Matthew’s gospel.

 

Some texts are easier to use than others for this type of assignment—some texts more readily lend themselves to discussion of important elements of all three worlds. Prepare your presentation from one of the following sections of Matthew. These texts have been chosen because of their significance for understanding the gospel, as well as the way they work well as opportunities to use the three worlds.

1st Discourse: Matthew 5-7 (“The Sermon on the Mount”)
Reconciliation – Matthew 5:21-26
Love – Matthew 5:43-48
Material Securities – Matthew 6:19-34
Judgement – Matthew 7:1-6
Asking and receiving – Matthew 7:7-12
Disciples & Prophets – Matthew 7:13-23

2nd Discourse: Matthew 10
Mission – 10:5-15
Cost of discipleship – Matthew 10:16-23

3rd Discourse: Matthew 13
The Parable of the Sower – 13:3-9 & 3:19-23
3 Parables about the Kingdom – 13:24-33

4th Discourse: Matthew 18
Greatness – Matthew 18:1-9
Forgiveness – Matthew 18:21-35

5th Discourse: Matthew 23-25
Cautions – Matthew 23:1-12
The Parable of the Ten Bridesmaids – Matthew 25:1-13
The Parable of the Talents – Matthew 25:14-30
The Sheep & The Goats: 25:31-46

A list of the kinds of information, questions, etc. that could be addressed in each world is provided below. You will not be able to identify each of these items for each possible pericope – please use this as a guide. The information below is something accessible by using the notes in the New Oxford Annotated Bible (the required Bible for this course), and the historical & literary world information found in Kraybill and Fee & Stuart.

Literary World
Literary Content:
1. Summarize the pericope
2. Indicate the genre of literature of the text as a whole (answer: gospel)
3. Identify and define key terms in the text.
4. Literary analysis:
-Note (and explain the meaning of) the various forms of teaching present: proverbs, hyperbole, similes & metaphors, poetry, questions, irony (Be aware that some of this may show up in the larger context of your pericope. For example: is your pericope a parable that is actually the answer to a question? That tells us Jesus’ purpose in telling the parable.)
-Use the content of the text to infer what Jesus’ tone might be.
Literary Context:
1. Read the entire discourse in Matthew of which your pericope is a part. If possible, identify the main point/s or thesis of that discourse. What is the meaning of your pericope in the context of the discourse?
2. Note where in the gospel your pericope comes. How does its place in the chronology of the
story help you understand its meaning or purpose in the text?
3. What is the meaning of your pericope in the context of the gospel of Matthew (entire)?
4. Go Further (not required): identify parallel passages in the other gospels and use the comparison to note what is distinct about Matthew’s use of the pericope

Historical World
1. Authorship: Who, what, when, where, why written?
2. Historical context of Jesus’ world (1st century Palestine): relevant cultural social, political, religious, geographical information
-define: terms, cultural artifacts, people, places, religions, ethnic groups
You will need to do actual research to explore elements of the historical world of your text. Use Fee & Stuart, Kraybill, and the notes and articles in your NOAB for this research.

Contemporary World
Based on the information in the above two worlds, what does the text have to say to people today? Your text might not offer information about all three of these categories. Use these as a guide for considering how this text might be applied to the world today.
1. About the Kingdom of God
2. About what God and/or humans are like
3. About how to live
Offer specific examples of what this might look like in the present day.

Final Notes:
Infer or suggest your conclusions based on the evidence in the text
Cite specific chapter & verse in-text to more accurately support your conclusions. Ex: (Mt 5:1-3)

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Unique:

Regardless of their Britocentric direction, interpretations of Captain W.E. Johns’ Biggles stories have been generally welcomed outside the UK, albeit sure of the accounts make issues for non-British objective crowds.

One nation where Biggles is very famous is the Czech Republic. A few entries in Biggles Goes To War, notwithstanding, set in a concocted little Ruritanian-type nation situated at the eastern edge of Europe, may be viewed as messing up Czech perusers. In her Czech form thereof Petru�elkov�’s methodology is to transpose the activity to some place in the Middle East, changing huge numbers of the names, while leaving the storyline unaltered, even down to subtleties. She additionally incorporates a level of ambiguity, leaving certain things in the source content unknown in her transposition.

Following Whittlesey 2012’s system for taking care of a wide assortment of transpositions, this paper will ask whether Petru�elkov�’s transposition has prevailing with regards to protecting the first kind of Biggles Goes To War. The appropriate response is commonly positive, with a couple of reservations.

Johns, W.E, 1938. Biggles Goes To War. tr. Alena Petru�elkov�, Prague: Tou�imsk� and Moravec, 1994. (1940; Biggles Let� na Jih)

Whittlesey, Henry. 2012. A Typology of Derivatives: Translation, Transposition, Adaptation. Interpretation Journal Volume 16, No. 2, April 2012.

Controlled by Editorial Manager� and ProduXion Manager� from Aries Systems Corporation

Original copy � unknown

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I. Presentation � BIGGLES

From about the 1930’s to the late 1960’s Captain W.E. Johns’ Biggles stories, stories of warrior airplane and dogfights, were extremely well known among youthful teenagers in the UK. Regardless of their vehement Britocentric Imperial direction the accounts in interpretation additionally did very well outside the UK: I recall, matured 11, hearing a radio declaration of Johns’ demise including the remark: “It is said that even the Germans preferred them, in spite of the fact that Biggles was continually killing German planes.”1 Certain of the tales, nonetheless, make issues for target crowds outside the Britocentric Imperium and its social circle.

One nation where Biggles clearly keeps on being very well known is the Czech Republic,2 when the split; almost all the hundred-odd books have been converted into Czech (see http://www.knizniarcha.cz/johns-w-e-biggles-kompletni-rada-95-knih). Indeed, defining moments throughout the entire existence of Czechoslovakia from the late 30’s until the breakdown of the Warsaw Pact might be coordinated to the accessibility, or scarcity in that department, of Biggles interpretations. Thirteen were interpreted during the period 1937-1940 (e.g., Biggles of the Camel Squadron (1937); Biggles in Africa (1938); Biggles in Spain (1939), and Biggles Goes to War (1940))3. The period 1946-1948 saw a further four: Biggles Flies East (1946), Biggles Learns to Fly, Biggles in Borneo (1947), and Biggles Defies the Swastika (1948). The happening to Socialist Czechoslovakia saw them become inaccessible once more, in spite of the fact that they returned quickly in 1968.

II. THE CONCEPT OF RURITANIA AND ITS CONNOTATIONS

Ruritania was first imagined in writing and culture by Anthony Hope in The Prisoner of Zenda. He portrayed it as a German-speaking, Roman Catholic nation, under an outright government, with profound social, yet not ethnic, divisions, as reflected in the contentions delineated in the narratives. Notwithstanding, a portion of Ruritania’s placenames (e.g., Strelsau, Hentzau), propose that a portion of the externally German names have a Slavic substratum, like, e.g., Leipzig, Dresden, Breslau, Posen, Gdingen, and so forth., similarly as with a portion of the individual names, e.g., Marshal Strakencz, Bersonin, Count Stanislas, Luzau-Rischenheim, Strofzin, Boris the Hound, Anton, and so on.

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