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The Naked Runaway and the Enrobed Reporter of Mark 14 and 16: What Is the Author Doing with What He Is Saying?
JETS 54.3 (September 2011) 527–45 THE NAKED RUNAWAY AND THE ENROBED REPORTER OF MARK 14 AND 16: WHAT IS THE AUTHOR DOING WITH WHAT HE IS SAYING? !"#!$!% &'#'()**!* There is no question that Mark 14:51–52 is a major crux of Mark’s Gos- pel—the account of a “young man” +eeing naked from the scene as Jesus was arrested. 1 These verses are “a total enigma,” concluded Morna Hooker. A “bizarre episode,” said Eugene Boring. Francis Moloney called it a “strange passage.” “Confusing” and “unclear,” labeled Robert Stein. “[M]akes no sense as an actual incident,” claimed Robin Scroggs and Kent Gro,. “Whimsical,” declared John Knox. 2 This degree of interpretive chaos has resulted in an inordinate amount of speculation, inversely proportional to the evangelist’s reticence, as many a scholar and preacher has exercised upon this crux his or her own expository creativity. The reason for these hermeneutical acrobat- ics is obvious: if 14:51–52 is erased from the account—which apparently is what Matthew and Luke did in their respective Gospels (Matt 26:56–57; Luke 22:54)—what is left actually makes for a seamless reading of a coherent story. 3 But, as far as scholarship can tell us, those two verses remain in the canonical version and -nal form of the Gospel of Mark; and so, preachers have to make some sense of this perplexing text situated in this locus in Mark’s passion. Hence, the proliferation of explanations, particularly dealing with the identity of the “young man” (νεανίσκος) in 14:51–52, who “appears out of nowhere at the wrong place in the story, at the wrong place in the text, like a clown at a funeral, this τις [a certain] young man, this unnamed literary follower following the departure of all followers.” 4 Howard Jackson concludes that, “freed of the shackles of narrative coherence and contextual integrity, many * Abraham Kuruvilla is associate professor of pastoral ministries at Dallas Theological Seminary, 3909 Swiss Ave., Dallas, TX 75204. -
Mark 5:1-43) O Read out Loud As a Group, 5 Verses Per Person
RCC LIFE GROUP DISCUSSION (STUDENT) MARK CHAPTER 5 Discussion Starter o “It is true that God may have called you to be exactly where you are. But, it is absolutely vital to grasp that he didn’t call you there so you could settle in and live your life in comfort and superficial peace.” From Francis Chan’s book “Forgotten God” ▪ What do you think this quote means in your own words? ▪ Do you agree or disagree with this quote? Why? Opening Prayer o Ask if someone wants to volunteer before leading the prayer Tell the Story Read the Story (Mark 5:1-43) o Read out loud as a group, 5 verses per person. Let everyone know they can opt out if they would like. Breaking it Down o All questions should be utilized as appropriate based upon group dynamics to facilitate both understanding and discussion. Don’t feel tied to the questions and don’t feel like you have to get through every question. Follow the Spirit’s lead! All questions are a matter of perspective in some way BUT there are specific questions that this is truer of and these questions have been indicated to be perspective/opinion questions. Mark 5:1-8 o What is the recorded timing of Jesus’ encountering the man with the unclean spirit and why is this significant? 1 o How would you characterize Jesus’ interaction with this man with unclean spirit? Would have anything about this scene made you afraid, uncomfortable, or unsafe? o How powerful was this unclean spirit and how do you know? Mark 5:9-15 o Of all the questions that Jesus could have asked this unclean Spirit, why do you think -
Cruciformed ! Mark's Story of Jesus and His Disciples
CRUCIFORMED ! MARK’S STORY OF JESUS AND HIS DISCIPLES A literary study of the narrative of Mark’s Gospel with insights and conversation starters in twenty sessions A resource for the Book of Faith initiative within the Evangelical Lutheran Church in America THE REV. DR. MARK I. WEGENER RICHFIELD, MINNESOTA [email protected] Copyright © 2015 This page is intentionally left blank so you can photocopy the pages back-to- back without losing the sequence. CRUCIFORMED ! MARK’S STORY OF JESUS AND HIS DISCIPLES From all inductions, the gospel according to Mark is the first to call the story of Jesus a St. Mark is the earliest of the four gospels in “gospel.” At that time “gospel” or “evangel” the New Testament. Most likely it was written was almost a technical term for an official around 70 CE, shortly before or after the announcement that a new emperor was arriv- Roman armies captured Jerusalem and de- ing, or that a city or territory was to receive stroyed the temple. special treatment, such as a reduction in taxes. Of course, no one knows exactly who wrote Perhaps the political connotation of “gospel” this document. Traditionally the name of is why the accounts of Matthew, Luke and John Mark, a companion of both the apostles John do not explicitly refer to themselves as Paul and Peter, has been associated with it. “gospels.” But the evidence that this person is the actual author is slim at a best. Third, Mark provided the pattern which was later used by the authors of Matthew and And exactly where it was written and for Luke. -
Great Commission’ and the Tendency of Wesley’S Speech About God the Father
“THE PECULIAR BUSINESS OF AN APOSTLE” The ‘Great Commission’ and the Tendency of Wesley’s Speech about God the Father D. Lyle Dabney Marquette University Written for the Systematic Theology Working Group of the Twelfth Oxford Institute of Methodist Theological Studies meeting at Christ Church College, Oxford, England August 12-21, 2007 In focusing the general call concerning papers for this working group, Craig Keen and Sarah Lancaster began by instructing us to attend to the ecclesiological significance and broader theological ramifications of the calling and mission of the church, which the Creed of Nicea describes not only as ‘one, holy, [and]catholic,’ but also as ‘apostolic.’ We ask in particular that members of this working group consider the Great Commission that closes the Gospel of Matthew. In sum, our conveners have asked us to concentrate our work on the character of the Christian community as ‘apostolic,’ i.e., as defined by the mission of word and deed that Christ has bequeathed to his disciples. Following those instructions, let me introduce my topic with the familiar words of the Great Commission to which they refer, and of the pericope that gives it context. Now the eleven disciples went to Galilee, to the mountain to which Jesus had directed them. When they saw him, they worshiped him; but some doubted. And Jesus came and said to them, “All authority in heaven and on earth has been given to me. Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, and teaching them to obey everything that I have commanded you. -
Agony in the Garden Drama Script
Agony in the Garden Drama art to come Script The children will dramatize the events leading up the arrest of Jesus. Volunteers will be needed to play the roles of Jesus, Judas, Malchus, Narrator, and other apostles and soldiers (numbers may vary). Use the following script to guide your dramatic reading. Speaker Words Actions Narrator After supper on Thursday evening, Jesus and The apostles and Jesus his apostles went to the Mount of Olives. They enter. stopped in the Garden of Gethsemane. Jesus My dear friends, sit here while I go into the Jesus, Peter, James, and garden to pray. Peter, James and John, please John walk. The other come with me. apostles sit. I am sorrowful and would appreciate your The three apostles sit; company. Remain here and keep watch with me. Jesus kneels. Heavenly Father, if it is possible, protect me from The three apostles nod my enemies. Help me in this time of sorrow. Yet to sleep. Jesus prays and it is your will, not mine, that must be done. then returns to the three apostles. Peter, what happened? You fell asleep! Couldn’t The three apostles wake. you stay awake even this little while? I wanted you to keep watch for me and pray. Peter, the Jesus leaves once more to spirit is willing, but the flesh is weak. pray. My Father, please let this suffering pass me by. Yet it is your will, not mine, that must be done. Copyright © Loyola Press Oh no! They’re asleep again. Jesus returns to the three apostles. Dear Father, please hear me. -
The Path of Your Life Lessons from Jesus' Agony in the Garden a Season of Hope Your Faith Is More Than You Realize
St. Thomas More Catholic Parish Newsletter February 2019 more INFORMED The Path of Your Life interaction with holy people Lessons from Jesus’ Agony in the Garden inspiration from His example A Season of Hope enrich your Lenten journey Your Faith is More Than You Realize living as missionary disciples How Do We Go Out? 10 Things To Do in 2019 Gifts of Life ideas for sharing your faith guide loved ones back home a family’s pro-life journey with others to the Church filled with love and joy info content St. Thomas More Catholic Parish 8035 South Quebec Street Centennial, CO 80112 303.770.1155 stthomasmore.org editor: Carly McGillick contributing editors: Jerry Nix 19 24 director of communications: 3 The Path of Your Life 18 Praying Prodigal Hearts Irene Lindemer By Msgr. Tom Fryar Home photographers: Dave Rich 4 Parish Photo Album 19 Gifts of Life Nicole Turner By Jeff & Sonia McGarrity 5 A Season of Hope pastor: By Pope Francis (Lenten homily) Msgr. Thomas Fryar 21 Parish Staff Changes & Updates parochial vicars: 5 Enrich Your Lenten Rev. John Ludanha Journey 23 A Vital Role in the Faith Rev. Rohan Miranda, O.C.D. By Dominika Cicha By STM Religious Education Staff Rev. Ivan Monteiro, O.C.D. deacons: 7 Worship With Us This 24 News From Around Lent & Easter Deacon George Brown the School Deacon Bob Cropp By STM School’s Faculty & Staff Deacon Tim Kenny Deacon George Morin 8 Lessons From Jesus’ Deacon Alan Rastrelli, M.D. Agony in the Garden 25 Meet Our New Deacon Steve Stemper By Fr. -
"She Departed to Her House": Another Aspect of the Syrophoenician Mother's Faith in Mark 7:24-30 Matthew L
Luther Seminary Digital Commons @ Luther Seminary Faculty Publications Faculty & Staff choS larship Winter 2006 "She Departed to Her House": Another Aspect of the Syrophoenician Mother's Faith in Mark 7:24-30 Matthew L. Skinner Luther Seminary, [email protected] Follow this and additional works at: http://digitalcommons.luthersem.edu/faculty_articles Part of the Biblical Studies Commons Recommended Citation Skinner, Matthew L., ""She Departed to Her House": Another Aspect of the Syrophoenician Mother's Faith in Mark 7:24-30" (2006). Faculty Publications. 193. http://digitalcommons.luthersem.edu/faculty_articles/193 Published Citation Skinner, Matthew L. “‘She Departed to Her House’: Another Dimension of the Syrophoenician Mother’s Faith in Mark 7:24-30.” Word & World 26, no. 1 (2006): 14–21. This Article is brought to you for free and open access by the Faculty & Staff choS larship at Digital Commons @ Luther Seminary. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Commons @ Luther Seminary. For more information, please contact [email protected]. Word & World Volume 26, Number 1 Winter 2006 “She departed to her house”: Another Dimension of the Syrophoenician Mother’s Faith in Mark 7:24–30 MATTHEW L. SKINNER ome of the most memorable scenes in the Gospel according to Mark provide snapshots of characters displaying exemplary faith. Distinguishing themselves from a “faithless generation” (9:19), these people speak words and perform actions that explicitly mark them as people of faith: a paralyzed man’s associates (2:5), a long-suffering woman (5:34), Jairus (5:36), the father of a spirit-possessed boy (9:23–24), and Bartimaeus (10:52). -
Transformed to Transform Mark 5:1-20
8/23/2016 Transformed to Transform Mark 5:1-20 Mark 5:1-13 They came to the other side of the sea, to the country of the Gerasenes. 2 And when Jesus had stepped out of the boat, immediately there met him out of the tombs a man with an unclean spirit. 3 He lived among the tombs. And no one could bind him anymore, not even with a chain, 4 for he had often been bound with shackles and chains, but he wrenched the chains apart, and he broke the shackles in pieces. No one had the strength to subdue him. 5 Night and day among the tombs and on the mountains he was always crying out and cutting himself with stones. 1 8/23/2016 Mark 5:1-13 6 And when he saw Jesus from afar, he ran and fell down before him. 7 And crying out with a loud voice, he said, “What have you to do with me, Jesus, Son of the Most High God? I adjure you by God, do not torment me.” 8 For he was saying to him, “Come out of the man, you unclean spirit!” 9 And Jesus asked him, “What is your name?” He replied, “My name is Legion, for we are many.” 10 And he begged him earnestly not to send them out of the country. Mark 5:1-13 11 Now a great herd of pigs was feeding there on the hillside, 12 and they begged him, saying, “Send us to the pigs; let us enter them.” 13 So he gave them permission. -
The Agony in the Garden [Left Panel]
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Andrea Vanni Andrea di Vanni Sienese, c. 1330 - 1413 Scenes from the Passion of Christ: The Agony in the Garden [left panel] 1380s tempera on panel painted surface: 47 × 23.8 cm (18 1/2 × 9 3/8 in.) overall: 56.7 × 29.3 × 3.3 cm (22 5/16 × 11 9/16 × 1 5/16 in.) Corcoran Collection (William A. Clark Collection) 2014.79.711.a ENTRY This highly detailed panel from a triptych by the Sienese painter Andrea di Vanni is a recent addition to the National Gallery of Art collection. One of the most prominent works acquired from the Corcoran Gallery of Art, the altarpiece consists of three panels depicting stories from the Passion of Christ. Attached by modern hinges, the two lateral panels can be folded over the central painting to protect it and facilitate transportation. When opened, the triptych’s panels represent, from left to right, Christ’s Agony in the Garden of Gethsemane, the Crucifixion, and the Descent into Limbo. Placed against a gold ground, each scene is set on a rocky outcropping that extends from one panel to the next, creating a formal coherence among scenes that took place at different times and places. The altarpiece’s left wing contains several episodes presented in a continuous narrative. In the middle ground, Christ kneels in prayer above a well-tended garden on the Mount of Olives. With his arms folded across his chest in a gesture of humility, he gazes heavenward toward a descending angel who holds out a Scenes from the Passion of Christ: The Agony in the Garden [left panel] 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries chalice. -
A General Semantics View of the Changing Perceptions of Christ
A General Semantics View of the Changing Perceptions of Christ RaeAnn Burton, Beth Maryott, & Megan O’Byrne "A General Semantics View of the Changing Perceptions of Christ," presented by RaeAnn Burton, Beth Maryott, and Megan O'Byrne, explores the American views of Jesus Christ perceptually and visually. It includes traditional, pictorial representations and reactions to nontraditional or New Age portrayals. The paper also addresses perceptual revolution in the minds of Americans regarding Jesus Christ. The presentation then shows the relationship of these concepts to general semantics principles. * * * Modern Portrayals of Jesus in Works of Art RaeAnn Burton University of Nebraska at Kearney "Modern Portrayals of Jesus in Works of Art" is a paper addressing modern depictions of Jesus that stray from the traditional portrayals of Christ. New images of Jesus in paintings by Stephen Sawyer and Janet McKenzie are described to show how the image of Jesus is changing in the 21st century. Examples of sculptures and humorous pieces that depict Jesus in a modern fashion are also described. Last, the relationship between these modern portrayals of Jesus and general semantics is discussed. It is noted that every depiction of Christ, whether traditional or nontraditional, is an assumption. Depictions of Jesus are changing in the 21st century. This paper describes some of the changes in works of art and relates the changes to the study of general semantics. Introduction For centuries the image of Jesus’ physical appearance has been etched into people’s minds. Children learn in Sunday school at a young age what Jesus looked like. The most typical North American representation is a tall, lean, Caucasian man with long, flowing, light brown hair. -
The First Joyful Mystery the ANNUNCIATION 1. the Time for the Incarnation Is at Hand. 2. of All Women God Prepared Mary from He
The First Joyful Mystery THE ANNUNCIATION 1. The time for the Incarnation is at hand. 2. Of all women God prepared Mary from her conception to be the Mother of the Incarnate Word. 3. The Angel Gabriel announces: "Hail, full of grace! The Lord is with thee." 4. Mary wonders at this salutation. 5. The Angel assures her: "Fear not . you shall conceive in your womb, and give birth to a Son." 6. Mary is troubled for she has made a vow of virginity. 7. The Angel answers that she will conceive by the power of the Holy Spirit, and her Son will be called the Son of God. 8. The Incarnation awaits Mary's consent. 9. Mary answers: "Behold the handmaid of the Lord. Be it done unto me according to your word." 10. The Word was made flesh and dwelt among us. Spiritual Fruit: Humility The Second Joyful Mystery THE VISITATION 1. Mary's cousin Elizabeth conceived a son in her old age . for nothing is impossible with God. 2. Charity prompts Mary to hasten to visit Elizabeth in the hour of her need. 3. The journey to Elizabeth's home is about eighty miles requiring four or five days. 4. Though long and arduous, the journey is joyous, for Mary bears with her the Incarnate Word. 5. At Mary's salutation, John the Baptist is sanctified in his mother's womb. 6. Elizabeth exclaims: "Blessed are you among women, and blessed is the fruit of your womb." 7. "How have I deserved that the mother of my Lord should come to me?" 8. -
Finding the Traces of Jesus Douglas L
Finding the Traces of Jesus Douglas L. Griffin n a previous article (The Fourth R 33-1, Jan-Feb 2020) Refrain: I argued that reading the Bible as theological fiction Tell me the story of Jesus, frees one from the necessity of clarifying whether or Write on my heart every word. I Tell me the story most precious, not biblical references are factual and invites one to enter into the diverse worlds of meaning disclosed in the Bible’s Sweetest that ever was heard. figurative references. In the process the reader is in a posi- Fasting alone in the desert, tion to recognize that the Bible’s supernatural references Tell of the days that are past. are imaginative ones that articulate inexplicable phenom- How for our sins He was tempted, ena through the culturally mediated interpretations, be- Yet was triumphant at last. liefs, rituals, symbols, and traditions underlying the Bible’s Tell of the years of His labor, origins. Indeed, once we have clarified that the supernatu- Tell of the sorrow He bore. He was despised and afflicted, ral references are imaginative and the narratives make figu- Homeless, rejected and poor. rative, not literal, sense the stories receive a new voice with which to speak. Readers are now in a position to let the Refrain texts confront them in ways they could not before. They Tell of the cross where they nailed Him, are not distracted by arguments about what did and did Writhing in anguish and pain. not “really” happen. Instead, they can discern horizons of Tell of the grave where they laid Him, meaning in the stories that will help them make sense of Tell how He liveth again.