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What is Left Behind? A Pentecostal Response to Eschatological Fiction, in: Journal of the European Pentecostal Theological Association, Vol. XXIV, 2004, p. 49-70. , 2004
Eschatological fiction has become very popular and influential the past decade, particularly the very successful Left Behind series of Tim LaHaye and Jerry Jenkins. This literature infiltrates its readers, of whom many are Pentecostal, with a theological position and worldview, which does not seem in line with our biblical perception. It urges us to re-think our dispensational heritage and develop an eschatology that is compatible with our Pentecostal identity.
Chenoweth - The Pedagogy of Biblical Fiction
Wondering about God Together: Research Led Learning and Teaching in Theological Education, 2018
Partly inspired by the recent popularity of fan fiction, fictional short stories based on the Bible can be set as assessment tasks in theological education. A number of different story types can be utilised: recontextualisation ('missing scenes'), refocalisation ('alternative perspective'), genre emulation, and (possibly) expansion ('prequels and sequels'). The creative process involved in coming up with a fictional viewpoint actually encourages the student to function at the higher levels of Bloom's cognitive domain, particularly synthesis. In contrast with traditional theological essays, Bloom's affective domain will also be involved. From personal experience the results of research conducted using this method are long remembered and have a definite impact on the writer. These are, of course, the hallmarks of deep learning. Some assessment considerations will also be discussed.
Before and After the Art of Biblical Narrative
Prooftexts, 2008
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 165.123.34.86 on Tue, 09 Jun 2015 09:46:46 UTC All use subject to JSTOR Terms and Conditions y 191 PROOFTEXTS 27 (2007): 191-210. S t e v e n W e i t z m A n A B S t r A c t What has become of the so-called literary approach to the Bible since Robert Alter published The Art of Biblical Narrative in 1981? What gave rise to this approach in the first place? How has it been influenced by recent trends in biblical studies and literary scholarship? And what is its future, both in general and as part of the particular project that Prooftexts represents? The essay addresses these questions as a way of introducing what is at stake in the present volume.
Basic Plots in the Bible: A Literary Approach to Genre
Biblical Theology Bulletin, 2019
In The Seven Basic Plots: Why We Tell Stories (2004), Christopher Booker names seven basic plots: overcoming the monster (battle), rags to riches, the journey quest, voyage and return, comedy, tragedy, and rebirth; to these he adds three subplots: call and commission, trials, and temptations. Booker argues that these plots shape the stories we tell and provide a key to their meaning for us. This article shows that biblical stories from both the Old and New Testaments use and combine these basic plots and subplots to create biblical narratives. Besides providing a way of identifying the connection between stories, these categories also offer a context for understanding what is distinctive about each story and about the biblical narrative tradition. As such, these basic plots and subplots offer another strategy for the analysis of genre (form criticism).
Out of Egypt: biblical theology and …
Grand or Meta narrative is an unlikely item on an agenda for biblical studies today. In our 'postmodern' era we have we have learnt to adopt an attitude of 'incredulity towards metanarratives'1, and within academic biblical studies we have been trained to emphasise diversity and to be suspicious of attempts to read the Bible as a (unified) whole. Despite these hostile forces our contention in this chapter is that there is much to be gained from the recovery of reading the Bible as a grand narrative. Not only do we think this possible -and thus wish to commend it as a major way of doing biblical theology -but we also think it important if Scripture is to function as God's Word in the life of his people.
Grenville J. R. Kent, Paul J. Kissling and Laurence A. Turner, 'He Began with Moses....' Preaching the Old Testament Today. Inter-Varsity Press, 2010
Religious Studies Review, 2007
Pp. 332, appendices. $135.00, ISBN 0-567-02592-6. Gmirkin proposes a new theory concerning the date of the composition of the Pentateuch that focuses upon the parallels between the Babylonian mythological materials preserved by the priest Berossus (ca. 278 BCE) and the Genesis stories, and the Egyptian historical and mythological materials preserved by the priest Manetho (ca. 285-80 BCE) and the accounts in Exodus. Because these materials closely accord with the earliest level of the biblical accounts, he proposes that the translation of the Pentateuch into Greek, the Septuagint, in 273-72 BCE in Alexandria was actually the first time that the text was written down as a whole. In presenting this hypothesis, Gmirkin summarizes archeological, epigraphic and literary evidence that would weaken the basis for the documentary hypothesis (or JEPD theory). He proposes that the biblical narratives should be seen in the light of the events of the third century BCE, primarily those of Alexander and his immediate successors.