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That there are four canonical versions of the one gospel story is often seen as a problem for Christian faith: where gospels multiply, so too do apparent contradictions that may seem to undermine their truth claims. In Gospel Writing Francis Watson argues that differences and tensions between canonical gospels represent opportunities for theological reflection, not problems for apologetics. Watson presents the formation of the fourfold gospel as the defining moment in the reception of early gospel literature -- and also of Jesus himself as the subject matter of that literature. As the canonical division sets four gospel texts alongside one another, the canon also creates a new, complex, text...
When Christians speak of “the gospels” they’re usually referring to Matthew, Mark, Luke, and John. Other ancient writings about the life of Jesus are generally considered noncanonical or heretical. But what if these other gospel writings—including the Gospel of Thomas, the Gospel of Judas, and the Protevangelium of James—aren’t fundamentally different from the four canonical gospels? In this follow-up to Gospel Writing: A Canonical Perspective, noted biblical scholar Francis Watson makes the case that viewing early gospel literature as a unified genre—sharing significant similarities in sources, content, and goals—allows us to discern important interrelated aspects that are lost amid the usual categories. Watson’s critical approach enables modern readers of the Bible to break free of fraught scholarly assumptions in order to better understand early Christian identity formation and beliefs.
Originally presented as the author's thesis (Ph. D.)--University of Oxford, 1984. Includes bibliographical references (pages 232-244) and index.
In 1832, 57 Irish Catholic workers were brought to the United States to lay one of the most difficult miles of American railway, Duffy's Cut of the Pennsylvania Railroad. These men were chosen because, in the eyes of the railroad company that hired them, they were expendable. Deaths were common during the building of the railway but this stretch was worse than most. When cholera swept the camp basic medical attention and community support was denied to them. In the end all 57 men—the entire work crew—died and were buried in a mass unmarked grave. Their families in Ireland were never notified about what happened to them. The company did its best to cover up the incident, which was certain...
This groundbreaking approach to the study of the fourfold gospel offers a challenging alternative to prevailing assumptions about the creation of the gospels and their portraits of Jesus. How and why does it matter that we have these four gospels? Why were they placed alongside one another as four parallel yet diverse retellings of the same story? Francis Watson, widely regarded as one of the foremost New Testament scholars of our time, explains that the four gospels were chosen to give a portrait of Jesus. He explores the significance of the fourfold gospel's plural form for those who constructed it and for later Christian communities, showing that in its plurality it bears definitive witness to what God has done in Jesus Christ. Watson focuses on reading the gospels as a group rather than in isolation and explains that the fourfold gospel is greater than, and other than, the sum of its individual parts. Interweaving historical, exegetical, and theological perspectives, this book is accessibly written for students and pastors but is also of interest to professors and scholars.
Built around a new translation of a neglected text, this book offers new perspectives on early gospel literature.
Contends that new literary, canonical and feminist approaches make it possible to rethink the relationship of biblical studies to Christian theology.
Shows that there is an interdisciplinary way, drawing on the traditional disciplines of Old and New Testament studies and systematic theology, for the true interpretation of the Bible.
The Getty Museum’s large and exceptional collection of oriental porcelain embellished with Parisian gilt bronze or silver is comprehensively illustrated in this revised catalogue. The European practice of mounting exotic objects such as oriental porcelain dates from the Middle Ages and found its height of expression during the seventeenth and eighteenth centuries, when Chinese and Japanese porcelains reached the West in considerable quantities. To meet the growing taste for such objects in fashionable Parisian society, marchands-merciers—guild members who combined the functions of the modern interior decorator, antique dealer, and picture dealer—devised ingenious settings in silver and gilt bronze for oriental porcelains, adapting their exotic character to the French interiors of the period. With the publication of this catalogue, the beauty and rarity with which buyers of these pieces were so enamored is vividly brought to life.
A comparative study in the early interpretation of Jewish scripture, aiming to show how and why Christian and Jewish readers were reading the same texts, yet reading them differently.