LC módulo 1 - SCHMIDT, NF Theophany as type-scene

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Theophany as type-scene 
in the Hebrew Bible 
N F Schmidt & P J Nel 
Abstract 
This paper investigates the literary nature of theophany in the 
Hebrew Bible. As a religious phenomenon theophany is 
distinguished from other phenomena of divine manifestations, 
such as the epiphany, dreams and visions. Theophany is also 
analysed in its reported form, which was used by authors to 
describe it as a type-scene consisting of five elements: (0 the 
background to the manifestation, (iO the manifestation of the 
divine and the way the human recipient reacts to it, (iii) the 
dialogue and content of the theophany report as the aim of the 
divine manifestation, (iv) the element of intrigue which is 
present in every theophany in some mysterious aspect of the 
divine, and (v) the conclusion to the theophany type-scene. 
The implications of these findings are applied to a number of 
Hebrew texts to contribute to their interpretation. 
1. INTRODUCI'ION: TIlE TIlEOPHANY CONFUSION 
The word "theophany" literally means "a manifestation of God", The 
Journal for Semitics, vol. 1112,2002, pp. 256·281 256 
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Theophany as type-scene in the Hebrew Bible 257 
lexeme combines the Greek terms eEOC; ("God") and $CXVELCX
I 
("manifestation"). While translating theophany is unproblematic. 
describing it as a religious phenomenon in its reported form in the 
texts of the Hebrew Bible is a difficult task. In this process scholars 
contradict one another in many respects. It would seem that there are 
two causes for this "theophanic confusion". Firstly. a terminological 
confusion besets the entire issue of the study of theophany - on the 
one hand a plethora of terms are used to indicate one and the same 
phenomenon. and on the other hand the same term is used to indicate 
different phenomena.2 Secondly. the history of study on theophany 
has been written from different perspectives. Scholars tend to use 
(and misuse) the conclusions of others to suit their own arguments. 
This confusion resulted in a wealth of theophany descriptions. while 
no satisfactory definition of theophany exists.3 The role of theophany 
in biblical literature and its impact on the structure of texts has not 
been examined properly. 
2 
AlsoMarch of the Divine Warrior Coming of the Divine Warrior 
(Baal) to battle, bearing his (EI) from battle to his temple on 
weapons of wrath his mountain 
Epiphany is the manifestation of divine power; theophany is the 
manifestation of divine presence. The purpose of epiphany is the 
saving or punishing of human beings; theophany is directed towards 
communication between the divine and mankind. While the 
recipients of an epiphany experience divine power, those of a 
theophany see the divine appearance. Theophany contains elements 
of the epiphany; the epiphany excludes elements of the theophany. 
Theophany can thus be described as "a. visible and audible 
manifestation of the divine in the natural sphere, of a temporary 
nature and at a specific place, initiated by the divine and resulting in 
human dread and awe, with the purpose of communication between 
the divine and mankind, which causes a lasting effect in the personal 
and communal life of the recipient and in the cosmos" (Schmidt 
2002:52). 
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Theophany as type-scene in the Hebrew Bible 261 
3. NARRATIVE STRUCTURE OF THE THEOPHANY 
From this descriptive definition of the theophany as a religious 
phenomenon we can now proceed to the way in which the process of 
theojanieschilderung was reported in the Hebrew Bible. Biblical 
authors and redactors were as concerned with how they said 
something as with what they said. Previous studies on the structure 
of theophanies scrutinised one element of the theophany, but 
neglected the consideration of the literary pattern of theophanic 
disclosure as a whole. The various preconceived ideas on the 
definition of the theophany in the Hebrew Bible produced divergent 
structures, which may be classified into three categories of 
theophany as (i) a literary genre, (ij) an Ancient Near Eastern 
tradition in Israel's history, and (iii) part and parcel of the call 
narratives. 
3.1 Theophany as a literary genre in the Hebrew Bible 
Jeremias (1965:15, 168) described the Hebrew theophany as a 
Gattung with its original form in Jg 5:4-5. This specific theophany 
genre consists of two parts: the coming of Yahweh from somewhere 
to a specific place (the Ursache which originated in the context of 
ancient Israel), and the tumult in nature because of God's coming 
(the Wirkung which was adopted from Israel's Ancient Near Eastern 
neighbours). According to Jeremias (1965:93-101), this genre 
originated in descriptions of Yahweh's holy war as divine warrior. 
Cross 0973:155-156) elaborated on two descriptions of Yahweh as 
the divine warrior. Borrowed from Canaanite literature by the people 
of Israel, this meant the march of the divine warrior into battle 
carrying his terrible weapons of destruction, and the return of the 
divine warrior from battle to his temple on his mountain. Underlying 
both types he discerned an archaic mythic pattern for the theophany 
consisting of four elements (1973: 162-163): 
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0) The divine warrior goes forth to battle against chaos (e.g. Yam, 
Leviathan, Mot) 
(ii) Nature convolutes, writhes and languishes when the warrior 
unleashes his wrath 
(iii) The warrior returns to assume kingship enthroned among the 
gods on his mountain 
Ov) The divine warrior makes himself heard from his temple and 
nature responds again: heavens fertilise the earth, animals writhe in 
giving birth, men whirl in festive glee. 
Kuntz analysed narrative texts in the Old Testament which contain 
theophanies. Having establishing guidelines for a theophanic 
structure from Gn 26:23-25, he produced a flexible Gattung for 
theophanies in the Old Testament texts consisting of ten parts (cf. 
Kuntz 1967:60). These fonn-critical exponents have done much 
groundwork for a scientific interpretation of the theophany texts of 
the Hebrew Bible. However, they tend to be very rigid in the analysis 
of texts according to strict subjective qualifications. Texts not suited 
to adjustment to a preconditioned Gattung were either discarded as 
being of a secondary nature, or regarded as a later development of 
the prototype of the genre. 
3.2 Theophany as an Ancient Near Eastern tradition in 
Israelite history 
While the fonn-critics related the theophany to the context of 
Yahweh's holy war, those who followed the tradition-historical 
method identified the festivals in the cult of ancient Israel as the Sitz 
im Leben of the theophany (cf. Weiser 1950). The tradition of the 
theophany was grounded in Ex19-34 and later re-enacted in the cult 
during the dialogue between God and believers. The biblical 
tradition probably emanated from an ancient fonn of hymnic 
theophanic accounts in the Ancient Near East. The descriptions of 
the march of Yahweh in Jg 5:4-5, Dt 33:2, Ps 68:8-9 and Hb 3:3-4 
can be traced back to the cult of the sun as manifestation of the gods 
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Theophany as type-scene in the Hebrew Bible 263 
in Egypt, while manifestations in nature are based on the advent of 
the Canaanite storm god Baal. In the ongoing process of revitalising 
Israel's theophanic tradition, theophanies of Yahweh as divine 
warrior were historicised and personalised, as a continuous (but no 
longer seasonal) tradition from the Second Millennium BC up to 
Hellenistic and Roman times (cf. Kingsbury 1967:205). 
Van Seters (1975:261-262) provided a sixfold basis for this "ancient 
story of theophany" according to the structure of Gn 15, Ex 3, Jg 6 
and 13: (i) a general situation of distress, (in the dramatic appearance 
of the messenger of Yahweh at a specific time and place, (iii) the 
appearance is a response to a situation of need where a commission 
is desired, (iv) the commission of the recipient is often followed by a 
protest of weakness. (v) a confirmation of the promised deliverance 
followed by a sign or disclosure of God, and (vi) the deliverance is 
carried out in the rest of the story. 
3.3 Theophany as part and parcel of the call narratives 
in the Hebrew Bible 
Habel (1965:298, 305) identifies the Hebrew call narrative as a genre 
which developed from the early accounts of Ex 3 and Jg 6 into a 
common literary form which authors used in later accounts of the 
calling of leaders (cf. Jr 1:4-10, Is 6:1-13 and Ezel-2). As part of the 
call narrative, the theophany does not function on its own but as the 
embodiment of divine communication with the person called. It 
could be replaced with other phenomena in later texts. The vision 
took its place in the later texts relating the call of Isaiah and Ezekiel. 
As genre, the call narrative has an underlying structure with six 
broad literary features: 0) the divine manifestation in times of crisis 
and in the midst of normal routine activities, (ii) the introductory 
word from God to the prophet, (iii) the leader receives a commission 
from the deity, (iv) the leader baulks at the commission, (v) the 
leader is reassured that Yahweh is with him, (vi) a sign is provided to 
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the leader that he is called by the divine (Habel 1965:317, d. Long 
1984:259). 
The value of the theophany as part of the call schema of leaders in 
Ancient Israel lies in the fact that the phenomenon is not removed 
from its textual context, as is often the case with the genre- and 
tradition-approaches. However, the problem with the theophany as 
part of the call-narrative is that we find theophanies in the Hebrew 
Bible which cannot adequately be described as call scenes (d.Gn 3, 
Ex 34, Nm 12, as well as Job 38-42). A possible structure and 
context for the theophany in some Hebrew texts can be explained by 
another, more recent approach in biblical science. 
3.4 Theophanyas a literary type-scene in the Hebrew Bible 
Robert Alter is in all probability the first scholar to apply the type­
scene to biblical literature. The type-scene is defined as the "the 
marking of a crucial juncture in the life of the protagonist by 
following a fixed sequence of familiar motifs" (Alter and Kermode 
1987:672). Alter (1981:47-49) explains the type-scene as a tacit 
agreement between the artist and his audience, which can be 
identified as the ordering of a literary work of art according to a grid 
of conventions. These conventions have previously been identified 
by form-critics as the recurring regularities of a pattern rather than 
the manifold variations of literary convention.6 What is important in 
the biblical type-scene is not so much its schema of convention, but 
what is done in each individual's application of the schema to give it 
a sudden tilt of innovation or even to refashion it radically for 
imaginative purposes. Rather than describing theophany as a genre, 
tradition, or even as part of the call narrative, this study interprets it 
6 Alter (1981:51) identifies 8 type-scenes in the Old Testament: 
0) annunciation. (ij) birth of a hero from a barren mother. (iii) 
encounter with a future wife. (iv) epiphany in the field. (v) 
initiatory trial, (vi) danger in the desert. (vii) discovery of a well, 
(viii) testament of a dying hero. 
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Theophany as type-scene in the Hebrew Bible 265 
as a type-scene with a certain supra-textual matrix (cf. Polak 
1996:116-117 and Sands 1975:45-49).7 
From the definition of theophany its characteristics as a religious 
phenomenon have been demonstrated. Its structure is now explained 
in its reported form in some Hebrew texts. We propose a type-scene 
of theophany, consisting of the following elements: 
i. Background. Information on turmoil, chaos, and the presence of 
evil is reported, which both precedes and leads to the manifestation 
of the deity. The manifestation should be seen in the light of both the 
divine initiative (that Yahweh is manifested) and the situation 
portrayed in the background (why Yahweh is manifested). 
ii. Manifestation. The manifestation of the divine in the earthly 
sphere takes place by means of phenomena such as a cloud, fire, 
wind, thunder, silence, etc. This brings about a human reaction as a 
response to the mysten'um tremendum et jascinans (cf. Otto 1959). 
iii. Dialogue. Communication takes place between the deity and 
man, as to the purpose of the theophany. The style usually comes in a 
question-answer format, with the content of the divine words 
exceeding that of the human recipient. 
iv. Intrigue. This forms part of the plot of every theophany. 
Specific events take place during the divine manifestation and 
communication that are left unanswered and unexplained by the 
author as part of the unique and mysterious aspect of every 
theophany. 
v. Conclusion. The last part of the type-scene is provided by the 
narrator, who either tells us that Yahweh left the scene, or that the 
recipient responded in a certain manner to fulfil his calling after the 
theophany event. The type-scene forms part of larger textual units, 
but may be studied separately as a substantial unit within the whole. 
7 In doing so, we utilise the structure of Alter's type-scene of the 
"epiphany in the field" without endorsing its typification as 
"epiphany", to describe a type-scene of the theophany as a 
unique form of divine manifestation to the human recipient. 
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4. UlERARY INIERPREfAll0N OF 1HEOPHANIC 
'fYPE..SCENEi 
The type-scene will now be applied to Hebrew texts which have been 
identified as theophanies according to the definition of the religious 
phenomenon. 
4.1 Exodus 3-4 (theophany and the divine name) 
The divine manifestation to the lone shepherd in Ex 3:1-4:17 has 
been described as the locus classicus of the Old Testament 
theophany (d. Kuntz 1967:139). 
1. Background God hears the lamentation of the Israelite 
slaves in Egypt (2:23-5) 
Moses leads the flock of his father-in-law to 
the area of Horeb (3:1) 
2. Manifestation Moses is attracted to the mystery of a burning 
bush 
The angel of Yahweh appears in the burning 
bush 
Yahweh orders Moses to remove his shoes 
Moses hides his face in his mantle (3:2-6) 
3. Dialogue Yahweh calls Moses to free his people from 
Egypt 
Moses' objections are countered by Yahweh 
four times (3:7-4:17) 
4. Intrigue The relation between Yahweh and the God of 
the patriarchs (3:14) 
5. Conclusion Moses returns to Egypt (4:18) 
i. Background. During the absence of God the Israelites were 
enslaved by the pharaoh, an embodiment of evil. But God was never 
really absent, as 2:23-5 describes the divine conduct of hearing, 
remembering, seeing, and knowing his people (d. 3:7-8). Moses 
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Theophany as type-scene in the Hebrew Bible 267 
drove the flock of Jethro into the desert to the mountain of God, and 
encounters God. 
ii. Manifestation. Yahweh is manifested by his angel in the burning 
bush (3:2). Moses proceeds to investigate this wonder. As God calls 
on him, he responds in three ways: he declares in an act of self­
presentation, "Here am I". He removes his shoes under divine 
orders.s He covers his face with his mantle. These three responses 
are a complete reaction to the divine mysterium tremendum et 
jascinans in terms of the theophany. 
iii. Dialogue. The hieros logos is extended because of Moses' doubt. 
Yahweh commissions Moses to free Israel, but he declines the offer. 
He advances four objections: he is not up to the task, he is ignorant 
of the divine name, his people are unbelieving and he lacks 
eloquence. Each time Yahweh brushes his objections aside. 
iv. Intrigue. The mysterious presence of Yahweh and the revelation 
of the divine name have led to many interpretations of Ex 3:14.9 
Elohim of the forefathers is indeed Yahweh of the covenant, who is 
here described in terms of his active presence. Ex 3:14 illustrates the 
close and essential relationship between God's Person and his Name. 
The revelation of the Name is necessary for Moses to relate his 
encounter with Yahweh to that of Israel's patriarchs with Elohim. 
v. Conclusion. As Moses leaves for Egypt the event of the divine 
saving of the Hebrew people from Egypt gains momentum. Yahweh 
will free them in the light of his twofold promise to Abraham of a 
great nation possessing their own soil (cf. Gn 12:1-7). Ex 3-4 
foreshadows the later fiery theophany at SinailHoreb in Ex 19-34. 
s 
9 
Kuntz (1967:144) and Niehaus (1995:188) interpret the removal 
of Moses' sandals as an act of recognition of the holiness and 
sovereignty of Yahweh who has drawn near. The interpretation 
of this divine order by Janzen (1997:28) as an act of divine 
hospitality which Moses gladly accepts seems to be incorrect in 
the context of the theophanic type-scene. 
Terrien (1978:116) provides three translations of this part of Ex 
3:14: (1) "I am who 1 am", (2) "I shall be who 1 shall be", or (3) 
"I cause to be whatever 1 cause to be". 
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The structure of this theophany is also a stylistic example of the 
theophanies to Joshua and Gideon. 
4.2 Numbers 22~24 (theophany and oracle) 
Thistext illustrates the various forms of manifestation of the deity in 
the Hebrew Bible. 
1. Background Israel arrives in the land of Moab 
Moab summons Balaam to curse Israel 
God initially prohibits but then allows Balaam 
to go (Nm 22:1-20) 
2. Manifestation The angel of Yahweh stands in the way of 
Balaam's donkey 
The donkey realisel' danger and speaks to 
Balaam about the angel 
Balaam falls on his face in front of the angel 
(22:21-31) 
3. Dialogue The angel confronts Balaam's prophetic 
objectives 
Balaam bows according to the aim of Yahweh 
(22:32-5) 
4. Intrigue The different kinds of divine revelation in Nm 
22-24 
5. Conclusion Balaam meets Balak in Moab (23:36-41) 
Balaam's oracles in favour of Israel (Nm 
23:1-24:25) 
i. Background. Balak summons Balaam to curse Israel. Balaam first 
rejects and then accepts the proposals of Balak because of directive 
dreams he received from God. The note in 22:21 that Balaam 
prepared his donkey to depart, prepares us for the encounter with the 
angel that would follow after his conversation with the donkey. 
ii. Manifestation. The angel stands in the way, so as to obstruct both 
Balaam and his donkey. In 22:21-35 he acts as a TtfW ("adversary") 
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Theophany as type-scene in the Hebrew Bible 269 
to grant Balaam awareness of the manifestation of Yahweh. After 
Balaam sees the angel he bows down as an appropriate reaction. 
Balak and Balaam are symbols of fatuousness and obstinacy; their 
conduct is accentuated by the behaviour of the donkey. The 
proverbial ass is normally associated with similar characteristics, but 
here exhibits more spiritual insight than the prophet. 
iii. Dialogue. The words of the angel of Yahweh prepare Balaam for 
the correct prophetic oracle to be pronounced by him on Israel. The 
dialogue is continued in the different oracles that Balaam pronounces 
on Israel under the influence of the Spirit of Yahweh (cf. 24:2). An 
ironic twist is the fact that Yahweh employs a Near Eastern diviner 
to provide a vision of Israel's future, not Moses who had seen Him 
face to face. 
iv. Intrigue. Numbers 22-24 exhibits four manifestations of the 
deity in the world of the Bible: firstly, God appeared twice to Balaam 
at night in dream-visions (22:9,20). In these nocturnal revelations the 
general Ancient Near Eastern divine name of Elohim instead of 
Yahweh, the covenantal divine name of the God of Israel, is used. 
Secondly, Yahweh is manifested in the theophany of the angel and 
the donkey. The remarkable extent to which this event is described 
establishes it as superior to the other forms of manifestation. 
Thirdly, God met Balaam during sacrifices which preceded his 
oracles (23:1,14,29). Fourthly, the Spirit of God descends on Balaam 
to produce another prophetic oracle in 24:2 under direct divine 
inspiration. 
v. Conclusion. The plans of Balak to bring down a divine curse 
upon Israel under the influence of Balaam, have failed miserably. 
Instead, Balaam pronounces a divine blessing on the enemies of 
Balak at the behest of God. In the conclusion of the type-scene, the 
author mentions that Balak and Balaam exited the scene to return to 
their homes (24:25). 
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4.3 Exodus 19-34 (three theophanies and one mountain). 
The Sinai complex consists of three theophany type-scenes, Le. Ex 
19-23, 24-31, 32-34. All three theophanies are related in successive 
stages to the establishment and renewal of the covenant between 
Yahweh and Israel - the first is concerned with the commandments 
of the covenant, the second focuses on communion with Yahweh in 
the covenant, and the third on the renewal of the covenant after 
Israel's apostasy. 
4.3.1 Exodus 19-23 
The first theophany is linked with the issuing of the commandments 
emanating from the covenant between Yahweh and Israel. 
1. Background Israel arrives in the wilderness at the mountain 
of Sinai (19:1-2) 
Moses is entrusted with orders of purification 
for Israel 09:3-15) 
2. Manifestation Yahweh is manifested on Sinai in storm 
elements 
Israel shudders as Moses ascends the mountain 
09:16-20) 
3. Dialogue Commandments of Yahweh's covenant with 
Israel (20: 1-23:33) 
Communication between Moses and Yahweh 
{19:21-24} 
4. Intrigue Different elements of the divine manifestation 
(19:16-19) 
5. Conclusion Moses descends from Sinai to promulgate 
Yahweh's orders (19:25) 
L Background. When Israel arrives at Sinai the people are informed 
by Yahweh, through Moses, to prepare themselves cultically for the 
theophany and the revelation of God's will. 
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Theophany as type-scene in the Hebrew Bible 271 
ii. Manifestation. Yahweh descends onto the mountain and is 
manifested through the elements of thunder, lightning, cloud, the 
blast of a trumpet, smoke, fire and earthquake. In reaction to this 
manifestation, both nature and Israel tremble. The people request 
Moses to act as mediator between them and Yahweh. 
iii. Dialogue. Moses proceeds to act as mediator of Yahweh's 
principles for the covenant with Israel. Some conversation takes 
place between Yahweh and Moses, but this is overshadowed by the 
content of the book of the covenant, which is narrated by God to 
Moses, who has to teach it to the Israelites (cf. Ex 20-23). 
iv. Intrigue. Gowan (1994:28) calls Ex 19 the classic theophany of 
the Old Testament, because it combines the different phenomena of 
divine manifestation in thunder, lightning, cloud, trumpet-sound, 
earthquake, smoke and fire. Van Seters (1994:250) combines all the 
natural elements in the pillar of cloud which previously led Israel to 
Sinai. The theophany seems to be of a cultic nature. 
v. Conclusion. Moses descends from the mountain to proclaim 
God's book of the covenant to the people of Israel (d. Ex 19:25). 
Now that they know the will of Yahweh, the next step to the actual 
making of that covenant can be taken. 
4.3.2 Exodus 24-31 
While the preparations for the covenant were being made in the 
initial theophany, Ex 24-31 portrays a second theophany as the 
consummation of the covenant in terms of a communal meal 
between Yahweh and the leaders of Israel. 
1. Background Orders to purify Israel's seventy leaders for a 
covenant meeting 
Four priests and seventy elders ascend Sinai 
(24:1-9) 
2. Manifestation The party sees God's presence 
A covenantal meal takes place (24: 1 0-11) 
Moses alone ascends Sinai again (24: 12-18) 
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3. Dialogue Cui tic instructions: acts and objects to be 
implemented (25:1-31:17) 
4. Intrigue The cultic objects as symbols of the divine 
presence 
5. Conclusion Moses descends Sinai with the tables of 
testimony (31:18) 
i. Background. Moses is told by Yahweh to ritually prepare the 
seventy leaders for a covenental meal with Him on Sinai. The people 
at the foot of the mountain offer sacrifices to Yahweh after they have 
listened to the commandments of the covenant. 
ii. Mamfestation. Ex 24:9-11 relates how the seventy leaders and 
four priests ascend Sinai to partake in the divine presence in a 
communal meal of the covenant. Moses is told once again to ascend 
the mountain, where he remains for forty days. During this time 
Yahweh speaks to Moses from the cloud, which acts to 
accommodate both the presence and concealment of the divine (cf. 
Ex 24:15-18). 
iii. Dialogue. Moses receives orders on the establishment of cultic 
objects such as the ark and the tabernacle, with its furniture, objects,sacrifices and acts (cf. Ex 25-30. 
iv. Intrigue. The continued presence of Yahweh amongst Israel 
necessitates the making of a covenant. To adhere to the cultic laws of 
Yahweh, Israel is provided with a plan to build the cult wherein 
divine manifestation can happen in a more permanent manner (cf. 
24:16-18). The description of the tabernacle is an architectural 
representation of the experiences of Moses involving the divine glory 
on Sinai. As the cloud of divine presence previously descended on 
Sinai, so it will in future descend on the tent and tabernacle. 
v. Conclusion. After the forty days have elapsed, Moses descends 
the mountain, taking with him the two tablets on which the 
commandments of Yahweh were written (31:18). 
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IVIle-scerle in the Hebrew Bible 273 
4.3.3 Exodus 32-34 
The third type-scene narrates how the Israelites were unwilling to 
wait for their mediator for forty days. They persuade Aaron to 
establish a Canaanite form of the worship of Baal. This amounts to a 
breach of the covenant which they had entered into with Yahweh. 
After the people of Israel are punished, the covenant is re­
established. 
1. Background The Israelites commit apostasy by trying to 
mediate God (32:1-6) 
Yahweh's anger with Israel is interceded for 
by Moses (32:7-14) 
Moses and God punish the Israelites (32: 15-
35) 
2. Manifestation Divine presence manifested on the tent of 
meeting (33:1-23) 
Yahweh's glory is manifested to Moses on 
Sinai (34:1-8) 
Moses worships Yahweh (34:8) 
The face of Moses also temporarily reflects 
Yahweh's glory (34:29ff) 
3. Dialogue Yahweh orders Moses to prepare Israel for a 
renewal of the covenant 
Another set of the decalogue is provided 
(34:9-28) 
4. Intrigue The permanent presence of Yahweh in the 
tabernacle (33:7-11). 
5. Conclusion Moses returns to Israel to convey Yahweh's 
orders (34:29-35) 
i. Background. The covenant that was envisaged and executed 
during the first two theophanies is endangered when Israel 
misunderstands Yahweh's manifestation in terms of the Canaanite 
religion of Baal. The scene of the golden calf shows how Israel 
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prefers the permanent presence of an artefact god with a mediator 
who translates their requests in cultic terms. The punishment of 
Israel is ironic: they are forced to drink water mixed with the ashes 
of the image's remains, which permeates their bodies and heightens 
the proximity of the idol to absurdity (cf. Polak 1996). 
ii. Manifestation. Ex 32-4 shows that Moses has become an 
indispensable mediator of the deity to Israel. Moses requests an 
unconcealed manifestation of the deity, to which Yahweh responds 
negatively (33:21-23). Yet, during the manifestation the divine glory 
is passed on to the face of Moses (34:29-35). 
iii. Dialogue. The conversation between Yahweh and Moses is 
described in stages during this theophany. Initially he intercedes for 
the Israelites whom Yahweh wants to destroy because of their 
apostasy (32:7-14). Then Moses persuades Yahweh not to remove 
his presence from the people of Israel. but to remain with them on 
the journey (33:12-17). In the final conversation of this type-scene, 
the ten commandments are rewritten by Yahweh and made known to 
Moses for the sake of Israel's covenant with God (34:1-27). 
iv. Intrigue. The tent of meeting would henceforth mediate the 
presence of the divine in terms of the cloud that once descended onto 
it. It becomes the place where Israel can seek God. The fact that the 
glory of Yahweh descended on the tent as the pillar of cloud which 
previously guided Israel through the wilderness and descended on 
Sinai makes one type of the glory theophany identical with the others 
at Sinai. 
v. Conclusion. After Moses had conveyed the divine commandments 
to the people of Israel, the covenant is re-established. In the rest of 
the book of Exodus (Ex 35-40), the instructions of Yahweh on the 
cult of Israel are obeyed. 
4.4 1 Kings 19 (alternative theophany) 
In this theophany the way in which God chooses to manifest Himself 
is to be regarded as an integral part of the message He wishes to 
communicate. 
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1. Background Elijah fled from Jezebel to Horeb, assisted by 
an angel (19:1-11) 
2. Manifestation A series of manifestations, after which he 
covers his face (19:12-13) 
3. Dialogue Elijah is re-commissioned as prophet (19: 14-
18) 
4. Intrigue Changes in the form of the theophany (19: 12) 
5. Conclusion Elijah obeys the orders of Yahweh (19:19-21) 
i. Background. In the epiphanic Kulturkampj on Mount Carmel, 850 
prophets of the Canaanite god Baal are massacred at the command of 
EJijah. Jezebel, the queen of Israel and foJ]ower of Baal, sends a 
message of retribution to Elijah, who flees to Horeb. In his situation 
and journey an angel strengthens him. 
ii. Manifestation. In 19:11-12 God descends on the mountain of 
Horeb in a series of divine manifestations. Scholars disagree on the 
relation between the elements of storm, earthquake, fire and the 
i1~j i1~~'7 ?;i'.10 Some regard the elements of the storm, earthquake 
and fire merely as harbingers of Yahweh's coming, because only at 
the "sound of a light whisper" Elijah wrapped his face in his mantle 
and stood at the entrance of the cave to meet God. According to 
Gowan (1994:35). theophanic language never claimed that God was 
in the wind, earthquake, fire or the "thin sound of silence". Lust 
(1975:114-115) agrees that the threefold pattern should read that 
Yahweh was "'not yet' in the storm nor in the earthquake or in the 
fire", because these cosmic signs precede and announce God's 
coming. Yahweh's voice is heard as a roaring thunder at the end of a 
series of cosmic events. As a result, EJijah first fled into the cave 
10 This phrase is variously translated as a "sound of sheer silence" 
(NSRV). "gentle whisper" (NIV). "soft whisper of a voice" 
(TEV). "low murmuring sound" (NEB). "sound of a gentle 
breeze" (JB). "sound of a light whisper" (Montgomery). 
"stillness. and then a small whisper" (Sandmel). as well as a 
"voice of gentle stillness" (cf. Kuntz 1967:152), 
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and came out while covering his face in the presence of Yahweh. By 
wrapping his face Elijah indicates his apprehension of the divine 
presence. 
iii. Dialogue. Elijah desires to be released from his prophetic office, 
but Yahweh insists that he continues the commission which consists 
of three commands. The exhausted prophet is re-commissioned by 
the deity in a completely overwhelming intervention. He is 
empowered for the re-establishment of a covenant between Yahweh 
and Israel by means of subversive military action and prophecy, in 
Israel and abroad. 
iv. Intrigue. What is the implication of the change in the way the 
divine manifestation took place in lKings 19:11-12? Scholars have 
proposed three interrelated interpretations: (1) the storm theophany 
is left behind to distinguish between Yahweh and Baal; (2) 
theophany is replaced with the prophetic vision; and (3) the Mosaic 
theophany is reinterpreted in 1 Kg 19 as a development of the event. 
The first interpretation of the change of the theophany relates it to 
the fact that the adherents of the Yahwistic faith, to distinguish 
Yahweh from the Canaanite Baal, gradually abandoned the storm 
theophany. According to Fensham (1980:232), the main theme in 1 
Kings 17-19 is the contestbetween Yahweh and Baal. In 1 Kg 
19: 11-12 Yahweh is no longer identi fied (like Baal-Melkart) in 
manifestations such as the storm, earthquake, wind or fire, but in the 
silence following in the wake thereof. In the new encounter Yahweh 
becomes distinct from Baal. The storm theophany is discharged in 
favour of other forms of divine manifestation. Proponents of the 
second interpretation think that the theophany is replaced with the 
prophetic vision as the future form of the manifestation of the deity. 
In a re-evaluation of Yahweh's powerful presence in nature, 
manifestation becomes a symbol of divine spirituality and intimacy. 
Revelation is changed to events in ordinary life, no longer happening 
only in the spectacular manifestations of nature (ct. Nelson 
1987:125-126). Gray relates 1 Kings 19 to Exodus 33 to describe 
this theophany as "intelligible communication". Elijah expected an 
intervention, as was anticipated in the traditional liturgy of the cult, 
but it turns out to be "an intelligible revelation to find God's 
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Theophany as type-scene in the Hebrew Bible 277 
direction in the ordinary course of daily life and to communicate it 
regularly and constructively" (Gray 1980:410-411). The theophany 
is replaced by the prophetic vision. The third interpretation regards 1 
Kings 19 as a reinterpretation and development of the Mosaic 
theophanies. 1 Kings 19 refers back to the theophanies of Exodus 3-4 
and 19-34. Elijah becomes a Moses redivivus, in the sense that he 
receives from Yahweh a similar commission and deliberately 
attempts to revitalise the Mosaic tradition in his day. His journey is 
similar to that of Moses in terms of time (40 days and nights), place 
(Horeb/Sinai) and theophanic description. Yet, in the case of Elijah 
we find an important reversal of the traditional theophany to Moses: 
Moses requests to see the divine glory, while God prepares Elijah for 
this purpose. Moses is denied a view on the deity, while Elijah is 
invited to an interview. Moses asks for the help of Yahweh, while 
Elijah complains of its lack. Moses' boldness is contrasted to 
Elijah's reverence. 1 Kings 19 presents the more sophisticated mode 
of a new theophany meeting. Wiirthwein (1994:151-152) interprets 
this theophany as a cultic event, during which silence presented the 
divine manifestation and presence in the cult of Israel. 
v. Conclusion. Elijah leaves Horeb to fulfil his threefold prophetic 
duty. After he has bestowed his prophetic task on Elisha, he is taken 
up to heaven (d. 2 Kings 2). 
5. SUMMARY 
In this study the theophany as religious phenomenon was identified 
in some texts of the Hebrew Bible, and then transformed into a 
narrative type-scene that schematises the reporting of such an event. 
The register or constitutive aspects are fairly stable but may vary in 
exposition in specific instances. Our investigation has offered 
sufficient comparable proof to use the theophany as a type-scene 
schema or pattern. This theophany type-scene consists of the 
following elements: 0) Background (ii) Manifestation (iii) Dialogue 
(iv) Intrigue (v) Conclusion. By applying a religious phenomenon 
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278 N F Schmidt & P J Nel 
(i.e. the theophany) to biblical texts. this paper shows that religious 
phenomena might have determined the compositional structures of 
Hebrew passages. 
BIBLIOGRAPHY 
Alter. R 1981. The art of biblical narrative. New York: Basic Books. 
Alter. R & Kermode, F (eds) 1987. The literary guide to the Bible. 
Cambridge: Belknap. 
Anderson. G Wet al (eds) 1960. Supplements to Vetus Testamentum. 
Volume VII. Leiden: Brill. 
Baumgartner. W et al (eds) 1950. Festschrift for Alfred Bertholet. 
Tubingen: JCB Mohr. 
Barr. J 1960. Theophany and anthropomorphism in the Old 
Testament. in Anderson 1960:31-38. 
Cross. FM 1973. Canaanite myth and Hebrew epic. Essays in the 
history of religion in Israel. Cambridge: Harvard University 
Press. 
Eliade, M 1958. Patterns in comparative religion. London: Sheed 
and Ward. 
Eliade, M 1961. The sacred and the profane: the nature of religion. 
Evanston: Harper & Row. 
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Theophany as type-scene in the Hebrew Bible 279 
Fensham, F C 1980. A few observations on the polarisation between 
Yahweh and Baal in 1 Kings 17-19, ZA W 92/2:227 -236. 
Gibson, J C L 1977. Canaanite myths and legends. Edinburgh: T&T 
Clark. 
Ginsberg, H L 1974. Ugaritic myths, epics, and legends, in Pritchard 
1974:129-155. 
Gnuse, R 1998. A reconstruction of the form-critical structure in 1 
Samuel 3, ZA W94/3:379-390. 
Gordon, C H 1965. Ugaritic Textbook. Rome: Pontificial Biblical 
Institute. 
Gowan, D E 1994. Theology in Exodus. Louisville: John Knox. 
Gray, J 1980.1 & II Kings. A commentary. London: SCM. 
Habel, N C 1965. The form and signifi~ance of the call narratives, 
ZA W 77:297-323. 
Hunter, J H 1987. Theophany in the psalms. A study of selected 
theophany passages. Stellenbosch: Unpublished doctoral 
thesis. 
Janzen, J G 1997. Exodus. Louisville: John Knox. 
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Kuntz, J K 1967. The self-revelation of God. Philadelphia: 
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Kult: Die Darstellung der Theophanie in die Psalmen und im 
Festkult, in Baumgartner 1950:513-531. 
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W iirthwein, E1994. Studien zum Deuteronomistischen Geschichtswerk. 
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Rev N F Schmidt & Prof P J Nel 
Department of Near Eastern Studies 
University of the Free State 
POBox 339 
BLOEMFONTEIN 9300 
SOUTH AFRICA 
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282 Errata 
EDITOR'S NOTE 
The Editor regrets the publication errors that occurred in the article 
by P J Botha VSem 11 (1):64-82). These errors are rectified below. 
1. The textual strategy and social background of Psalm 
64 as key to its interpretation (P J Botha), JSEM 11 
(1):64-82. 
The Hebrew text omitted from the article is reproduced below: 
:"" "7;)T7;) nll7;), 1 To the conductor. A Psalm of 
David. 
A 1 "'i' O'il'N-Y7;)tv 2 Listen, 0 God, to my voice in 
'"'tv::J my trouble; 
"n 'In ::J"N ,n!J7;) protect my life from the dread 
of the enemy 
2 "07;) , l" non 3 Hide me from the counsel of 
0' Y' 7;) the wicked. 
pN "Y!J ntvl'7;) from the multitude of the 
evildoers. 
B 3 ::J,n:J mtv ,tvN 4 who whet their tongues like 
Ol'tv, swords. 
'7;) ,::J, OlM ,:J" who aim bitter words like 
arrows. 
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Errata 283 
4 C.I'I C".I'IOI.:I:l m,', 5 to shoot from ambush at the 
innocent; 
'N'" N" 'il" CN.I'I!l suddenly and without fear 
they shoot at him. 
5 37' ':11 'I.:I'-'PTTT' 6 They hold fast to their evil 
purpose; 
C'llij1l1.:1 111.:1"" "!l0' they talk to conceal their 
traps. 
'1.:I'-ilN" '1.:1 "I.:IN thinking. "Who will notice 
them?" 
6 1)1.:1.1'1 .I'I"37-'lli!ln' 7 They devise crimes: "We 
lli!lnl.:l lli!ln have made the perfect plan." 
PI.:I 37 :I" lli' N :I'P' For a man's bosom and heart 
are cunningly deep 
II C 7 m C'il?N c," 8 But God will shoot His arrow 
at them; 
c.n,::ll.:l "il C'N.I'I!l suddenly they are hit. 
S Cl'lli, ,m,'lli::l" 9 Their own tongue will bring 
them to ruin; 
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284 Errata 
C:J ilN'-'7:) '''In' all who see them, will shake 
their heads. 
D 9 C'N-'7:) 'N'''' 10 Everyone will stand in awe 
C'iI'N 'liD "'l" and will proclaim the work of 
God, 
''':>lViI 'illVlIO' understanding what he does. 
10 mil':J i"'X MOlV' 11 The righteous will rejoice in 
,:J ilom YHWH and shelter in him, 
:J'-"lV'-'::> ,''mn', and all the upright in heart 
will feel proud. 
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Errata 285 
2. Verbless clauses containing personal pronouns in 
Qumran Hebrew (J A Naude), JSEM 11 (1):126-168. 
Lines were omitted from the following tree diagrams of the 
above article. 
2.1 Example (47) (JSem 11 0):147) 
(47) DP 
A 
e D' 
DP 
mbnh pr 
2.2 Example (48) fJSem 11 (1):148) 
(48) DP 
A 
hw' D' 
DP 
mbnh pr 
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2.3 Example (49) (JSem 11 (1):148) 
(49) 
TOPP 
A 
TOP' 
A 
TOP AGRSP 
A 
AGRS' 
A 
DP 
A 
hw' N' 
DP 
mbnh pr 
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Errata 287 
2.4 Example (50) (incorrectly labelled (52),JSem 11 (1):150 
(50) 
TOPP 
,II\. 
hW'i TOP' 
,II\. 
TOP AGRSP 
,II\. 
Ii AGRS' 
,II\. 
DP 
,II\. 
Ii N' 
DP 
mbnh 'pr 
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288 Errata 
2.5 Example (51) (incorrectly labelled (52), JSem 11 0):151) 
(51) 
TOPP 
A 
hw'; TOP' 
A 
TOP AGRSP 
A 
ti AGRS' 
A 
mbnh 'prj DP 
ti N' 
DP 
2.6 The reference to "(52)(a)" (JSem 11 0):152) should read 
"(53)(a)". 
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2.7 Example (56) (JSem 11 (1):155) 
(56) 
DP 
A 
el N' 
A 
hy' DP 
2.8 Example (57) (JSem 11 (1):155-156) 
(57) 
DP 
A 
hqryh N' 
A 
hy' DP 
yrwslm 
Errata 289 
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290 Errata 
2.9 Example (58) USem 11 (1):156-157) 
(58) 
TOPP 
A 
TOP' 
A 
TOP AGRSP 
A 
AGRS' 
A 
AGRSPESP 
A 
AGRSPES' 
A 
DP 
A 
hqryh N' 
A 
hy' DP 
yrwslm 
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2.10 Example (59) (.JSem 11 (1):157-158) 
(59) 
TOPP 
A 
hqryhi TOP' 
A 
TOP AGRSP 
A 
t,. AGRS' 
A 
AGRSPESP 
A 
AGRSPES' 
A 
DP 
A 
t,. N' 
A 
hy' 
Errata 291 
DP 
yrws[m 
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292 Errata 
2.11 Example (60) (JSem 11 (1):159) 
(60) 
TOPP 
A 
hqryh; TOP' 
A 
TOP AGRSP 
A 
ti AGRS' 
A 
hy'/ AGRSPESP 
A 
AGRSPES' 
A 
t} DP 
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Guidelines for authors 293 
GUIDELINES FOR AUTHORSIRIGLYNE VIR OUTEURS 
1. PREPARATION OF THE MANUSCRIPTI 
VOORBEREIDING VAN DIE MANUSKRIP 
Manuscripts must be typed on A4 paper in 1112 or double spacing. 
Make use of the block paragraph method. Twice the space between 
lines should be left between paragraphs. If your manuscript is typed 
on a word processor, you should use MSWord. A printed copy 
should accompany manuscripts on disks. If time allows galley proofs 
for final proofreading will be submitted to the author with the 
proviso that no major alterations or additions should be made at that 
stage. 
Die manuskrip moet in I1h of dubbelspasicring op A4-grootte papier 
getik word. Gebruik die blokparagraafmetode en laat tussen 
paragrawe dubbel die spasie wat tussen reels gelaat word. Indien u u 
manuskrip op 'n woordewerker voorberei, moet u verkieslik van 
MSWord gebruik maak. Manuskripte op disket moet van 'n 
gedrukte kopie vergesel wees. Indien die tyd dit toelaat sal 
bladproewe vir finale proeflees aan die outer voorgele word met dien 
verstande dat geen substantHHe wysigings op daardie stadium 
gemaak mag word nie. 
2. HEADINGSIOPSKRIFfE 
The main heading must be in capital letters. Number all headings 
according to the decimal system: 
1. 
1.1 
1.1.1 
1.1.1.1 
FIRST LEVEL 
Second level 
Third level 
Fourth level 
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294 Riglyne vir outeurs 
Die eerstevlakopskrif moet in hoofletters wees. Nommer al die 
opskrifte volgens die desimale nommerstelsel: 
1 
1.1 
1.1.1 
1.1.1.1 
EERSTEVLAK 
Twedevlak 
Derdevlak 
Vierdevlak 
3. SPELLING/SPELLING 
Follow the spelling of The Oxford English dictionary (OED). 
Volg die spelling van die Handwoordeboek van die Afrilcaanse Tool 
(HAT). 
4. TRANSLITERA TIONITRANSLITERASIE 
Hebrew, Aramaic, Syriac, Arabic and Greek may be written in the 
original provided that fonts used are submitted with the electronic 
version of the article. Ugaritic, Akkadian, Sumerian, Egyptian and 
Coptic must be transcribed. The transliteration system of CAD or 
AHw may be followed for Akkadian. 
Hebreeus, Aramees, Siries, Arabies en Grieks kan in hulle 
oorspronklike skrifvorm geskryf word solank die relevante fonte die 
artikel vergesel. U garities, Akkadies, Sumeries, Egipties en Kopties 
moet getranskribeer word. Die transkripsiesisteem van CAD of AHw 
kan vir Akkadies gevolg word. 
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Guidelines for authors 295 
5. IT ALICS/KURSIVERING 
Words or phrases to be italicised must be underlined, unless you 
italicise them yourself. 
Woorde of frases wat gekursiveer moet word, moet onderstreep 
word, tensy u dit self gekursiveer het. 
6. ABBREVIATIONS/AFKORTINGS 
For the abbreviations for Biblical books, the Apocrypha, 
Pseudepigrapha and Dead Sea Scrolls, consult Alexander, P H, 
Kutsko, J F, Ernest, J D, Decker-Lucke. SA. & Petersen, D L, 1999. 
The SBL handbook of style for ancient Near Eastern. Biblical, and 
early Christian studies. Peabody: Hendrickson Publishers. For 
abbreviations relating to series. journals and other titles, consult 
Schwertner. Siegfried 1974. IntemaJionales Abkiirzungs-veneichnis fiir 
Theologie und Grenzgebiet/Intemational glossary of abbreviations for 
theology and related subjects. Berlin-New York: Walter de Gruyter. 
References to Josephus must specify the particular composition of 
Josephus. book (in Roman numerals), chapter and paragraph. or 
subsection within a paragraph. If paragraphs and subsections are 
cited the latter must be indicated in parenthesis. The following 
example reflects the above details, plus the required punctuation: 
Josephus Ant. II. 7:3 (175), 5 (184). 
Vir die afkortings vir Bybelboeke, die apokriewe. pseudepigrawe en 
Dooie See tekste raadpleeg: Alexander, P H, Kutsko, J F, Ernest, J 
D. Decker-Lucke. S A, & Petersen. D L. 1999. The SBL handbook of 
style for ancient Near Eastern, Biblical, and early Christian studies. 
Peabody: Hendrickson Publishers. Vir afkortings aangaande reekse, 
tydskrifte en ander titels raadleeg Schwertner, Siegfried 1974. 
Intemationale Abkiirzungs-verzeichnis fiir The%gie und 
GrenzgebietJInternational glossary of abbreviations for theology and related 
subjects. Berlin-New York: Walter de Gruyter. Verwysings na Josephus 
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296 Riglyne vir outeurs 
moet die volgende insluit: die spesifieke komposisie, hoek (in Romeinse 
syfers), hoofstuk en paragraaf, of subseksie in 'n paragraaf. Indien daar na 
paragrawe en subseksies verwys word, moet die laasgenoemde tussen hakies 
aangedui word, byvoorbeeld:Josephus Ant. II. 7:3 (175),5 (184). Let op 
dat die kcrrekte punktuasie gebruik word. 
7. SUMMARY/OPSOMMING 
An article must be preceded by an English summary ("Abstract") 
not exceeding 150 words. 
'n Artikel moet deur 'n opsomming ("Abstract") van hoogtens 150 
woorde in Engels voorafgegaan word. 
8. REFERENCESILITERATUURVERWYSING 
The augmented Harvard system of reference must be followed. 
Only the author, date of publication and page number are given 
in the text, e.g. Craigie (1983:14) or (Craigie 1983:14). 
Dictionary entries in the text must be listed as follows: KBL3 
s. v. '1'1, or CAD S, s. v. semeru, or more fully: CAD S, s. v. 
semeru 2 a) 1'. Complete bibliographical data on the sources to 
which reference is made in the text must be listed at the end of 
the article, under the heading "Bibliography" as follows: 
Author, Initials Date. Title. Place of publication: Publisher. 
Die gewysigde Harvard verwysingstegniek moet gevolg word. Slegs 
die outeur, die datum van publikasie en die bladsynommer word in 
die teks aangegee, byvoorbeeld: Craigie (1983:14) of (Craigie 
1983:14). Woordeboekinskrywings in die teks moet soos volg 
gedoen word: KBL 3 s. v. 1Y), of CAD S, s. v. semeru, of vollediger: 
CAD S, s. v. semeru 2 a) 1'. Die volledige bibliografiese gegewens 
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Guidelines for authors 297 
van die bronne waama in die teks verwys is, word in 'n Iys aan die 
einde van die artikel onder die opskrif "Bibliografie" gegee en wei 
soos volg: 
Outeur, Voorletters Datum. Tite!' Uitgawe. Plek van uitgawe: 
Uitgewer. 
Examples/Voorbeelde 
8.1 One authorlEen outeur 
Craigie, Peter C 1983. Ugarit and the Old Testament. Grand Rapids: 
Eerdmans. 
8.2 Two authorSiTwee outeurs 
Cross, F M jr & Freedman, D N 1952. Early Hebrew orthography. 
New Haven: American Oriental Society. 
8.3 Three authorslDrie outeurs 
Abou-Assaf, A, Bordreuil, P & Millard, A R 1982. La statue de Tell 
Fekherye et son inscription bilingue assyro-aram eene. Paris: 
Editions recherche sur les civilisations. 
8.4 CompiiationsIV ersamelwerke 
Dever, William G 1985. Syro-Palestinian and Biblical archaeology, 
in Knight and Tucker 1985:31-74. The detailed information about 
Knight & Tucker is given separately: Knight, D A & Tucker G M 
(eds) 1985. The Hebrew Bible and its modem interpreters. 
Philadelphia: Fortress Press. 
Dever, William G 1985. Syro-Palestinian and Biblical archaeology, 
in Knight and Tucker 1985:31-74. Die volledige gegewens oor 
Knight and Tucker word afsonderlik gegee: Knight, D A & Tucker 
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298 Riglyne vir outeurs 
G M (eds) 1985. The Hebrew Bible and its modem interpreters. 
Philadelphia: Fortress Press. 
8.5 Journal articleJTydskrifartikel 
Greenfield, J C 1978. The dialects of early Aramaic. JNES 37:93w 99. 
8.6 Title as authortritel as outeur 
The New English Bible 1970. Oxford: University Press. 
8.7 Series/Reeks 
Dietrich, M, Loretz, 0 & Sanmartin, J 1976. Die keilalphabetischen 
Texte aus Ugarit. AOAT 24/1. Neukirchen-Vluyn: Neukirchener 
Verlag. 
If more than one publication by an author has appeared in the same 
year, they should be indicated by means of the letters of the alphabet, 
e.g. De Moor 1984a, De Moor 1984b, etc. Series and journals must 
be abbreviated according to Schwertner's list. 
Indien meer as een werk van diselfde outeur in dieselfde jaar 
verskyn het, word hulle met behulp van die alfabetletters onderskei, 
byvoorbeeld: De Moor 1984a, De Moor 1984b, ens. Reekse en 
tydskriftitels moet vol gens die Jys van Schwertner afgekort word. 
9. Peer review of articlesIBeoordeling van artikels 
All articles published in this journal are subject to peer review 
of at least two referees. The identities of author and referee are 
not disclosed in this process. 
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Guidelines for authors 299 
Alle artikels wat in die tydskrif gepubliseer word, word deur 
ten minste twee beoordeelaars geevalueer. Die identiteit van 
die outeur en beoordeelaar word gedurende die proses 
weerhou. 
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