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Dr. James D. Tabor (Ph.D):
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Dr. James Tabor retired (2022) as a full-Professor from the Department of Religious Studies at the University of North Carolina at Charlotte, where he taught Christian origins and ancient Judaism, for 33 years, serving as Chair for a decade. His MA/Ph.D. is from the University of Chicago (1981). He previously taught at the University of Notre Dame and the College of William and Mary. Tabor has combined his work on ancient texts with extensive fieldwork in archaeology in Israel and Jordan. Since 2008 he has been co-director, with Shimon Gibson, of the acclaimed Mt. Zion excavation in Jerusalem. He was also involved in the 1993 Waco tragedy drawing upon his expertise in understanding ancient Biblical apocalyptic ideas and he testifying before Congress in the 1995 Waco Hearings.

Among Tabor’s publications include over 50 published articles as well as nine academic books: Things Unutterable (1985), A Noble Death: Suicide and Martyrdom Among Christians and Jews in Antiquity (Harper Collins:1992 with Arthur Droge) Why Waco: Cults and the Battle for Religious Freedom in America (UC Berkeley:1995 with Eugene Gallagher), The Jesus Dynasty (Simon & Schuster, 2006), The Jesus Discovery: The New Archaeological Find that Reveals the Birth of Christianity (Simon & Schuster, 2012 with Simcha Jacobovici), Paul and Jesus: How the Apostle Transformed Christianity (Simon & Schuster, 2012), The Book of Genesis: A New Translation from the Transparent English Bible (Genesis Press, 2020), Paul’s Ascent to Paradise: The Apostolic Message and Mission of Paul in the Light of His Mystical Experiences (Genesis Press, 2020). Dr. Tabor has just completed a new book, The Lost Mary: From the Jewish Mother of Jesus to the Virgin Mother of God which is out in French (Marie: De son enfance juive à la fondation du christianisme Flammarion, 2020) and forthcoming in English (Knopf, 2023). He is now working on two new books: Jesus Betrayed: How Christianity Lost its Way and Prophecy Belief in MAGA America: Shifting Biblical Interpretations and Why They Matter.


The Gospel of Mark is the second of the four canonical gospels and of the three synoptic Gospels. It tells of the ministry of Jesus from his baptism by John the Baptist to his death, burial, and the discovery of his empty tomb. There is no miraculous birth or doctrine of divine pre-existence, nor, in the original ending (Mark 16:1–8), any post-resurrection appearances of Jesus. It portrays Jesus as a teacher, an exorcist, a healer, and a miracle worker. He refers to himself as the Son of Man. He is called the Son of God, but keeps his messianic nature secret; even his disciples fail to understand him. All this is in keeping with Christian interpretation of prophecy, which is believed to foretell the fate of the messiah as suffering servant. The gospel ends, in its original version, with the discovery of the empty tomb, a promise to meet again in Galilee, and an unheeded instruction to spread the good news of the Resurrection of Jesus.

Most scholars date Mark to c. 66–74 AD, either shortly before or after the destruction of the Second Temple in 70 AD. They reject the traditional ascription to Mark the Evangelist, the companion of the Apostle Peter – which probably arose from the desire of early Christians to link the work to an authoritative figure – and believe it to be the work of an author working with various sources including collections of miracle stories, controversy stories, parables, and a passion narrative.[9] It was traditionally placed second, and sometimes fourth, in the Christian canon, as an inferior abridgement of what was regarded as the most important gospel, Matthew; the Church has consequently derived its view of Jesus primarily from Matthew, secondarily from John, and only distantly from Mark.

In the 19th century, Mark came to be seen as the earliest of the four gospels, and as a source used by both Matthew and Luke. The hypothesis of Marcan priority continues to be held by the majority of scholars today, and there is a new recognition of the author as an artist and theologian using a range of literary devices to convey his conception of Jesus as the authoritative yet suffering Son of God.

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