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Record Nr. |
UNINA9910786434703321 |
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Autore |
Hartvigsen Kirsten Marie |
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Titolo |
Prepare the way of the Lord [[electronic resource] ] : towards a cognitive poetic analysis of audience involvement with characters and events in the Markan world / / Kirsten Marie Hartvigsen |
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Pubbl/distr/stampa |
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Berlin ; ; Boston, : De Gruyter, c2012 |
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ISBN |
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1-283-85661-1 |
3-11-025348-8 |
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Descrizione fisica |
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1 online resource (640 p.) |
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Collana |
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Beihefte zur Zeitschrift fur die neutestamentliche Wissenschaft und die Kunde der alteren Kirche ; ; Band 180 |
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Disciplina |
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Soggetti |
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Speech acts (Linguistics) - Religious aspects - Christianity |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- Table of contents -- Acknowledgements -- Part I. Introduction -- Part II. Theories and Methods That Explain Involvement with the Markan World -- Part III. Structure of the Gospel of Mark -- Part IV. Analysis of Involvement with Characters and Events in the Markan World -- 1:1: Title-1:2-13: In the Wilderness -- 1:14-8:26: Jesus in Galilee and the Surrounding Areas -- 8:27-11:10: Jesus Is on the Way Which Ends in Jerusalem -- 11:11-16:8: Jesus in Jerusalem and the Surrounding Areas -- Part V. Conclusion -- Bibliography -- Appendix -- Index of Modern Authors |
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Sommario/riassunto |
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This study analyzes an oral performance of the entire Gospel of Mark, with emphasis on involvement with characters and events, the emotional effects of such involvement, and how these processes maintain or shape the identity of those who hear the Gospel. Insights from cognitive poetics and psychonarratology are employed to illuminate the complex, cognitive processes that take place when audience members experience an oral performance of the Gospel. Consequently, this study expands previous research on the Gospel of Mark which was conducted on the basis of narrative criticism, orality criticism, and performance criticism by including cognitive aspects. Cognitive poetics and psychonarratology have to my knowledge not |
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