https://atj.makumira.ac.tz/ojs/index.php/beabs/issue/feed Advances in Ancient, Biblical, and Near Eastern Research 2026-07-08T05:59:16+02:00 AABNER editors-in-chief aabneresearch@gmail.com Open Journal Systems <p>The journal is the first open-access and forum-peer-reviewed journal that covers the entire field of biblical studies and cognate fields in its diversity, and it is committed to the principles of the EABS in terms of equal opportunity, non-discrimination, and academic rigor.&nbsp;This journal innovates the way humanities scholarship is published, by utilizing an open peer-review system&nbsp; known as "forum review." In this system all reviewers' comments are visible to all other reviewers. This system enables AABNER to maintain rigor while encouraging innovative approaches and keeping review time to a minimum.&nbsp;</p> <p>The aim of the journal is to provide a high-quality and innovative venue for the open access dissemination of biblical and cognate scholarship from Europe and around the world. The journal will encompass all fields touching on and relevant for the study of both the Hebrew Bible and the New Testament, early Jewish and Christian studies, from ancient times to reception in the present, as represented by the remit of the EABS. Thus, studies involving the Near East and Mediterranean worlds in their own right also fall within this scope.</p> <p>The broad scope of the journal will enable it to function as the premier disciplinary journal, much like the functions of <em>Nature</em>, <em>History</em>, and <em>Communication</em> in their respective fields. Moreover, the journal will seek to avoid methodological stagnation and disciplinary isolation through its deliberate commitment to plurality within its scope.</p> https://atj.makumira.ac.tz/ojs/index.php/beabs/article/view/1154 1 Kings 13: A Criterion to Determine the Authenticity of An Oracle 2025-07-02T09:29:35+02:00 Emmanuelle Pastore e.pastore@icp.fr <p>The pericope of 1 Kgs 13 deserves to be re-examined through the prism of true/false prophecy, despite the objections of some scholars. The question is not so much why the prophet lied -&nbsp;thereby formulating a false prophecy&nbsp;- but rather how to explain the man of God's failure to recognize his confrère’s false prophecy. Why didn't the man of God, if truly assisted by God, discern that it was a lie? It may well be that the pericope of 1 Kgs 13 offers some answers to this question, providing a new kind of criterion for detecting a lie and, therefore, false prophecy.</p> 2025-06-02T00:00:00+02:00 ##submission.copyrightStatement## https://atj.makumira.ac.tz/ojs/index.php/beabs/article/view/1229 The Divine Feminine in the Song of Songs 2025-06-12T16:20:40+02:00 Zacharias Kotzé zkotzech@yahoo.com <p>The elusive identity of the beloved in the Song of Songs has long intrigued interpreters. While the allegorical interpretation of the beloved as the people of Israel in the Judaic tradition or the bride of Christ in the Christian tradition is widely recognized, recent scholarship has increasingly explored her role as a representative of diverse female archetypes. Yet, an intriguing avenue remains only partially explored: the possibility of perceiving her as an embodiment of an ancient Near Eastern deity. This article investigates the presence of mythological elements within the character and actions of the beloved. Employing comparative hyleme analysis, it endeavours to illuminate the parallels between the beloved’s qualities and deeds and those of Inanna/Ishtar as chronicled in ancient Near Eastern literature.</p> 2025-06-12T16:08:43+02:00 ##submission.copyrightStatement## https://atj.makumira.ac.tz/ojs/index.php/beabs/article/view/1256 Nehemiah's Table, Persian-Style Feasting, and Local Elites in the Achaemenid Empire 2025-12-05T09:05:00+01:00 Kacper Ziemba kaz@teol.ku.dk <p>Nehemiah 5:17–18 mentioning the governor’s table has been interpreted as an instance of Persian-style feasting in the province of Yehud influenced by the sumptuous feasts organized by the Great Kings. This article discusses the two other occurrences of Persian dining, in Lydia and Egypt, comparing them with the biblical narrative and archaeological sources from the province of Yehud. It also applies Michael Dietler’s theory of commensal politics to assess how the local elites in the Achaemenid Empire could have used Persian-style dining as a tool for social distinction. It concludes that Persian-style dining was a social phenomenon that could have functioned to bind the vast territories and diverse populations of the empire through a kind of patron–client relationship.</p> 2025-12-05T09:05:00+01:00 ##submission.copyrightStatement## https://atj.makumira.ac.tz/ojs/index.php/beabs/article/view/1246 What's Phoenician about "The Phoenician Scheme"? 2026-07-08T05:59:16+02:00 Helen Dixon dixonhe19@ecu.edu <p>This study examines how Wes Anderson’s <em>The Phoenician Scheme</em> (2025) invokes&nbsp;Phoenician-ness. While the term references a first millennium BCE coastal&nbsp;Levantine cultural group, this is not the setting for the film Instead, Anderson&nbsp;evokes "Phoenicia" in three ways: as heritage, as a fictional 20th century place, and as&nbsp;aesthetic. First, the film’s dedication to Anderson’s father-in-law highlights modern&nbsp;“Phoenician” identity as a component of Lebanese heritage, tied to narratives of&nbsp;mobility, entrepreneurship, and resilience. Second, the fictional setting of “Greater&nbsp;Independent Phoenicia” reimagines mid-20th-century Middle Eastern geopolitics,&nbsp;echoing Mandate-era Palestine through artificial borders, infrastructure schemes,&nbsp;and conflict between Western opportunists and regional stakeholders. This&nbsp;constructed geography underscores the persistence of imperial power dynamics&nbsp;beneath the language of investment and development. Third, the film’s visual style&nbsp;produces a “Neo-Phoenician” aesthetic, blending Egyptomania, Orientalism, and&nbsp;eclectic references reminiscent of how ancient Phoenician art has historically been&nbsp;interpreted (as hybrid and derivative). Situated within reception history, Anderson’s&nbsp;use of “Phoenicia” reflects both intentional and unconscious engagements with&nbsp;ancient and modern identities. Ultimately, the film uses “Phoenicia” as a flexible&nbsp;and fictional cultural framework to explore colonialism, memory, and familial&nbsp;relationships rather than as any direct representation of the ancient world.</p> 2026-07-05T00:00:00+02:00 ##submission.copyrightStatement##