By Kasper Bro Larsen
"Recognizing the Stranger" is the 1st monographic research of popularity scenes and motifs within the Gospel of John. the popularity type-scene ("anagn?risis") used to be a standard function in historical drama and narrative, hugely valued by way of Aristotle as a touching second of fact, e.g., in Oedipus' tragic self-discovery and Odysseus' chuffed homecoming. The publication deals a reconstruction of the conventions of the style and argues that it truly is the most recurrent and demanding literary kinds within the Gospel. whilst portraying Jesus because the divine stranger from heaven, the Gospel employs and transforms the formal and ideological constructions of the type-scene to be able to exhibit how Jesus' real id will be well-known in the back of the half-mask of his human visual appeal.
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"Recognizing the Stranger" is the 1st monographic research of popularity scenes and motifs within the Gospel of John. the popularity type-scene ("anagn? risis") used to be a standard characteristic in old drama and narrative, hugely valued by means of Aristotle as a touching second of fact, e. g. , in Oedipus' tragic self-discovery and Odysseus' satisfied homecoming.
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Extra resources for Recognizing the Stranger: Recognition Scenes in the Gospel of John
08, page 20. 20 introduction present a particular reading of the Gospel perfectly plausible within its ancient literary environment. Such a reading, of course, does not respond to every stimulus given in the text, and it is certainly not claimed that a generic understanding of certain Johannine encounter stories as anagnorisis scenes lays down their formal essence once and for all; but by looking at them from this point of view, we are able to reactivate potential structures of meaning that may have contributed to the ancient reader’s experience of the narrative.
1460a19) and second, recognition proceeding from the events themselves ( ξ α τ ν τ ν πραγµ των; 1455a16–17). The latter type is explicitly considered the best of all types (βελτ στη), including the four above ones, and once again Oedipus tyrannus is singled out as the play that embodies the best kind of recognition. 2007122. Larsen. 02_Chapter1. Proef 4. 08, page 30. 30 chapter one The hierarchy of recognition types in Poet. 16 is evidently problematic with its overlapping categories not always belonging to the same analytical level, and, accordingly, it gives rise to critical questions of the following kind: Is anagnorisis contrived by the poet (2) excluded from being, at the same time, anagnorisis by tokens (1)?
1–4), then become an illustration of the ambiguity of his presence (chs. 5–19), while they finally confirm Jesus’ true identity, reach beyond the story-world, and reinterpret his direct absence and the reader’s situation of nonseeing (chs. 62 The present study views the Johannine recognition scenes from the point of view of this overall narrative pattern and proceeds according to it. The book consists of four chapters and a conclusion. Chapter one is a presentation of anagnorisis in both theoretical and historical perspective, which serves to lay out the complex of questions and problems that determines the approach.
Recognizing the Stranger: Recognition Scenes in the Gospel of John by Kasper Bro Larsen