The Use Of Scripture In The Markan Passion Narrative

This work examines the effect of the use of scripture on the interpretation of the Markan passion narrative, Mark 14:1-15:47. In the methodically focused section which begins the work, Kelli O'Brien first defines the term allusion and the criteria by which allusions are established and then. She then tests the allusions suggested by previous scholars. For the trial and crucifixion scenes, only eleven references have sufficient verbal and other correspondence to be considered probable or certain allusions, out of the roughly 150 references suggested. The numbers for allusions in Mark 14:1-52 are similar. Demonstrable allusions are relatively few, too few to support the theory favoured by many that the passion narrative was constructed by means of allusions to Scripture. The work assesses the interpretive impact of the allusions on the Markan passion narrative, considering how those passages are treated in Jewish and Christian traditions potentially available to the author. Allusions interpret the Markan Christology, but they also interpret other aspects of the drama, such as the opponents in the Jewish trial and the offer of vinegary wine. Most importantly, allusions in the passion narrative indicate in what sense the author understood Jesus' death to be redemptive and that the "ransom" the Son of Man gives (Mark 10:45) is eschatological.

The Library of New Testament Studies (LNTS) is a premier book series that offers cutting-edge work for a readership of scholars, teachers in the field of New Testament studies, postgraduate students and advanced undergraduates. All the many and diverse aspects of New Testament study are represented and promoted, including innovative work from historical perspectives, studies using social-scientific and literary theory, and developing theological, cultural and contextual approaches Kelli S. O'Brien examines the use of scripture in the Markan passion narrative. O'Brien begins by laying firm methodological foundations, providing an incisive definition of the term allusion and the criteria by which the presence of allusions may be established. She then tests the plethora of allusions that previous scholars have discerned within Mark 14-15, arguing that only sixteen references have sufficient support to be considered as allusions out of approximately 270 references suggested. O'Brien then moves to assess the interpretive impact of the most likely allusions on the Markan passion narrative. Some allusions make bold statements with regard to Christology, including Jesus' ultimate vindication and exaltation. Many, however, have little Christological content and function as literary devices to interpret the narrative. Allusions illuminate the significance of events, from the flight of the disciples to the offer of vinegary wine. The presence of allusions provides a window to the evangelist's understanding of Jesus' death in eschatological and redemptive terms. As such this study is of immense importance in furthering comprehension of the Second Gospel's interpretation of the passion.

What is the significance of the trial and death of Jesus in the Gospel of Mark? In its annual meetings the Mark Group of the Society of Biblical Literature studied the trial of Jesus in 2003 and the death of Jesus in 2004. Both speakers and audience expressed the desire to bring some of the papers together in book form. The current volume fulfills this wish. The contributions presented here represent an up to date expression of one of the most important themes in Markan exegesis. The editors use the metaphor of a prism to illustrate the two sections of the book. Like a concave prism spreading light, the first section presents a range of understandings of the meaning of the death of Jesus. Like a convex prism focusing light, the second section uses multiple methodologies to focus attention on the trial of Jesus, particularly the charge of blasphemy. The papers together raise questions, challenge common views, and interrelate themes that push Markan scholarship forward.

Using a multi-level approach to Mark 15:34, and contra to the opinion of the majority of Markan scholarship, a contextual reading of Ps 22:2 does not serve to negate or dilute the presentation of Jesus as one in distress. Rather, such a reading enhances this aspect of his death by underscoring his identity as a Righteous Sufferer who experiences suffering but has the promise of vindication. The evidence that supports a contextual reading of the citation in the Markan narrative includes: (a) the importance of Jesus' impending resurrection/vindication and its foreshadowing; (b) the relatively consistent contextual use of the scriptures in the narrative prior to Mark 15:34; (c) the patterns of the textual and liturgical use of the psalms and the presence of the motif of the Righteous Sufferer in Mark's socio-cultural milieu; (d) the presentation of Jesus as the Righteous Sufferer throughout the narrative; and (e) an exegesis of Mark 15:34 and the surrounding Markan passion-resurrection narrative with regard to the function of Ps 22 in the story of Jesus' death and resurrection. A test case of this argument is undertaken at the close of the book, when both Matthew and Luke's treatment of Ps 22 and other Righteous Sufferer language is considered, regarding their readings of Ps 22 in Mark as the earliest tangible evidence of the interpretation of this passage in his gospel.

Although the passion narratives of the synoptic gospels can be read as free standing narrative, each one of them is the goal and climax of the Gospel story that precedes it. In Passion Narratives and Gospel Theologies, Frank Matera describes the intimate relationship between the theology of each of the synoptic gospels and its passion narrative. Matera's study of the Markan passion narrative in light of the Gospel's theology shows that no one can confess that Jesus is the Son of God until he or she acknowledges Jesus as the crucified Messiah, and no one can be Jesus' disciple unless he or she accepts the scandal of the cross. While the Gospel of Matthew continues to develop the great themes of Mark's gospel, Matera argues that its passion narrative manifests a distinctive ecclesiological and ethical outlook in light of its unique gospel theology. Finally, Matera demonstrates how the Lukan passion narrative, by presenting Jesus as a model of innocent suffering, also contains a distinctive outlook in light of its gospel theology: God's righteous suffer afflictions by trial and persecution. Comprehensive in scope and clearly written, Passion Narratives and Gospel Theologies provides a much needed introduction to the synoptic passion narratives and the theology of each evangelist. It will be welcome by students and pastors.

Scholars of early Christian literature acknowledge that oral traditions lie behind the New Testament gospels. While the concept of orality is widely accepted, it has not resulted in a corresponding effort to understand the reception of the gospels within their oral milieu. In this book, Kelly Iverson reconsiders the experiential context in which early Christian literature was received and interpreted. He argues that reading and performance are distinguishable media events, and, significantly, that they produce distinctive interpretive experiences for readers and audiences alike. Iverson marshals an array of methodological perspectives demonstrating how performance generates a unique experiential context that shapes and informs the interpretive process. Iverson's study explores the dynamic oral environment in which ancient audiences experienced the gospel stories. He shows why an understanding of oral performance has important implications for the study of the NT, as well as for several issues that are largely unquestioned by biblical scholars.

The earliest of the four Gospels, the book portrays Jesus as an enigmatic figure, struggling with enemies, his inner and external demons, and with his devoted but disconcerted disciples. Unlike other gospels, his parables are obscure, to be explained secretly to his followers. With an introduction by Nick Cave