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Narrative Discipleship
Portraits of Women in the Gospel of Mark
Aernie
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eBook - ePub
Narrative Discipleship
Portraits of Women in the Gospel of Mark
Aernie
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Narrative Discipleship examines the thematic and theological impact of women in the Gospel of Mark. Using narrative analysis, Aernie explores how Mark intentionally crafts the narratives of women in the Gospel to extend his portrait of discipleship. Mark portrays these women as exemplars of four key aspects of discipleship--restored life, kingdom speech, sacrificial action, and cruciformity. These portraits of discipleship provide a transformative paradigm for Mark's audience. Mark creates a portrait of narrative discipleship as a means to encourage his audience toward embodied discipleship and faithful participation in God's in-breaking kingdom.
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Part OneâNarratives and Discipleship
1
Narrative Exegesis
Introduction
Markâs Gospel is a story. Although we sometimes read the Gospel in fragmented waysâexamining the significance of individual miracle stories or considering the intention of specific parablesâthe Gospel itself is a holistic and unified narrative which portrays the way in which Jesus brings about the in-breaking of Godâs kingdom through his life, death, and resurrection.1 Because Markâs Gospel is a narrative it is important that we read and interpret it as a narrative. Constructive interpretation of the Gospel requires what I want to refer to as narrative exegesis. The phrase ânarrative exegesisâ is intended to denote the basic idea that our interpretation of any narrative text needs to reckon with the literary nature of the text itself. Since Markâs Gospel is a narrative, our exegesis (or interpretation) of the Gospel needs to consider its various narrative components and characteristics (e.g., characters, plot, and setting). In the same way that effectively reading a newspaper editorial or a cookbook recipe requires an awareness of its genre, reading and interpreting Markâs Gospel requires a particular orientation to the shape and nature of its narrative. The way in which we orient ourselves toward the Gospel impacts our evaluation of its meaning and our response to its theological agenda.
My intention within this chapter is to explain how the rest of the volume will orient itself toward Markâs Gospel. There are two components to this orientation: (1) a brief rationale for focusing on Markâs Gospel as a narrative, and (2) an explanation of the significance of Markâs portrayal of a specific set of characters within the Gospelâthe women. These dual aims provide the basic framework for the material that follows. The first section of the chapter provides an introduction to narrative analysis of Markâs Gospel with a particular focus on defining the interpretive framework that will be used in the exegetical chapters in part two. The second section of the chapter then provides an introduction to the specific concept of characterizationâthe way in which Mark intentionally develops portraits of characters to support the development of the Gospelâs theological agenda.
Narrative Criticism and the Gospel of Mark
Recognition of the need to interpret Markâs Gospel as a unified story normally takes place in biblical scholarship within the framework of narrative criticism. Narrative criticism is a method unique to the field of biblical studies which uses insights from the discipline of literary criticism (the critical study of literary texts) to explore scriptural narratives.2 To define it in basic terms, narrative criticism is a method of interpretation that examines the literary characteristics of a narrative to determine how that narrative is intended to impact its audience. For example, we might inquire as to how the structured narrative of Markâs Gospel encourages its audience to consider and to respond to the identity of Jesus. To this end, narrative critics are predominantly interested in two key components of a narrativeâits story and discourse. In this context, the term âstoryâ refers to the content of the narrative and the term âdiscourseâ refers to the shape of the narrative.3 More specifically, the term âstoryâ refers to the actual components of a narrative, such as the characters portrayed or the events described, and the term âdiscourseâ refers to the way in which those elements are organized into a unified whole. The primary aim of narrative criticism is to understand how the intentional organization (discourse) of specific narrative elements (story) impacts the audience.4
Applied specifically to Markâs Gospel, the intent of narrative criticism is to examine the way in which the Gospel narrative interacts with and impacts upon its audience. In determining how the narrative elements of the story are structured within the discourse of the Gospel, we hope to gain insight into Markâs expectation for the way his audience will respond to his presentation of the narrative of Jesusâs life, death, and resurrection. In other words, we are interested in examining how Markâs intentional organization of the plot, events, settings, and characters within the Gospel narrative impacts the audienceâs response to Jesus. In the present volume our focus is on the way in which Mark portrays a specific group of characters within the narrativeâthe womenâas a means to develop a portrait of discipleship that the audience may either accept or reject depending upon how they respondâboth cognitively and affectivelyâto the shape of Markâs narrative. We want to know how Markâs narrative portrayal of the women functions as part of the aretegenic purpose of the Gospel to explain the good news about Jesus (Mark 1:1). This form of examination is built on three components: (1) engagement with the Gospel as a cohesive narrative, (2) narrative exegesis of individual narratives, and (3) analysis of the aretegenic (virtue-forming) nature of the narrative.5
The Gospel of Mark as a Cohesive Narrative
James Resseguie helpfully notes that âNarrative critics are interested in narratives as complete tapestries in which the parts fit together to form an organic whole.â6 For the most part narrative criticism is not concerned with explaining the historical process behind the creation of a text (e.g., who was Mark and what sources did he have available to him?) but rather with determining how a text behaves and communicates as a complete narrative. The focus of narrative criticism is not on the historical construction of a narrative, but on how the narrative as constructed functions as a meaningful piece of communication.7 If we approach the Gospel merely as a compilation of distinct fragments, then it is difficult to argue for any form of intentional point of view within the material. In contrast, if we approach the Gospel as an intentionally and creatively crafted piece of communication, then we are able to examine its story, discourse, and impact.8
Within biblical studies the genesis of narrative criticism came about in large measure because of an emerging dissatisfaction with several other critical methods of interpretationâsuch as source, form, and redaction criticismâbecause of their relative inability to interact with the Gospels as cohesive narratives.9 Although these methods provide insight into the historical construction and development of the Gospels, they tend not to examine the holistic nature of the Gospel narratives themselves. Source criticism, for example, provides valuable insight into the literary interdependence of the Gospels, but it does not provide an analysis of the Gospels as integrated narratives in their own right. Similarly, redaction criticism constructively identifies the writers of the Gospels as intentional authors as opposed to mere compilers, but it often creates an unhelpful distinction between original source material (âthe traditionâ) and edited content (âthe redactionâ). The use of narrative criticism within biblical studies seeks to redress these deficiencies by paying special attention to the cohesive nature of the Gospel narratives. As narrative criticism has been applied specifically to Markâs Gospel a general consensus has emerged which views the Gospel as an integrated narrative with a clear rhetorical impact in relation to its audience.10 App...
Inhaltsverzeichnis
- Title Page
- Acknowledgments
- Abbreviations
- Introduction
- Part OneâNarratives and Discipleship
- Part TwoâNarratives of Discipleship
- Conclusion
- Bibliography
Zitierstile fĂŒr Narrative Discipleship
APA 6 Citation
Aernie. (2018). Narrative Discipleship ([edition unavailable]). Wipf and Stock Publishers. Retrieved from https://www.perlego.com/book/882672/narrative-discipleship-portraits-of-women-in-the-gospel-of-mark-pdf (Original work published 2018)
Chicago Citation
Aernie. (2018) 2018. Narrative Discipleship. [Edition unavailable]. Wipf and Stock Publishers. https://www.perlego.com/book/882672/narrative-discipleship-portraits-of-women-in-the-gospel-of-mark-pdf.
Harvard Citation
Aernie (2018) Narrative Discipleship. [edition unavailable]. Wipf and Stock Publishers. Available at: https://www.perlego.com/book/882672/narrative-discipleship-portraits-of-women-in-the-gospel-of-mark-pdf (Accessed: 14 October 2022).
MLA 7 Citation
Aernie. Narrative Discipleship. [edition unavailable]. Wipf and Stock Publishers, 2018. Web. 14 Oct. 2022.