1,987,102 research outputs found
The voice of Jesus in six parables and their interpreters
No full text'Figures of speech' provide a suggestive key for approaching the question of Jesus' individual tone of voice. Apprehending a figure implies insight into an intention, and beyond intention to discern unconscious influences upon the speaker. This is the conceptual framework for a study of the 'voice of Jesus' in six parables peculiar to Luke (10:25-37; 15:11-32; 16:1-9; 16:19-31; 18:1-8; 18:9-14) and in commentaries upon them. In the premodern era commentators approached the parables with an immediacy of insight, seeking the divine intention behind the texts. Nevertheless we may hear the voice of Jesus echoing in their commentaries in morally specific tones. In the work of Jülicher 'insight', though repudiated, is still important, as he seeks the intention of Jesus through the figure of simile. Jülicher offers insight into Jesus as a passionate communicator, but goes beyond Jesus' intention in making him a propounder of generalities. More recently a concern with the intention of Jesus is replaced by a concern with how his voice was heard. The necessity of insight remains apparent in B.B. Scott's use of metaphor as an interpretative key. An impression is given of Jesus as a provocative subversive. In their context in Luke-Acts, the parables function as metonymies of the gospel, and yield an impression of the voice of Jesus as suggestively concerned with the life of this world. In the ministry of Jesus the parables function as synecdoches, offering hearers a realistic and hopeful 'part' of the world from which they must fashion a 'whole’. Against the background of Scripture the parables display a deep continuity with older forms of discourse, but also important tokens of newness. A stream of influence can be traced from the Old Testament, through Jesus and Luke, and on through their interpreters, though recently its course has been somewhat diverted
[Jesus Heads]
No full text40 lithographs of the sacred head of Jesus painted over with various watercolors
[Jesus Heads, Signed]
No full text15 lithographs of the sacred head of Jesus painted over with various watercolors
Jesus Fuentes's MM Piano Recital 1
No full textBlues For Myself by Cedar Walton
Gloria’s Step by Scott LaFaro
Juicy Lucy by Horace Silver
Insomnio by Jesus A. Fuentes
Bu’s March by Benny Green
Chick’s Tune by Chick Corea
Windows by Chick Corea
Sicily by Chick CoreaRelated performance for this degree -- Jesus Fuentes's MM Piano Recital 2: https://hdl.handle.net/2346/98488Recital recordings are archival copies for educational purposes only. Members of the TTU community may request to listen/view them for educational purposes via the PDF link to the left
The anger 01- jesus in mark's gospel
No full textThe textual variants in Markan passages depicting the anger of Jesus coupled with Matthaean and Lukan amendments to and omissions from them, suggest that discomfort at the thought of Jesus' anger is no merely modern phenomenon. Nevertheless its possibility still strikes some as bizarre and some as impossible. However, in this thesis I argue that, far from being extraneous or peripheral. Jesus' anger is integral to Mark's presentation of the gospel First, it illustrates Mark's claim that Jesus was the son of God. Many of the themes associated with God's anger in the Old Testament are discernible also in Mark's Gospel. Furthermore, in Mark Jesus alone expresses 6prn . and, while the indignations of others are invariably condemned, Jesus' expressions of anger are always cast in a positive and even divine light. Secondly the anger of Jesus highlights the importance of the various issues which were the subject of intense debate between Christians and Jews, within Judaism itself and among his own followers. The status of the law, the nature and purpose of miracles, the meaning of suffering, the roles of children, outsiders and Gentiles are all very much to the fore in the Markan pericopae which depict Jesus' anger. His anger proclaims their seriousness and the urgency with which they should be tackled The notion of Jesus' anger involves, inevitably, some recognition of the mystery surrounding his character and his relationship with God However, one of Mark's main points seems to be that Jesus is an enigma only to the hard of heart and the blind in perception. In the six Markan passages, which are the subject of this thesis, Jesus lays down clear principles for faith, action and discipline. His anger underlines their importance and his own authority
Jesus in L.A.
No full textJesus in L.A. follows the lives of Jesus, the collection’s protagonist and the twenty-first-century version of Jesus Christ; Jesus Christ, or “Christ,” the biblical version of Jesus Christ; and Jesus’ ex-girlfriend, the earth. Throughout the collection, Jesus struggles with the self-estrangement, cultural aimlessness, and consumerism inherent to modern-day America. Meanwhile, Christ and the earth serve as backgrounds of indifference, until Jesus, increasingly alienated, leaves the story’s setting, L.A. Un-religious, Jesus in L.A. is social commentary on contemporary America, where recent shifts in ideologies have manifested themselves in quiet details.Master of Fine Arts (MFA)Writing, Linguistics, and Creative Proces
Structuring Early Christian Memory: Jesus in Tradition, Performance, and Text
No full textSocial memory research has complicated the relationship between past and present as
that relationship finds expression in memorial acts (storytelling, music- and image-making, textproduction,
and so on). This relationship has emerged as a dialectic in which the phenomena
'past' and 'present' are mutually constitutive and implicating. The resultant 'messiness' directly
affects the procedures and products of 'historicaI Jesus' research, which has especially depended
upon the assumption that we can neatly and cleanly separate 'authentic' (past) from
'inauthentic' (present) traditions. This thesis establishes some problems that attend to this
assumption and attempts to establish a 'historical Jesus' programme that is more sensitive to the
entanglement of past and present. Social memory research has especially identified 'reputation' .
as a vehicle of this entanglement in the memory of specific historical persons. Therefore, Jesus'
reputation' plays a key analytic role in this project.
Another consequence of social memory research has been the emphatic insistence that
all memorial acts are culturally and socially conditioned; the meaning of 'memories', the
products of memorial act? emerges from the relationship of memorial acts and their social
contexts. One aspect of the gospels' social context that has been underappreciated in most New
Testament research is the contextualisation ofour written gospels within the vibrant and fluid
oral traditional milieux ofJesus and Israelite communities. This project examines and applies
the poetics of oral traditional narrative, including the textualisation of oral tradition, to our
written gospels.
The resultant theoretical perspective dramatically affects gospels and 'historical Jesus'
research. Since both these fields are too vast to encompass here, this project focuses its attention
on We appearance of Jesus' healing and exorcistic praxis in the sayings tradition. Afterwards, we
will suggest a few areas in which critics might fruitfully pursue future research in the gospels and
on tile historical Jesus
Methods and models in the third quest of the historical Jesus
No full textIn this thesis I examine some of the major contributions to current historical Jesus research, now commonly known as the third quest of the historical Jesus. As most of the participants in the third quest define their work primarily as historiography, in Chapter 11 situate these reconstructions in the landscape of present-day historiography, with special attention to the reaction of the authors in question to the challenge of postmodernism. In view of the methodological diversity of the third quest as well as the lack of consensus about the criteria to be used in the reconstructions or in their evaluation, after a brief survey in Chapter 2 of the history of "criteriology" in life-of-Jesus research, I found It necessary to devise my own list of evaluative criteria in Chapter 3. The general criteria are to do with the overall shape and style of the reconstructions, while the criteria of historical reasoning evaluate them in terms of their presentation as historiography. Finally, a modified version of the "traditional" criteria of the historical-critical method is designed to evaluate the text-related arguments within the reconstructions. In chapter 4 I analyse some selected contributions from the standpoint of the most hotly debated issue within the third quest, eschatology
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
Those who heard it first: The political implications of the sermon on the mount to Jesus’ Jewish audience
No full textThis dissertation examines the Sermon on the Mount (in the Gospel of Matthew) from the perspective of politics and peace. It investigates not what Jesus meant, but what his audience heard and were likely to have understood. It does this in order to ascertain the novelty or otherwise of Jesus’ teachings on peace with regard to Jewish thought and political understandings of his time. His audience was primarily Jewish, and the political implications they drew from Jesus’ teachings would have been influenced by established Jewish thought on ethics and governance. This dissertation researches specifically this: how would Jesus’ Jewish listeners have interpreted the peace sayings of the Sermon on the Mount? This dissertation finds that the Jewish intellectual framework within which Jesus’ first audience heard the Sermon on the Mount contained many specific sayings found in Pirkei Avot, and also a history of practice of non-violent action found in Jewish tradition, and that the oral law and the Sermon on the Mount both reflect Jewish ethical ideologies of non-violent resistance.
This dissertation argues that, in the Sermon on the Mount, a very Jewish Jesus – a man true to the religio-political views of his day – reaffirms a Jewish ethical form of non-violent resistance. The most important evidence available is the Gospel of Matthew itself, Jewish ethical writings such as Pirkei Avot, other Mishna writings, and writings on the lex talionis. The evidence points to an audience that would have perceived Jesus as teaching non-violence in a context of resistance rather than completely passive submission. The overall finding of this dissertation will be that the writer of Matthew depicts a Jesus who, in style, form, and content, builds on a Jewish ethical foundation to promote non-violent assertion of equality and human dignity in the widely known and oft-cited Sermon on the Mount
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