Mark obviously says that all of the disciples of Jesus desert him and flee (Mark 14:50). Mark, however, introduces a young man as a new character who was following Jesus like other disciples and fled naked before Jesus’s suffering. This young man is the most enigmatic character in Mark. In particular, the young man never appears in other Gospels. For this reason, the young man’s identity and his conduct has been a topic of longstanding dispute among scholars. Some regard him as historical figures, one of Jesus’ own disciples like John the son of Zebedee, James the Lord’s brother, or John Mark. They consider him as witness of Jesus. Others take the young man to be symbolic figures like an angel, Jesus himself, Christian initiate, and a representative of disciples’ reality. In this work, I suggest that the young man is Mark’ literary creation by imitating Homeric model of Elpenor. Mark relies on a specific genetic model, not on historical reports of witness or symbolic interpretation. Mark’s literary intention by using Homer’s Elpenor is to substitute his own value for Homer’s. The idea of the afterlife in Homeric epics is replaced to Christianized the concept of the afterlife that is resurrection. In addition, the identity of the young man is Mark’s creation as a stand-in to substitute for Jesus and exculpate him from responsibility for not warning his disciples before the Jewish Temple destruction. According to Mark’s Gospel, Jesus himself told his disciples in advance. Moreover, the young man in Jesus’s empty tomb provides the three women with the message of Jesus to escape from the tragic incident. Therefore, nobody would blame Jesus for the suffering of the Jerusalem Church in Jewish war. The women’s failure to transmit the message doomed Jesus’ followers to the carnage of the war. The identity of the young man in Mark’s Gospel can be detected by considering Mark’s literary model and his mimetic achievement. As a creative and skillful author, Mark imitates well-known model in Greco-Roman literary world. Mark, however, does not just copy of the model; Mark emulates and transforms it to replace the concept of the afterlife. In addition, Mark’s mimetic achievement in the episode of the young man is to convey the supremacy of Jesus by exculpating him from responsibility not saving his followers from the catastrophe. Mark’s Gospel is the response for the issue. In sum, Mark’s dependence on Homer explains the most enigmatic character and scene in Mark.

Thesis (D. Min.)--Logos Evangelical Seminary, 2004. / Vita. Includes bibliographical references (leaves 1-14 at end).

Thesis (M.A.)--Wheaton College Graduate School, 2005. / Abstract. Includes bibliographical references (leaves 162-169).

Thesis (M. Div.)--Emmanuel School of Religion, 2004. / Vita. Includes bibliographical references (leaves 72-76).

Thesis (Th.M. (Ethics))--North-West University, Potchefstroom Campus, 2008.

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2004. / Includes abstract. Translated from Korean. Includes bibliographical references (leaves 249-257).

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2004. / Includes abstract and vita. Includes bibliographical references (leaves 184-191).

This study seeks to gain an understanding about the scribal tendencies observed in the Fourth Gospel in Codex Alexandrinus using the method of isolating and classifying singular readings similar to what was first proposed by Colwell, and later modified by Royse and others. In addition to singular readings made before corrections, this study considers singular readings in relation to punctuation markers and line breaks. First, a brief introduction to Codex Alexandrinus is given. Second, the method used to undertake this study is set forth and explained. Third, each singular reading in the Fourth Gospel in Codex Alexandrinus is listed under each respective group in which it is classified, the text of the exemplar is reconstructed if possible and each singular reading is discussed. Finally, the resulting data are analyzed and conclusions are given regarding the tendencies of the scribe responsible for the Fourth Gospel in Codex Alexandrinus. In general, this thesis demonstrates that the strongest tendency of the scribe was that of omission; the scribe was reluctant to add or to harmonize. Harmonizations, when they do occur, are never corrected. Both punctuation and line breaks often afforded the opportunity for the scribe to become distracted and to commit error.

This thesis explores the relationship between black gospel music and the African American freedom struggle of the post-WWII era. More specifically, it addresses the paradoxical suggestion that black gospel artists themselves were typically escapist, apathetic, and politically uninvolved—like the black church and black masses in general—despite the “classical” Southern movement music being largely gospel-based. This thesis argues that gospel was in fact a critical component of the civil rights movement. In ways open and veiled, black gospel music always spoke to the issue of freedom. Topics include: grassroots gospel communities; African American sacred song and coded resistance; black church culture and social action; freedom songs and local movements; socially conscious or activist gospel figures; gospel records with civil rights themes.

This thesis examines current radical liberal Christian activism in the Southern United States through focusing upon a particular intentional community located in Atlanta, Georgia, The Open Door Community. Through praxis and reflection, this community has developed its own unique practice and theology that I have termed “Liberation Gospel.” This thesis analyzes and describes a unique community in order to understand where the community succeeds, and where it does not, in putting its theological beliefs into practice. This very liberal community does not distinguish between their politics and their theology.