Narrative Strategies in the Prologue and the Metaphor of ὁ λóγos in John's Gospel

2002 ◽  
Vol 15 (2) ◽  
pp. 138-153
Author(s):  
Derek Tovey
Keyword(s):  
Short Story ◽  
Jesus Christ ◽  
Narrative Strategies ◽  
John 1 ◽  
Implied Author ◽  
Strong Link ◽  
John's Gospel

This article argues for a metaphorical connotation for the term ὁ λóγos in the Gospel, beyond its use in the prologue (John 1:1-18): this stands against the consensus of scholarship. It draws on some insights regarding short story openings, to argue that ὁ λóγos and oúτos function as non-sequential sequence signals, and character-substitutes, to pique the reader's curiosity as to the identity of the Logos, and prepare for the introduction of the name “Jesus Christ” in v.17. These narrative dynamics, the structure of the prologue, and the operations of implicature (Grice), create a strong link in the implied reader's mind between the Logos and Jesus. The implied author uses the implicative force of this connection to add metaphorical freight to the term when used later in the Gospel. The article explores six instances where the term ὁ λóγos appears (6:60; 7:36; 8:37; 10:35; 12:48; 17:17) and where, it is argued, the possibility exists of a usage which echoes that of the prologue.

scholarly journals Studi Analisis mengenai maksud "Allah adalah Terang" dan Hubungannya dengan Orang Percaya yang mengaku dosa-dosanya menurut 1 Yohanes 1:5-10

2019 ◽  
Author(s):  
Farel Yosua Sualang
Keyword(s):  
Jesus Christ ◽  
Personal Life ◽  
John 1 ◽  
1 John ◽  
Personal Testimony ◽  
John's Gospel ◽  
Relationship Of ◽  
The Relationship

The Study of the Analysis of the purpose of "God is light" and its relationship to the believer who confesses the sins according to 1 John 1: 5-10 will be discussed in this article by focusing on explaining the meaning of the word "darkness and light" in the life of the believer. The introduction to this letter serves to establish the personal testimony of John describing the eternal and personal life, and the work of Jesus Christ. John also introduces several major themes discussed in this passage of the letter: life, witness, fellowship, and the relationship of the Father and Jesus Christ. Verses 5-10 then explain the contents of the letter with a discussion of the nature of God and the nature of the fellowship of sinners with God. Where, the writings of 1 John describe the very contrast between light and dark. It is worth noting that this painting is commonly found in John's writings, such as John's Gospel and 1 John. The studies will be discussed using epistolary hermeneutics as a way of analyzing 1 John 1: 5-10.

Holy Scripture

2020 ◽  
pp. 545-561
Author(s):  
Daniel J. Treier
Keyword(s):  
Jesus Christ ◽  
John Calvin ◽  
John 1 ◽  
Reformed Tradition ◽  
Key Concepts ◽  
John's Gospel

Since key concepts in the Reformed doctrine of scripture resonate with John’s Gospel, this exposition begins with an account of the Word (John 1:1–18) in relation to God’s Spirit, the living water for which we are thirsty (John 4:10–13, 19–26; 7:37–9). Then the exposition turns to the font of the Reformed tradition on scripture, notably John Calvin; the early flow of the Reformed tradition on scripture, namely the boundaries set in historic confessions and scholastic interpretations; and the major tributaries that flowed from there. These tributaries emerged as modern contexts led Reformed Christians to extend key concepts into new territory: from Westminster, scripture’s communication of revealed truth; from Amsterdam, scripture’s comprehensive harmony with created reality; from Basel, scripture’s personal revelation of God in Jesus Christ; and from the margins, scripture’s liberating truth. Finally, a possible new tributary places scripture within a drama of saving wisdom.

scholarly journals Recursos cinematográficos na prosa pop de André Sant’Anna

2015 ◽  
Vol 4 (7) ◽  
pp. 45
Author(s):  
Antonio Eduardo S. Laranjeira
Keyword(s):  
Short Story ◽  
Creative Process ◽  
Contemporary Literature ◽  
Literary Discourse ◽  
Narrative Strategies ◽  
Pop Literature

<p><strong>Resumo</strong>: No discurso literário pop, é notável a fusão de linguagens e<br />referências. Considerando-se o texto pop pós-moderno de André Sant’Anna como objeto, é possível observar de que maneira os recursos cinematográficos são utilizados no processo de construção das narrativas “Aquarius”, conto publicado em Amor e outras histórias, e Sexo, romance subseqüente. Com base nos estudos de Marinyze Prates de Oliveira sobre a ficção de João Gilberto Noll, a partir da sistematização do uso dos recursos cinematográficos na literatura contemporânea, é possível afirmar que a prosa pop de André Sant’Anna é perpassada pela presença de estratégias narrativas do cinema.</p><p><strong>Abstract</strong>: The fusion of languages and references is remarkable in pop literary discourse. Taking as subject André Sant'Anna's post-modern pop text, it's possible to see how cinematographic strategies are used in the creative process of the narratives Aquarius, a short-story published in Amor e outras histórias, and Sexo, Sant'Anna's subsequent novel. Based on the researches by Marinyze Prates de Oliveira about João Gilberto Noll's fiction, and on the systematizing of the uses of cinematographic strategies in contemporary literature, it's possible to state that André Sant'Anna's pop prose is marked by the presence of narrative strategies of cinema.</p><p><strong>Keywords</strong>: pop literature; cinema; André Sant'Anna.</p>

‘Forlorn on the Fringe of Life’: Exploring Working-Class Childhood in Katherine Mansfield’s Short Stories

2022 ◽  
Author(s):  
Argha Kumar Banerjee
Keyword(s):  
Short Stories ◽  
Working Class ◽  
Short Story ◽  
Short Fiction ◽  
Verbal Abuse ◽  
The Other ◽  
Parental Rejection ◽  
Narrative Strategies ◽  
Childhood Experiences ◽  
The One

Abstract In Katherine Mansfield’s short story ‘Life of Ma Parker’, the old, widowed charwoman is plagued by ‘unbearable’ thoughts of her deceased grandson Lennie: ‘Why did he have to suffer so?’ Lennie’s unfortunate death in the story is not a solitary instance of tragic portrayal of working-class childhood in Mansfield’s short fiction. In several of her tales she empathetically explores the marginalized existence of such children, occasionally juxtaposing their deplorable existence with their elite counterparts’. From social exclusion, child labour, parental rejection, infant and child mortality on the one hand to physical and verbal abuse, bullying in the school and appalling living conditions on the other; Mansfield's exploration of the working-class childhood in her short fiction is not only psychologically complex but sociologically significant. Focusing on the relevant short stories in her oeuvre, this brief analysis intends to closely examine such depictions of marginalized childhood experiences, particularly in light of the oppressive societal conditions that validate their repressive alienation and sufferings. Tracing various biographical circumstances that may have fostered Mansfield’s deep empathy with the children’s’ predicament, this analysis also draws attention to her subtle oblique narrative strategies that effectively represent the plight of working-class children in a convincing and an ingeniously nuanced manner.

scholarly journals Breaking the Rules: Innovation and Narrative Strategies in Sandra Cisneros' The House on Mango Street and Ana Castillo's The Mixquiahuala Letters

2003 ◽  
Vol 26 (1) ◽  
pp. 108-120
Author(s):  
Carmen Haydée Rivera
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Sandra Cisneros ◽  
Narrative Strategies ◽  
Stream Of Consciousness ◽  
Story Line ◽  
Literary Genres ◽  
Stage Direction ◽  
History Of ◽  
Considerable Length

Conventional approaches to literary genres conspicuously imply definition and classification. From the very beginning of our incursions into the literary world we learn to identify and differentiate a poem from a play, a short story from a novel. As readers we classify each written work into one of these neatly defined literary genres by following basic guidelines. Either we classify according to the structure of the work (stanza; stage direction/dialogue; narrative) or the length (short story; novelette; novel). What happens though when a reader encounters a work of considerable length made up of individual short pieces or vignettes that include rhythm and rhyme and is framed by an underlying, unifying story line linking the vignettes together? Is it a novel or a collection of short stories? Why does it sound and, at times, look like a poem? To further complicate classifications, what happens when a reader comes across an epistolary format with instructions on which letters to read first: letters made up of one-word lines, poetic stanzas, or italicized stream of consciousness; letters that narrate the history of two women's friendship? Is this a novel or a mere collection of letters?

Julian Barnes

2020 ◽  
Author(s):  
Vanessa Guignery
Keyword(s):  
Short Story ◽  
Narrative Strategies ◽  
Graham Swift ◽  
Kazuo Ishiguro ◽  
Julian Barnes ◽  
Theoretical Approaches ◽  
Martin Amis ◽  
History Of ◽  
Ian Mcewan ◽  
Story Writer

Julian Barnes (b. 1946) is an English novelist, short story writer, and essayist who received considerable praise in 1984 with the publication of Flaubert’s Parrot, a book that, together with A History of the World in 10 ½ Chapters (1989), defies categorization. Barnes belongs to a generation of British writers (including Martin Amis, Pat Barker, Kazuo Ishiguro, Ian McEwan, Salman Rushdie, and Graham Swift) who came to prominence in the 1980s at a time when suspicion toward the main tenets of realism, foundational grand narratives‚ and the figure of the stable and reliable narrator led many authors to disrupt and subvert conventional modes, favor historiographical metafiction and postmodernist skepticism‚ and experiment with narrative strategies. Thus, a number of scholars have examined Barnes’s work through the prism of postmodernism on the grounds of the metafictional dimension of some of his books, his transgression of realist strategies and reliance on various forms of intertextuality, and his mistrust of truth claims and fondness for fragmentation, polyphony‚ and generic hybridity. Several of his books (fictional and nonfictional) have been analyzed for the way in which they challenge the borders that separate existing genres, texts, arts‚ and languages and, thereby, oscillate among novel, essay, biography‚ and meditation. However‚ the restrictive label of postmodernism can apply to only part of Barnes’s production‚ as other novels published throughout his career are inscribed within a more conventional and realistic framework—in particular, such early books as Metroland (1980), Before She Met Me (1981), and Staring at the Sun (1986)—and his most recent production is marked by a less ironic and subversive mood and a more personal, subdued‚ and melancholy tone, for example in The Sense of an Ending (2011), which won the Man Booker Prize; The Noise of Time (2016); and The Only Story (2018). Barnes has also been praised for his art as an essayist and a short-story writer. Drawing from a variety of critical and theoretical approaches, scholars have examined such recurrent themes and concerns in Barnes’s work as memory, art, love, longing, death, or Englishness. They have also probed his self-reflexive questioning relating to the evasiveness of truth, the irretrievability of the past, the construction of national identity‚ and the relationship between fact and fiction.

Philosophical Christology in the New Testament

Numen ◽  
2006 ◽  
Vol 53 (2) ◽  
pp. 133-176 ◽  
Author(s):  
Henrik Pontoppidan Thyssen
Keyword(s):  
Early Stage ◽  
Greek Philosophy ◽  
John 1 ◽  
Early Christian ◽  
The Bible ◽  
Innate Knowledge ◽  
The New Testament ◽  
Genesis 1 ◽  
John's Gospel ◽  
Hellenistic Judaism

AbstractThe idea of this article is to determine the sense of the Logos in the Prologue of John's gospel by making use of the subsequent Christian doctrinal tradition. As an introduction, the general influence of Hellenistic Judaism on early Christian speculative theology and exegesis is illustrated by examples from Philo and Justin. Justin's exegesis is evaluated in accordance with the principle of Wilhelm Bousset, that learned scriptural demonstration (Schriftgelehrsamkeit) is not the source of doctrine but a post-rationalisation of existing doctrines. Then, Justin's argument from Scripture for Logos-Christology (Dial. 61–62), which is based on Genesis 1:26 and Wisdom 8:22–30, is taken as the point of departure. This argument informs us about the philosophical ideas behind Justin's Logos-Christology, which according to Bousset's principle preceded it. Further, it is argued that Justin's scriptural argument shows that the traditional derivation of the Logos of the Prologue from the word of creation of Genesis 1 did not exist at that early stage, since if it did, that derivation ought to have appeared in Justin. Since no other derivation of a Logos in the cosmological sense from the Bible is possible, the presence of this idea in John can only be explained as the result of influence from the eclectic philosophy of Jewish Hellenism (Philo). This conclusion is confirmed by the demonstration that the idea of universal innate knowledge, familiar from Justin's doctrine of the Logos, also appears in the Prologue of John. The argument for this is that it cannot be fortuitous that the traditional translation of John 1:9 lends itself to this interpretation. As the idea of universal innate knowledge is an idea unique to Greek philosophy, this observation settles the matter definitively. The origin of the traditional interpretation of the Logos goes back to Tertullian's interest in producing an exegesis that complies with the Latin translation of John 1.

Narrative Christology and the Son of Man: What the Markan Jesus Says Instead

2003 ◽  
Vol 11 (3) ◽  
pp. 373-385 ◽  
Author(s):  
Elizabeth Struthers Malbon
Keyword(s):  
Jesus Christ ◽  
White Light ◽  
Point Of View ◽  
Implied Author ◽  
Son Of God ◽  
Son Of Man ◽  
The Way

AbstractFrom the point of view of "narrative christology," not only does the Markan Jesus attempt to deflect attention and honor away from himself and toward God, but he also refracts—or bends—the "christologies" of other characters and the narrator. The image comes from the way a prism refracts "white" light and thus shows its spectral colors. When a thing is bent and looked at from another angle, something different appears. The most obvious way in which the Markan Jesus bends the "christologies" of others is by his statements about the "Son of Man," especially in juxtaposition with "christological titles" offered by other characters and the narrator. No other character or the narrator speaks of the "Son of Man," thus "Son of Man" depicts the Markan Jesus' distinctive point of view. The implied author of Mark challenges the implied audience to deal with the tension between an assertive narrator who proclaims "Jesus Christ, the Son of God" and a reticent Jesus who deflects attention and honor, challenges traditional views, and insistently proclaims not himself but God. To resolve the tension in favor of the narrator (as does Kingsbury) or in favor of the Markan Jesus (as does Naluparyil) would be to flatten the implied author's multi-dimensional narrative and its multi-layered "christology." The implied author of Mark sets up this tension to draw in the implied audienc —not to resolve the tension but to enable hearing of the story of Jesus in its full complexity and mystery.

scholarly journals Parallelisms and revelatory concepts of the Johannine Prologue in Greco-Roman context

2016 ◽  
Vol 72 (3) ◽  
Author(s):  
Benno Zuiddam
Keyword(s):  
Old Testament ◽  
Asia Minor ◽  
Fourth Gospel ◽  
Wisdom Literature ◽  
Central Concept ◽  
John 1 ◽  
Greco Roman ◽  
Parallel Structures ◽  
John's Gospel

This article builds on the increasing recognition of divine communication and God’s plan as a central concept in the prologue to the Fourth gospel. A philological analysis reveals parallel structures with an emphasis on divine communication in which the Logos takes a central part. These should be understood within the context of this gospel, but have their roots in the Old Testament. The Septuagint offers parallel concepts, particularly in its wisdom literature. Apart from these derivative parallels, the revelatory concepts and terminology involved in John 1:1–18, also find functional parallels in the historical environment of the fourth gospel. They share similarities with the role of Apollo Phoebus in the traditionally assigned geographical context of the region of Ephesus in Asia Minor. This functional parallelism served the reception of John’s biblical message in a Greco-Roman cultural setting.Keywords: John's Gospel; Apollo Phoebus; Logos; Revelation; Ephesus

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