685365-12341650.

Here I examine the name and role of the poor man in the parable of the Rich Man and Lazarus in Luke 16:19-31. Evidence developed from an intertextual reading of the parable through the lens of Septuagint Genesis and Job reveals the character of Lazarus to be a seamless weave of suffering Job and Eliezer the Servant of rich man Abraham. The nexus in Genesis 22-24 of divine testing, death and burial, and long journeys commissioned, undertaken, and denied, involving the closely bound characters Abraham and Eliezer, is discovered to be the base template for Luke’s closely bound Abraham and Lazarus, with key supplementation from sore covered Job who experienced sequential reversals from rich to poor and back again. In Luke 16, Eliezer was sent in the guise of Job-like Lazarus to give the Rich Man a final opportunity to repent and show mercy, in a test to see if he would heed Moses and the Prophets. His mission completed, Lazarus returned to his special place in Abraham's bosom, atop the same thigh by which he had sworn to faithfully execute Abraham's final spoken words in Genesis.

Abstrak Kadar gas amonia pada peternakan ayam naik karena suhu yang tidak ideal. Kenaikan kadar gas amonia yang tidak diketahui merupakan permasalahan karena pemilik atau pengelola tidak dapat memonitoring. Ambang batas maksimal untuk kadar gas amonia yaitu 20 PPM (Pert Per Million). Dari permasalahan tersebut dirancangnya sistem monitoring kadar gas amonia dengan sensor MQ-135 untuk mendeteksi kadar gas amonia dan sensor DHT11 untuk mendeteksi suhu ruangan kandang ayam. Hasil pembacaan sensor gas dan sensor suhu diproses oleh mikrokontrolear. Sistem juga menyimpan kadar gas amonia yang terdeteksi kedalam basis data pada aplikasi monitoring setiap menit serta dapat dicetak dalam format excel. Pengujian menunjukkan kadar gas amonia dapat dideteksi dan aplikasi monitoring dapat menyimpan data dalam setiap menitnya. Kadar gas amonia dan suhu juga ditampilkan pada layar LCD 16x4. Kata kunci : sensor, mikrokontroler, basis data, aplikasi monitoring. 1. Pendahuluan Indonesia sebagai negara kepulauan yang memiliki cakupan wilayah yang luas sering disebut sebagai negara agraria atau negara yang penduduknya sebagian besar bekerja disektor pertanian. Selain bertani, kebanyakan masyarakat indonesia juga bekerja disektor peternakan. Usaha peternakan yang dilakukan oleh masyarakat diantaranya peternakan ayam, peternakan peternakaan sapi dan peternakan burung puyuh. Di provinsi Lampung, populasi ayam pedaging meningkat setiap tahunnya, hingga tahun 2016 mencapai 34.264.909 ekor [1]. Seiring dengan banyaknya pengusaha peternakan ayam di Indonesia, maka salah satu dampak dari usaha tersebut terhadap lingkungan sekitar adalah berupa bau yang dikeluarkan oleh kotoran ayam. Bau kotoran ayam berupa kandungan gas amonia, yang merupakan salah satu gas pencemar udara yang dapat dihasilkan dari penguraian senyawa organik oleh mikroorganisme [2]. Penyebab gas amonia adalah suhu yang relatif rendah yang dipengaruhi oleh keadaan kelembapan dalam kandang peternakan dan lingkungan luar peternakan. Batasan dari kadar amonia untuk lingkungan peternakan yaitu sebesar 20 ppm (part per million). Apabila melampaui dari batasan yang tersebut dapat menyebabkan iritasi pada mata dan tenggorokan hewan ternak bahkan bisa menyebabkan kematian pada ayam. Hal tersebut akan merugikan ekonomi para peternak ayam. Berdasarkan permasalahan tersebut, maka dibutuhkan suatu sistem yang dapat mensirkulasikan udara dengan syarat apabila sensor gas amonia mendeteksi kadar gas amonia yang meningkat dan ditambahkannya sensor DHT11 yang digunakan untuk memonitoring suhu peternakan ayam. Berdasarkan observasi pada 5 (lima) peternakan ayam, dibutuhkan suatu program berbentuk desktop application yang digunakan untuk mengambil data dalam bentuk laporan yang berisi kadar gas amonia pada peternakan ayam.

The article is a study on the figure of Lazarus of Bethany in the poetic cycle "The Jesus Papers" written by American poet Anne Sexton, known in Poland mainly due to the selection of love poems titled "Kochając zabójcę".
Honored in 1967 with the Pulitzer Prize Sexton is primarily regarded as a representative of American confession poetry, but the poetic series The Jesus Papers and her following book "Transformations" proves that Sexton’s creativity goes far beyond this distinction towards a critical reflection on narratives and figures which continue to organize the contemporary imagination. In "Jesus summons forth", a poem from "The Jesus Papers" these figures are Christ and Lazarus and this article is focused on how they function and how are they related in this poetry.

Kueffer, C.  2016. Natur-Diskurse in einer Zeit der Krise. Von einem konservierenden zu einem regenerativen Verständnis von Naturschutz. In: Hennigfeld, U. (Hrsg.). Lazarus – Kulturgeschichte einer Metapher. Heidelberg: Winter-Verlag, S. 73-94.