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.If it walks a like a Mesopotamian duck and talks like a Mesopotamian duck, then chances are they thought it was a Mesopotamian duck, not just the “appearance” of one having no reality.It would be a mistake to claim that there is a single monolithic Mesopotamian cosmography.[107] There are varieties of stories with overlapping imagery, and some contradictory notions.But there are certainly enough commonalities to affirm a generic yet mysterious picture of the universe.And that picture in Scripture undeniably includes poetic language.The Hebrew culture was imaginative.They integrated poetry into everything, including their observational descriptions of nature.Thus a hymn of creation such as Psalm 19 tells of the heavens declaring God’s glory as if using speech, and then describes the operations of the sun in terms of a bridegroom in his chamber or a man running a race.Metaphor is inescapable and ubiquitous.And herein lies a potential solution for the dilemma of the scientific inaccuracy of the Mesopotamian cosmic geography in Scripture: The Israelite culture, being pre-scientific, thought more in terms of function and purpose than material structure.Even if their picture of the heavens and earth as a three-tiered geocentric cosmology, was scientifically “false” from our modern perspective, it nevertheless still accurately describes the teleological purpose and meaning of creation that they were intending to communicate.Othmar Keel, one of the leading scholars on Ancient Near Eastern art has argued that even though modern depictions of the ancient worldview like the illustration of the three-tiered universe above are helpful, they are fundamentally flawed because they depict a “profane, lifeless, virtually closed mechanical system,” which reflects our own modern bias.To the ancient Near East “rather, the world was an entity open at every side.The powers which determine the world are of more interest to the ancient Near East than the structure of the cosmic system.A wide variety of diverse, uncoordinated notions regarding the cosmic structure were advanced from various points of departure.”[108]John Walton has written recently of this ANE concern with powers over structure in direct relation to the creation story of Genesis.He argues that in the ancient world existence was understood more in terms of function within a god-created purposeful order than in terms of material status within a natural physical structure.[109] This is not to say that the physical world was denied or ignored, but rather that the priority and interests were different from our own.We should therefore be careful in judging their purpose-driven cosmography too strictly in light of our own material-driven cosmography.And in this sense, modern material descriptions of reality are just as “false” as the ancient pictures because they do not include the immaterial aspect of reality: Meaning and purpose.Biblical writers did not teach their cosmography as scientific doctrine revealed by God about the way the physical universe was materially structured, they assumed the popular cosmography to teach their doctrine about God’s purposes and intent.To critique the cosmic model carrying the message is to miss the meaning altogether, which is the message.God’s throne may not be physically above us in waters held back by a solid firmament, but he truly does rule “over” us and is king and sustainer of creation in whatever model man uses to depict that creation.The phrase “every created thing which is in heaven and on the earth and under the earth” (Rev.5:13) is equivalent in meaning to the modern concept of every particle and wave in every dimension of the Big Bang space-time continuum, as well as every person dead or alive in heaven or hell.The geocentric picture in Scripture is a depiction through man’s ancient perspective of God’s purpose and humankind’s significance.For a modern heliocentrist to attack that picture as falsifying the theology would be cultural imperialism.Reducing significance to physical location is simply a prejudice of material priority over spiritual purpose.One of the humorous ironies of this debate is that if the history of science is any judge, a thousand years from now, scientists will no doubt consider our current paradigm with which we judge the ancients to be itself fatally flawed.This is not to reduce reality to relativism, but rather to illustrate that all claims of empirical knowledge contain an inescapable element of human fallibility and finitude.A proper response should be a bit more humility and a bit less hubris regarding the use of our own scientific models as standards in judging theological meaning or purpose.ABOUT THE AUTHORBrian Godawa is the screenwriter for the award-winning feature film, To End All Wars, starring Kiefer Sutherland.It was awarded the Commander in Chief Medal of Service, Honor and Pride by the Veterans of Foreign Wars, won the first Heartland Film Festival by storm, and showcased the Cannes Film Festival Cinema for Peace.He also co-wrote Alleged, starring Brian Dennehy as Clarence Darrow and Fred Thompson as William Jennings Bryan.He previously adapted to film the bestselling supernatural thriller novel The Visitation by author Frank Peretti for Ralph Winter (X-Men, Wolverine), and wrote and directed Wall of Separation, a PBS documentary, and Lines That Divide, a documentary on stem cell research.Mr.Godawa’s scripts have won multiple awards in respected screenplay competitions, and his articles on movies and philosophy have been published around the world.He has traveled around the United States teaching on movies, worldviews, and culture to colleges, churches and community groups.His book, Hollywood Worldviews: Watching Films with Wisdom and Discernment has been released in a revised edition from InterVarsity Press.His book Word Pictures: Knowing God Through Story and Imagination (IVP) addresses the power of image and story in the pages of the Bible to transform the Christian life.Find out more about his other books, lecture tapes and dvds for sale at his website www.godawa.com [ Pobierz całość w formacie PDF ]