Literary Structure Research Papers - Academia.edu (original) (raw)

Psalm 37 uchodzi za zbiór sentencji mądrościowych, przypominający Księgę Przysłów. Szczegółowa analiza tego Psalmu prowadzi do wniosku, że jest on kunsztowną kompozycją (pomijając drobne redakcyjne uzupełnienie) i jako taki powinien być... more

Psalm 37 uchodzi za zbiór sentencji mądrościowych, przypominający Księgę Przysłów. Szczegółowa analiza tego Psalmu prowadzi do wniosku, że jest on kunsztowną kompozycją (pomijając drobne redakcyjne uzupełnienie) i jako taki powinien być interpretowany. Rzeczowo przynależy on do Psałterza (umieszczony w końcowej części pierwszego Psałterza Dawidowego), gdyż z naciskiem wzywa odbiorcę do pokładania ufności w Bogu, który ocala sprawiedliwego, a niegodziwego przywodzi do zagłady. Jest znacznie bardziej niż zbiory z Księgi Przysłów naznaczony religijnie i liturgicznie.

The present paper shows “the breaking of bread” (cf. 1Cor 11:24) as the central liturgical sign of the Eucharist, typologically foretold by the analogous sign of the First Covenant: the breaking of the Paschal Afikoman in the yearly... more

In this article I propose – together with Frank Crüsemann – an interpretation of the Decalogue based on a concentric structure. The center of the structure is occupied by the prohibition to kill (Ex 20:13), making the respect for the... more

In this article I propose – together with Frank Crüsemann – an interpretation of the Decalogue based on a concentric structure. The center of the structure is occupied by the prohibition to kill (Ex 20:13), making the respect for the person the crucial value of peaceful coexistence in society. Moving outwards from the center, pairs of commandments form concentric circles around the life of the individual, dealing with family (vv. 12 and 14), subsistence (8-11 and 15), and social interaction (7 and 16), respectively. The framing commandments address the respect for God at the beginning and the respect for the neighbor at the end of the Decalogue (3-5 and 17). Embedded into the structure is a movement from the slavery in Egypt at the beginning (v. 2) to a successful life in the land at the center (v. 12b).

Following the Prologue (John 1,1-18), the Gospel of John is demarcated by an inclusio which extends from 1,19 (“And this is the witness of John”) to 21,24 (“This is the disciple who bears witness”). This Gospel contains a multiple... more

Following the Prologue (John 1,1-18), the Gospel of John is demarcated by an
inclusio which extends from 1,19 (“And this is the witness of John”) to 21,24
(“This is the disciple who bears witness”). This Gospel contains a multiple
witness to Jesus as Messiah and as Son of God (cf. 20,31), organized around two
main characters: John (1,19 → 10,42) and the beloved disciple (13,1 → 21,25). In
the central unit (11, → 12,50), which serves as a link between the two sections,
the Father intervenes by rising up Lazarus (11,41-44) and makes His own voice
heard from heaven (12,28); through these events the Father bears the supreme
witness to Jesus. In this way, the Gospel appears as a testimonial triptych with a
christological purpose.

In the collection entitled Deciphering the Worlds of Hebrews Gabriella Gelardini gathers fifteen essays written in the last fifteen years, twelve of which are in English and three in German. Arranged in three parts (the world of,... more

In the collection entitled Deciphering the Worlds of Hebrews
Gabriella Gelardini gathers fifteen essays written in the last fifteen
years, twelve of which are in English and three in German.
Arranged in three parts (the world of, behind, and in front of
Hebrews’s text), her articles deal with such topics as structure and
intertext, sin and faith, atonement and cult, as well as space and
resistance.
She reads Hebrews no longer as the enigmatic and homeless
outsider within the New Testament corpus, as the “Melchizedekian
being without genealogy”; rather, she reads Hebrews as one whose
origin has finally been rediscovered, namely in Second Temple
Judaism.

Study of "to believe" in Gv 3,16-21.

This paper constitutes the second part of a study of the literary struncture of John 1,1-18. In the first one, following stylistic, structural and thematic criteria, the author distinguishes between 1,1-5.10ac.11.14abce.17, the basic text... more

This paper constitutes the second part of a study of the literary struncture of John 1,1-18. In the first one, following stylistic, structural and thematic criteria, the author distinguishes between 1,1-5.10ac.11.14abce.17, the basic text (PI), and John 1,6-8.9.106. 12-13.14d.15.1618, which is the textual exparzsion in composition (PII). In the present article the author analyses: the ways of insertion ofPII in PI, the reasons of the already mentioned expansion, having as a result several cha nges of meaning, and a new structure of the whole section. Comprobadas las características formales y temáticas de PI (texto base del Prólogo: 1,1-5.10ac.11.14abce.17), por una parte y, de PII (desarrollo redaccional 1,6-8.9.10b.12-13.14d.15.16.18), por otra', se procede a explicar el modo de inserción del uno en el otro y se explica, desde ahí, la nueva estructura a que da lugar. 1 Cf la primera entrega de este trabajo en FORTUNATAE 4, 1992.

We see, then, that the concentric literary structure of the Teaching on the Mount exceeds the mere literary fact: it is motivated by a theological reason. What we can call “patrocentric” literary structure is a means to express something... more

We see, then, that the concentric literary structure of the Teaching on the Mount exceeds the mere literary fact: it is motivated by a theological reason. What we can call “patrocentric” literary structure is a means to express something that stands at the very core of the disciple’s life: the filial relationship with the heavenly Father as the root of his righteous acts.

The present article constitutes the first part of a study of the literary structure of the so called Prologue of John's Gospel (1,1-18). The starting point is a history of its composition. The Prologue's basic text, called PI, is formed... more

The present article constitutes the first part of a study of the literary structure of the so called Prologue of John's Gospel (1,1-18). The starting point is a history of its composition. The Prologue's basic text, called PI, is formed by 1,1-5.10ac.11.14abce.17, the sequences called PII, I, 6-9.10b.I2-13.14d.15-16 18, constitute, in the author's opinion, a textual expansion in composition. Given the hipothesis that different styles correspond to different compositions we have gro uped or separated sequences according to stylistic criteria although structure and content is also considered. Here the caracteristics of style and content are established as well as those of the structure of PI and PII. The second part will expkin the forms of insertion of PII in PI and the resulting strutural changes. Los cambios bruscos de estilo en el llamado Prólogo del evangelio de Juan (1,1-18) constituyen una de las características de la actual redacción texto'. Nuestro convencimiento es aue el texto reflei2 tct Los cambios de estilo son unánimemente aceptados por los autores, aunque diversamente explicados. La mayor parte de ellos señalan la combinación de secciones en verso y en prosa. Se ha notado, sobre todo, la brusquedad de ciertas transiciones, como las que se dan al introducir las secciones referentes a Juan Bautista (1,6-8; 1,15).

This paper was originally published in 2008. It provides a structural analysis of Aeneas' journey from Troy to Cumae in books 3 to 6 of the Aeneid, based primarily on the combined recurrence of motifs, phrases and scenes. In doing that,... more

This paper was originally published in 2008. It provides a structural analysis of Aeneas' journey from Troy to Cumae in books 3 to 6 of the Aeneid, based primarily on the combined recurrence of motifs, phrases and scenes. In doing that, it shows that Aeneas' journey unfolds in a sequence that repeats itself in a cyclic fashion.

Ezra 3:1–13 is comprised of three scenes with verse 8aα-bα intentionally placed at its center to highlight the main themes of the chapter: continuity with the past, accomplishment in the present, and aspiration for the future. The... more

Ezra 3:1–13 is comprised of three scenes with verse 8aα-bα intentionally placed at its center to highlight the main themes of the chapter: continuity with the past, accomplishment in the present, and aspiration for the future. The alternate view that sees Ezra 3:1–4:5 as a literary unit cannot be sustained.

This paper constitutes the second part of a study of the literary struncture of John 1,1-18. In the first one, following stylistic, structural and thematic criteria, the author distinguishes between 1,15.10ac.11.14abce.17, the basic text... more

This paper constitutes the second part of a study of the literary struncture of John 1,1-18. In the first one, following stylistic, structural and thematic criteria, the author distinguishes between 1,15.10ac.11.14abce.17, the basic text (PI), and John 1,6-8.9.106. 1213.14d.15.1618, which is the textual exparzsion in composition (PII). In the present article the author analyses: the ways of insertion ofPII in PI, the reasons of the already mentioned expansion, having as a result several cha nges of meaning, and a new structure of the whole section.

RESUMEN Se señala la existencia y se describen los rasgos principales del estereotipo literario de la manifestación de la Sabiduría primordial en el AT. Se contrasta con el llamado Prólogo del evangelio de Juan (Jn 1,1-18) y se señalan... more

RESUMEN Se señala la existencia y se describen los rasgos principales del estereotipo literario de la manifestación de la Sabiduría primordial en el AT. Se contrasta con el llamado Prólogo del evangelio de Juan (Jn 1,1-18) y se señalan similitudes y divergencias, para concluir que re-presenta una versión cristiana del mismo estereotipo literario. Prosiguiendo la comparación del texto juaneo con otros textos del NT (Col 1,13-21; He 1,1-4), se concluye que éste re-presenta una versión más próxima al estereotipo original hebreo y menos helenizado que aquéllos. Finalmente se concluye que el actual texto de Juan responde a las características de una profesión de fe más que de himno al Lov go". ABSTRACT This paper describes the main features of the literary stereotype of the manifestation of the Primeval Wisdom in the Old Testament. A contrast, in terms of similarities and differences, with the Prologue to the Gospel of John (1,1-18) is provided as well; the result of this comparison led us to infer that it is a christian version of the same literary stereotype. By comparing the Johannine text with other New Testament texts (Col 1,13-21; He 1,1-4), it can be asserted that it is a version closer to the original sterotype and, therefore, less hellenized than the ones in the NT texts. As a conclusion it can be also stated that the Johannine text corresponds more to the features of a profession of faith than to those of a hymn to the «Logos». KEY WORDS: «Logos». «Sofía». Biblical Literature. Literary structure. Gospel of John. ESTADO DE LA CUESTIÓN Durante mucho tiempo el prólogo de Juan ha sido considerado como la expresión más palpable de la penetración del pensamiento helenístico y, para algunos más específicamente, gnóstico o al menos pregnóstico, en la literatura cristiana de los inicios. Esta comprensión del llamado himno al Lov go" ha influi-do, sea cual sea la relación que se le atribuya con el resto del cuarto evangelio, en la interpretación del mismo y ha condicionado su datación aconsejando una época relativamente tardía, no antes de la última década del siglo I, para su com-posición.