Truth, Beauty, and Goodness in Biblical Narratives: A by Krzysztof Sonek
By Krzysztof Sonek
The e-book proposes a hermeneutical idea which makes use of smooth ways to literary texts for the exegesis of biblical narratives. This conception is then utilized to the exegesis of Genesis 21:1-21, and consists of the review of the recent feedback, rhetorical feedback, structuralism and narrative research, reader-response feedback, the historical-critical process, in addition to deconstruction. to meet the concept of pluralism in interpretation, the speculation attracts upon various old and sleek assets similar to Aristotle, T. S. Eliot, Hans Urs von Balthasar, and Paul Ricur.
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Extra resources for Truth, Beauty, and Goodness in Biblical Narratives: A Hermeneutical Study of Genesis 21:1-21 (Beihefte Zur Zeitschrift Fur Die Alttestamentliche Wissenschaft, Band Volume 395)
The Original Text and a Modern Translation 35 I ask questions about the text’s ability to communicate the aspects of truth, beauty, and goodness, and only then do I proceed to various synchronic and diachronic approaches in order to show that all of them contribute to the elucidation of the text. In view of that, in the present chapter, I shall first discuss the narrative delimitation of Gen 21:1-21 (from a synchronic perspective), and then I shall deal with the historical literary sources of the pericope (from a diachronic perspective).
A. Speiser, ANET, 96-97). Features of Hebrew Narratives 19 show, a full list of narrative features is much longer. ”62 Thirdly, and most importantly, none of the above traits is, in any way, reserved for Scripture. The Koran and the Bhagavad-Gita claim divine inspiration. George Herbert’s “Love” points to a transcendent reality, is “fraught with background,” and certainly demands interpretation. Shakespearean Macbeth is preoccupied with the problematic. 63 However, if we had written a new book characterized by exactly the same literary traits as the Bible, would we have been able to call it Scripture?
There is a startling contrast between the extent to which religion is significant to ordinary people of our generation and the lack of religious motifs in literary works. Yet, at the same time, many a modern reader would welcome the presence of such motifs only with reservations, and would suspect that the author is trying to sell religious propaganda. It should be observed that such a reaction would have been unusual in the Middle Ages or in the Renaissance. It is then no surprise that modern literature, which, on the one hand, does not represent reality as it is, and, on the other, severs links to the tradition of the past, may have and often has a degrading influence on readers.