This project exhaustively examines the first element (theme) of each clause in Mark and in samples from other roughly contemporaneous Jewish writings. The comparative documents are divided into two categories, referential and non-referential narratives. Then statistical analyses ( 2 and t-test) are used to determine with which category of comparative documents Mark more closely aligns. The raw results of these hypothesis tests were equivocal, but their corresponding effect sizes (Cramer's V and Cohen's d, respectively) clearly demonstrate that Mark more closely resembles referential narrative, although the difference is small.

Jesus as portrayed in the Gospel of Mark is someone who would resonate with readers of Harry Potter because of his words and acts of resistance and justice. However, for many of them there are obstacles to even reading the Markan Gospel. Some of them are unfavourable perceptions of Christianity and the Bible. Others are merely uninterested or are unfamiliar with what the Markan story really is. The purpose of this study is to explore how Mark can be read using a popular culture reading lens, like the Harry Potter literature, to expand the horizons of the Harry Potter audience. An examination of the social and historical background will provide a first-century context of resistance to oppression. Using the Harry Potter lens, I will juxtapose that text with the Gospel of Mark as a whole to show that there is a pattern of resistance enacted by Jesus throughout. I will then carry out an exegetical analysis of Mark 10:32 45, again juxtaposing it with the Harry Potter text. The intertextual connections drawn from this analysis will be considered in terms of how they can impact the Harry Potter audience and provide them with new horizons. This project will therefore be given a reading strategy to help them read Mark 10:32 45 through the lens of the Harry Potter novels. This lens allows the reader to both transform and be transformed by the Markan text and will highlight how Jesus acts to resist and subvert the role of tyrannical rule in the lives of his followers, much like the resistance and subversion seen in the story of Harry Potter.

This thesis addresses the gap in the scholarly record pertaining to the explicit relationship between gospel genre and implied audience. This thesis challenges the consensus that the canonical gospels were written to/for individual communities/churches and that these documents (gospels) address the specific historical/social circumstances of each community. It is argued in the thesis that the Evangelists chose the genre of biography because it was the genre that was best suited to present the words and deeds of Jesus to the largest possible audience. The central thesis is supported by four lines of evidence: two external and two internal (Chapters 3-6). Furthermore, the thesis is bolstered by a new typology for Greco-Roman biography that arranges the biographical examples within a relational matrix. Chapter 2 is integral to the main thesis of this dissertation in that it proposes nuanced language capable of being applied to specific kinds of biographies with the emphasis on the relationship to implied audience. Chapter 2 sets the boundaries of the discussion of genre as a vital factor in potentially determining audience as well as raising the important consideration that genres are representative of authorial choice and intent. Chapters 3 and 4 take up the discussion of the two lines of external evidence pertinent to placing the Gospels within the relational typology proposed in chapter 2. Chapter 3 supports the main argument of the thesis in that it demonstrates that the earliest Christian interpreters of the Gospels did not understand them to be sectarian documents written specifically to and/or for specific sectarian Christian communities. The second line of external evidence, taken up in chapter 4, deals with the wider context of Jesus literature in the second/third century. We argue that these texts, if any of them are indeed biographies, were part of the wider Christian practice of writing and disseminating literary presentations of Jesus and Jesus traditions. Chapters 5 and 6 address the lines of internal evidence and chapter 5 deals specifically with the difficulty in reconstructing the various gospel communities that might lie behind the gospel texts. It is argued that the genre of biography does not allow us to reconstruct these communities with any detail. Finally, chapter 6 is concerned with the ‘all nations’ motif present in all four of the canonical gospels. The ‘all nations’ and ‘sending’ motifs in the Gospels suggest an evangelistic tone for the Gospels and further suggest an ideal secondary audience beyond those who could be identified as Christian.

Albert E. Brumley (1905-1977) was the most influential American gospel song composer of the twentieth century, penning such “classics” within the genre as “Jesus, Hold My Hand,” “I’ll Meet You in the Morning,” “If We Never Meet Again,” “Turn Your Radio On,” and “Rank Strangers to Me.” His “I’ll Fly Away” has become the most recorded gospel song in American history with over one thousand recordings to date, and several of his works transcend cultural boundaries of style, genre, race, denomination, and doctrine. However, the racialized historiography of American gospel music has left Brumley—from America’s lesser-known white gospel traditions of convention singing and southern gospel music—largely untouched by scholarly scrutiny. Comprising nearly four hundred works, most of which appeared in annual shapenote gospel songbooks published during the 1930s and 1940s, Brumley’s music is central to many Americans’ religious identity. This thesis represents the first thorough, academic assessment of his music, career, and his work’s cultural impact. Deeper examinations of the composer’s personal life and his work as a songwriter, as well as a fresh look at his publishing business’s growth and development, contribute a more complete biography. A broad analysis of his output—including a complete thematic catalogue of his published works—provides a framework for interpreting Brumley’s general compositional style and offers a context for understanding his music’s enduring legacy within popular music history, especially southern gospel, black gospel, and country music. Research into the cultural history of one particular Brumley work—“I’ll Fly Away”—and its various incarnations in music, television, film, and other outlets acts as a lens through which to view his impact on American music and society. This thesis ultimately argues that Brumley’s compositions have influenced the development of religious and popular music in America much more significantly than indicated by current scholarship, and that his music has become an important medium for American cultural expression that stretches well beyond the confines of the convention-singing and southern gospel traditions. As a result, it recognizes him as an emblematic figure of American music deserving inclusion within the ranks of its greatest contributors.

This report analyzes the Igreja Universal do Reino de Deus (Universal Church of the Kingdom of God)—a Brazilian neo-Pentecostal church—by its capacity to enchant everyday life in modern, disenchanted worlds. It provides a history of the church, a cultural biography of its founder, and a description of the church’s demonology and ritual life. It argues that through ritual performance, members come to embody the church’s discourse of biblical sacrifice. This process enchants their lives and sanctifies their participation in modern, disenchanted institutions such as late capitalism and medical science. It further argues that previous scholarship has interpreted neo-Pentecostal churches from an implicitly ethical perspective that is rooted in Western modernity. This perspective, in turn, has led to unwarranted dismissiveness toward church members’ self-reports of the empowerment they experience through their religious life. / text

There seems to be, among other things, a vivid reflection of church life in the Gospel According to Matthew. It is my purpose to point out the outstanding characteristics of the Gospel of Matthew and in so doing present what appears to me to be a definite portrait of an early church. As the environment seems to become clear in what we read, the church takes form and we can see many interesting aspects of it.

This thesis shows that patristic interpretation of the Transfiguration had a sensitivity to visionary and ecstatic motifs within the synoptic Transfiguration narratives, and particularly Luke’s, which prompted a rich breadth of hermeneutic interaction with our texts. I offer the evidence of my survey of the reception history of the Transfiguration in the first 900 years of Christian history as a way of filling a number of gaps in knowledge in modern biblical scholarship concerning the Transfiguration narratives. This thesis begins, in Chapters 1, 2, and 3, with an appraisal of interpretation offered by modern biblical scholars, patrologists, and art historians. Critical comment often overlooks a series of ambiguities in the narratives, particularly the distinct characteristics of Luke’s version. These include the question of whether the disciples enter the overshadowing cloud, the presence of priestly or cultic imagery, visionary motifs frequently found in apocalyptic texts, such as the disciples’ drowsiness, and Peter’s confusion at not knowing what he said. Chapters 4-7 examine the earliest reception in 2 Peter, the Apocalypse of Peter, and the Acts of Peter, explore at some length Origen’s and Tertullian’s interpretation, and also look at Latin and Greek comment after Origen. I show many ancient writers to understand the disciples as experiencing ecstatic vision. Some also use cultic language appertaining to the Jerusalem Temple in their exegesis of the Transfiguration. They also employ the narrative to interpret other prophetic or visionary texts. Many of these distinguishing features of interpretation frequently stem from their attentiveness to the Lucan narrative. Chapter 8 examines the earliest artistic depictions of the Transfiguration from the sixth century onwards. This chapter indicates that many of the visionary and cultic themes we have outlined in previous chapters are frequently overlooked by art historians, and also that Luke’s narrative exercised a greater influence on representation of the Transfiguration than many people have imagined. This thesis concludes with a reconsideration of the visionary character of the Transfiguration narratives. Many of the ambiguities, overlooked details, and distinctive traits we pointed to in our opening chapters will be seen to have had much greater significance through many centuries of early hermeneutic tradition and artistic depiction than is the case in modern historical critical scholarship.

The thesis summarizes conclusions of exegetical studies of all fourteen texts containing a word "treasury" (thesauros) according to concordance of the Greek New Testament, and furthermore in three instances substitutes for treasury, using lingual and textual analysis and accessible Czech and foreign language commentaries. As far as other terms are concerned, a term "talent/mina" is used in the Gospel of Mathew and Luke in The parable of the talent/minas, where "talent/mina" fulfills all internal and external attributes for "treasury". In the Gospel of John, where we find no term "treasury", there is chosen "ointment" in the story of Anointing in Bethany for its symbolic meaning and relation to the Easter, where John's version is compared with description of the story in the synoptic gospels. Classifying of concluding interpretational frames of all seventeen texts, we get several fundamental models characterizing the role of "treasury" in the New Testament from the point of view of substance, allegory, symbolism or connotation. The treasury is the image of something precious, strange to the world, something we have a very small experience with, because we usually have not opportunity to be confronted with it. Therefore we need to be led by the values, we have accepted by feeling of Holy Spirit as ours. The...

Thesis deals with rekontextualization and actualisation of Jesus's parables. The methodological part describes the catechetical methods and possibilities of cooperation with selected sciences such as didactics, pedagogy, psychology and hermeneutics. Moreover there are discussed concepts such as allegory, exegesis, metaphor and metonymy. Particular text dealing with the parables of the New Testament contains a characteristic of parable as a literary form, its origin, significance and its construction order. Parables are selected particularly in the context of Matthew's gospel. The thesis functions on the basis of synchronic methodology as well as diachronic one.

This thesis is an assessment of the character of textual transmission reflected in the pre-fourth century Greek manuscripts of the Gospel of John. Since John is the most attested New Testament book among the early papyri, has the highest number of papyri that share overlapping text, and is the best attested Christian text in the second century, it serves well as a case study into the level of fluidity and stability of the New Testament text in its earliest period of transmission. The transmission of New Testament writings in this period has been characterized by a number of scholars as error-prone, free, wild and chaotic. This thesis is an inquiry into the validity of this characterization. I contend that our earliest extant manuscripts should serve as the most relevant evidence for addressing this issue, both for the period in which they were copied and for inferences about the preceding period for which we lack manuscript evidence. My treatment of the earliest Greek manuscripts of John primarily involves a fresh and full assessment of the level of fluidity and stability exhibited in the 14 smaller fragments (P5, P22, P28, P39, P52, P90, P95, P106, P107, P108, P109, P119, P121, 0162) by identifying on the basis of internal evidence the character of variants and unique readings attested. Additionally, I compare the number, character and significance of the singular/sub-singular readings of each early fragmentary manuscript with those in the same portion of text in the major majuscule manuscripts up through the seventh century that share complete overlap. The unique readings of P66 and P75 are added to this comparison where they fully overlap with the smaller fragments. Since P45 and P66 have been particularly identified with a “free” manner of transmission, I include an extended discussion in my introductory section in which I engage with research on the character of transmission exhibited in these two witnesses. My analysis of these early manuscripts based on the internal evidence of readings allows for a more in-depth and accurate characterization of the freedom and/or care exhibited. The comparison of singular and sub-singular readings with those of the later majuscules facilitates a diachronic comparison of the number and nature of readings most likely to have been generated at the time in which each respective manuscript was transcribed. This latter step allows us to test, by way of these passages, whether or not the manuscript tradition can be fairly characterized as freer and more prone to corruption in the second and third centuries than in subsequent centuries. From these data, and in conjunction with observations made on any relevant physical features of the manuscripts themselves, I conclude that the copying of John during the second and third centuries was characterized largely by stability and by continuity with the later period. These conclusions serve the broader purpose of providing a window on the character of New Testament textual transmission in the earliest centuries.