Abstract
The function of space in the travel narratives of 1 Enoch 12-36. Using the theoies of Malbon and Van Eck on the functional use of space in narratives, a narrative analysis is presented of Enoch's account of three journeys in 1 Enoch 12-36. In the microsocial world of these narratives focal space is used as expression of the symbolic universe of the apocalyptic author(s). According to this view cosmological space is allocated by God as either a place of punishment for the disobedient or as a refuge for the faithful. In this knowledge the author(s) of the apocalypse found security when they experienced crises during the third and second century BCE. Preference for spatial rather than chronological data in apocalyptic thinking at this early stage of apocalypticism is described against the background of the influence of wisdom literature and the concept of holiness.
Highlights
Using the theories of Malbon and Van Eck on the functional use of space in narratives, a narrative analysis is presented of Enoch's account of three journeys in 1 Enoch 12-36
Adela Yarbro Collins (1996:7) wys dit ook uit in haar definisie van die apokalips as " ....a genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherwordly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial, insofar as it involves another, supernatural world..."
Martha Himmelfarb (1993:102) het aangedui dat die neiging " ... to strip away the 'narrative' frame to get to the revelatory core" iets van die betekenis van die apokalips verlore laat gaan
Summary
Apokaliptiese literatuur is in die eerste instansie verhaalliteratuur. Adela Yarbro Collins (1996:7) wys dit ook uit in haar definisie van die apokalips as " ....a genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherwordly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial, insofar as it involves another, supernatural world...". Ek kursiveer in hierdie aanhaling narrative framework om aan te dui dat die apokalips as verhaal gelees moet word. Malina beweer selfs dat die hede-georienteerde vertikaalgerigde astrale profesie in 'n apokalips soos Openbaringe, deur baie lesers omgebuig word na 'n toekomsgerigde horisontaal-georienteerde voorspelling. Hierdie skeefuekking is strydig met die belang wat daar in apokaliptiese verhale aan ruimte geheg word. Terwyl die elemente van karakterisering en veral uitbeelding van tyd in apokalipse prominent staan, geniet ruimtebeelding in die apokalipse waarin die reisgenre gebruik word, die voorkeur. Terwyl die klem dus baie sterk op ruimtebeelding le, moet die grater opset van die verhaal egter nie verwaarloos word nie. Die taal en soms fantasmagoriese beelde waannee hierdie ruimtes beskryf word, maak Himmelfarb se waarskuwing om nie die apokalips van die vertelraamwerk daarvan los te maak nie, baie belangrik. Die ruimtebeelding bly steeds deel van 'n groter vertelling wat die waamemer-vertelJer gebruik om die openbaring wat eksklusief ontvang is, aan ander oor te dra
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