Download Free The Tragic In Mark Book in PDF and EPUB Free Download. You can read online The Tragic In Mark and write the review.

Jeff Jay argues that the Gospel of Mark should be described as tragic because it elicits tragedy's recurring motifs and moods as well as a highly theatrical atmosphere. He thus revises the typical story of tragic drama's history, which portrays the Judeo-Christian tradition as inhospitable to tragedy because it emphasizes divine grace and justice.
A Study Guide for Mark Twain's "The Tragedy of Pudd'nhead Wilson," excerpted from Gale's acclaimed Novels for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs.
John's Transformation of Mark brings together a cast of internationally recognised biblical scholars to investigate the relationship between the gospels of Mark and John. In a significant break with the prevailing view that the two gospels represent independent traditions, the contributors all argue that John both knew and used the earlier gospel. Drawing on recent analytical categories such as social memory, 'secondary orality,' or 'relecture,' and ancient literary genres such as 'rewritten Bible' and bioi, the central questions that drive this volume focus on how John used Mark, whether we should speak of 'dependence,' 'familiarity with,' or 'reception,' and whether John intended his work to be a supplement or a replacement of Mark. Together these chapters mount a strong case for a reassessment of one of the key tenets of modern biblical criticism, and open up significant new avenues for further research.
Mark as Story introduces the Gospel of Mark as a unified composition, laying bare the narrative thread as well as the basic motifs.--From publisher's description.
The earliest of the four Gospels, the book portrays Jesus as an enigmatic figure, struggling with enemies, his inner and external demons, and with his devoted but disconcerted disciples. Unlike other gospels, his parables are obscure, to be explained secretly to his followers. With an introduction by Nick Cave
Brian Blount and Gary Charles team up to introduce us anew to Mark's Gospel. Reinterpreting Mark through sermons preached out of very different socio-cultural contexts, Blount draws parallels between Mark's message and the African American church's heritage of slavery and oppression while Charles wrestles with making the Gospel relevant to well-educated white suburbanites. Each chapter begins with an exegetical study and sermon by one author. Then, the other preacher responds from his own context, offering a different view of the text.
This Tragic Gospel suggests that the "Gospel" of John intended to supplant the first three gospels and succeeded in gaining undue influence on the early churches. This study focuses on the tragic moment when Jesus prays for deliverance from his impending death in the garden of Gethsemane. Ruprecht contends that John rewrote this scene in order to convey a very different dramatic meaning from the one reflected in Mark's gospel. In John's version, not only did Jesus not pray to be spared, he actually mocked this prayer, embracing his imminent demise with godlike confidence. Ruprecht believes that this dramatic reinterpretation undermined the tragedy of Jesus's death as Mark imagined it and so paved the way for the development of a kind of Christianity that focused far less on compassion in the face of human suffering. John's Jesus offers the faithful food so that they will never hunger, water so that they will never thirst, and the promise of a world in which no faithful person ever sheds a tear. Mark's Christians do suffer, but they witness to suffering and death differently...with compassion. Mark's Christ suffers, like all Christians after him, but he embodies a tragic hope in the promise of a faith shored up by love and compassion.
Scholars have long debated the genre of the Gospels and many opinions have been put forward, such as biography, history, epic, or comedy. However, do the Gospels actually reflect these ancient genres? This book addresses this question and arrives at the conclusion that the Gospel of Mark was written as an ancient form of tragedy. Why would this matter to ancient or modern readers? Tragedy addresses the fundamental question of humanity’s suffering and offers a philosophical perspective that orients the reader towards personal and societal growth. The Gospel of Mark fits within the tradition of tragic writings and speaks to the same challenges that all humanity faces: life is full of trouble and suffering, so how are we supposed to think about these things? The answer is to be found in Jesus, who is both divine and human, and who suffers as a result of engaging in conflict with the religious and political traditions of his time.
Though some scholars continue to vote to the contrary, it is generally held that Mark was the inventor of the Gospel genre, and his work thus the earliest of the New Testament Gospels and a model for the other evangelists. The articles in this collection, drawn from four decades of publication of the best international scholarship in Novum Testamentum, document the discussion on the literary methods, style and theological purpose of the innovative early Christian writer. From the earliest attempts at redaction criticism, in which Mark's work is viewed primarily in his treatment of his sources, the collection traces the discussion as far as recent attempts to read Mark as a creative composer: story-teller, theologian and playwright.
In this groundbreaking book, Dennis R. MacDonald offers an entirely new view of the New Testament gospel of Mark. The author of the earliest gospel was not writing history, nor was he merely recording tradition, MacDonald argues. Close reading and careful analysis show that Mark borrowed extensively from the Odyssey and the Iliad and that he wanted his readers to recognise the Homeric antecedents in Mark's story of Jesus. Mark was composing a prose anti-epic, MacDonald says, presenting Jesus as a suffering hero modeled after but far superior to traditional Greek heroes. Much like Odysseus, Mark's Jesus sails the seas with uncomprehending companions, encounters preternatural opponents, and suffers many things before confronting rivals who have made his house a den of thieves. In his death and burial, Jesus emulates Hector, although unlike Hector Jesus leaves his tomb empty. Mark's minor characters, too, recall Homeric predecessors: Bartimaeus emulates Tiresias; Joseph of Arimathea, Priam; and the women at the tomb, Helen, Hecuba, and Andromache. And, entire episodes in Mark mirror Homeric episodes, including stilling the sea, walking on water, feeding the multitudes, the Triumphal E