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Anatomies of Narrative Criticism: The Past, Present, and by Tom Thatcher, Stephen D. Moore

By Tom Thatcher, Stephen D. Moore

Reflecting at the twenty-fifth anniversary of Alan Culpepper's milestone "Anatomy of the Fourth Gospel" (1983), "Anatomies of Narrative feedback" explores present developments within the learn of the Gospel of John as literature. The members to the quantity characterize a variety of methodological techniques that every one discover ways in which modern readers generate which means from John's tale of Jesus. The booklet comprises an creation to narrative-critical experiences of John; essays on particular topics and passages that concentrate on interpretation of the textual content, heritage of study, hermeneutical methods, and destiny developments in learn; and, a reflective reaction from Alan Culpepper. total, the booklet seeks to track the heritage and undertaking the way forward for the examine of the Bible as narrative.

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Extra info for Anatomies of Narrative Criticism: The Past, Present, and Futures of the Fourth Gospel as Literature (Resources for Biblical Study)

Sample text

At first, Mary’s “understanding is limited entirely to her relationship to Jesus as her earthly friend and teacher,” as evident from the facts that she calls him “Rabboni” and attempts to embrace him (20:16–17). But once Jesus tells her that he is going to the Father, Mary perceives that there will be a new relationship on the basis of Christ’s glorification, an understanding evident in her testimony to the disciples at 20:18. ” Mary’s initial misunderstanding and subsequent change of perception thus function to help the reader grasp the existential implications of Jesus’ glorification (Culpepper 1983, 143–44).

Second, the five differed sharply over the nature of the Evangelist’s source(s): a passion narrative with contacts with Synoptic tradition (Bultmann); oral tradition (Dodd); the Gospel of Mark or a passion narrative based on Mark (Barrett); the Beloved Disciple’s teachings (Brown); a pre-Johannine passion narrative that can only tentatively be identified (Schnackenburg).  Bultmann, Barrett, Brown, and Schnackenburg all identified the scene as having significance for the nature of the church, but with differences among them regarding whether the symbolism lies primarily in the identities of the two characters (mother and Beloved Disciple), in their juxtaposition, or both.

Certainly in the case of the Gospel of John, plot and characterization work together in service of the Evangelist’s rhetorical purposes. Culpepper’s discussion of the Fourth Gospel’s plot began with the observation that early Christian tradition presented the Evangelists with a large database of actors and events, some of which may have been organized into rudimentary storylines. To convert this amorphous mass into a coherent portrait of Jesus, each writer “had to impose a meaning on the events and convince the reader that this meaning was implicit in the events all along” (Culpepper 1983, 84).

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