![]() ![]() When the Sons of God Cavorted with the Daughters of Menīiblical Views: Giants at Jericho Not a BAS Library or All-Access Member yet? Join today. She has also been actively involved in digs at various sites in Israel. ![]() and Canada and spent research leaves in Germany and Romania. Michael’s College), formerly the senior editor at the Biblical Archaeology Society, has taught at five universities across the U.S. The juxtaposition of the mighty biblical giants defeated by the underdog, God’s chosen, is foreshadowed in the very name attributed to these characters.Įllen White, Ph.D. In this sense, the Rephaim live up to their name, as their purpose in each narrative is to die. The Rephaim appear in Deuteronomy 2:11 3:11 2 Samuel 21:19 and Joshua 11:22 and almost always take the form of one member of the Rephaim (Anaqim, Og, Goliath) being in opposition with Israel or its representative. If you'd like to help make it possible for us to continue Bible History Daily,, and our email newsletter please donate. This costs substantial money and resources, but we don't charge a cent to you to cover any of those expenses. Our website, blog and email newsletter are a crucial part of Biblical Archaeology Society's nonprofit educational mission It is this second usage that is often conflated with the Nephilim. The second is a term that is applied to races of biblical giants. The first are dead people who have achieved an almost divine status, similar to the concept of Saints. So where do the names Rephaim and “the dead ones” originate? The first thing to recognize is that these are not two separate titles, but rather a name, Rephaim, and a meaning, “dead ones.” The Bible refers to two groups as the Rephaim. Genesis 6, Ezekiel 32, and Numbers 13 are the only passages that mention the Nephilim by that term. In addition, the name “fallen ones” is likely a reference to their divine paternity transforming-falling-into the human condition, albeit an almost superhuman condition. This was believed because the next verse (Genesis 6:5) is the introduction to the flood narrative and because their name means “fallen ones.” It is unlikely that this interpretation is correct because Genesis 6:4 presents nothing but praise for the Nephilim and no criticism is present. It was once claimed that the mating of the sons of god and the daughters of Adam that resulted in the Nephilim caused the flood, and this caused the Nephilim to have a negative reputation. The Nephilim are known as great warriors and biblical giants (see Ezekiel 32:27 and Numbers 13:33). Genesis 6:1–4 tells the readers that the Nephilim, which means “fallen ones” when translated into English, were the product of copulation between the divine beings (lit. Who are the Nephilim? From where do the “heroes of old, the men of renown” come? The Nephilim, the product of the sons of god mingling with the daughters of Adam, the great biblical giants, “the fallen ones,” the Rephaim, “the dead ones”-these descriptions are all applied to one group of characters found within the Hebrew Bible. To further enhance the project there will be a round table discussion on the installation and its genesis and on the festival theme of “night.Fallen Angel, 1847, Alexandre Cabanel, CC0, Public Domain via Wikimedia Commons. The space will also be used for solo performances in which Hug traces myths of the night related to Celtic mythology. ![]() The exhibit space will additionally serve as a performance area for improvisation by the London-based Stellari String Quartet (the ensemble that Charlotte Hug cofounded a decade ago, together with three British masters of free improvisation). Then she made recordings of her improvisations for viola and voice as well as drawings, and from these she developed “Son-Icons” (what might be described as her seismographic drawings) for the “Insomnia” installation and for her new solo stage performance titled “Slipway to Galaxies.” Throughout the entire period during which the installation is on display, it will be in a constant state of change so that ever-new combinations of composed music modules and light rhythms can be experienced. “Insomnia” is the title of the multi-media installation in the Lucerne Museum of Art through which Swiss violist, composer, and performance artist Charlotte Hug - this summer’s “artiste étoile” - investigates “the phases of matter of the night.” She started with an unusual experimental condition: Hug subjected herself and her creative process to a 40-hour period of sleep deprivation in the University of Zurich’s sleep laboratory.
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