I believe TEs should concentrate more on explaining this area the other TE arguments will have more impact once creationalists better understand the different TE perspectives on Genesis. I also think the choice of words is important the use of words like mythology may make sense to you, but when it is used in a sentence (even with an explanation), it still reads like blah blah blah.. the bible is wrong .. blah blah to a creationalist.
i agree, but i don't know how to do this.
Just looking at Gen 1, i don't really have good words to describe the continuum of ways people interpret it. I dislike the terms literal and figurative, or even logos and mythos, as they really describe the far endpoints, the extremes. Everything else in between is combinations of the literal and figurative.
I tried once to imagine a continuum that expressed the high scientific and historicity on the right, and the high story tellingness on the left.
It was trying to explain the eyewitness problem, how no one agrees to what happened at a crime scene.
on the extreme right you have a professional police report, next to it a newspaperman's account. both have high historicity content. Their purposes and motivations govern the form and structure of their accounts. Just the facts, madaam....
Along the continuum we get history textbooks, 1st hand accounts, then slowly it shades into the world of fiction with historical novel and finally ends up with art, poetry and highly figurative accounts.
It is this kind of analysis we need to find for Genesis, where we can see how people far on the continuum of how they interpret Gen 1 especially. Just using the terms literal and figurative as some sort of absolute label is just downright wrongheaded, for it is the nuances of the spectrum that are interesting and will probably help lead us to a persuasive understanding of what God intends for us to take home from these chapters.
the genesis(*grin*) of this was in a thesis i wrote including the trial of Sacco and Vanzetti. My primary source turned out to be Sinclair's historical novel --- Boston. It was to these sorts of spectrum/continuum i turned my efforts to in order to understand the problem of eyewitnesses.
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post posting edit
Good point - that's why I try and remember to call it "poetry" - which I think everyone will agree is generally a "non-literal" form but with a large measure of truth in it. The creation narrative in Gen 1 actually does have a poetic structure anyway; rather more, in fact, than is usual in the most OT texts (a lot of which are constructed as narratives poems, rather than prose.)
it is this kind of thinking that i wish to be able to capture with a continuum type of analysis. exactly how much 'poetry' and how much 'history and science' does Gen 1 contain?
i'd like to encourage everyone to read the link we were offered above at:
http://www.asa3.org/ASA/topics/Bible-Science/6-02Watts.html#Making Sense of Genesis 1
What might we conclude about the truth claims and significance of Genesis 1? Given its genrea highly stylized form and unrealistic contentI would suggest that it is not to be taken "literally" in the popular modern Western sense as a blow-by-blow, chronologically accurate, account of creation. No one in the ancient world, apart from the isolated account of the time taken to build Baals palace, seems particularly concerned with these kinds of questions. Our chronos-fixated age measures things in nanoseconds and smallerbut not theirs. Rather, the pattern of days probably derives from the ancients understanding of the structure of their worldday/night, above/below, and land/seathis being conceptualized in terms of the deitys construction of his palace-temple as he gives it form and fills it. The fundamental issue is that it is Yahweh, Israels God, a God who cares for slaves, non-entities, and even non-Israelites (cf. the mixed multitude who are also delivered from Pharaohs genocidal proclivities; Exod 12:38), who brought order to the world, not the failed deities of oppressive Egypt nor, to a lesser degree, those of Canaan or Mesopotamia. And in doing so, it uses the language and imagery to which that world, and particularly Egypt, was accustomed. This is hardly suprising.
On this reading the twenty-four hour periods, or more accurately dawn-to-dusk days, probably reflect the notion of the customary daily periods of work. Yahweh is the builder, and each day he speaks and thus by divine fiat builds or fills a discrete part of his realm. Consequently, the injunction to keep Sabbath is less intent on imitating six literal twenty-four-hour days of creation than it is a summons for Israel to live out her creation storystructured as it is in the nature of the case by six days with a seventh to restand so to declare herself to be Yahwehs "son," imitating him in continuing his creation work of bringing order with the ultimate goal of Sabbath rest.
this offers good hermeneutical reasons for moving the slider on the continuum away from the hyper literal, the police report towards the poetry side, it looks a lot like a historical novel. Using history as the structure it fills it with more typically mythos ideas. Like the image of a temple, it can have physical structure here in our world/space/time, but we understand that it is a temple not built with hands in the heavenly places. This pulls it out of our time and space but in doing so doesn't make it false as some would believe.