Portraits of Paul's performance in the book of Acts: Luke's apologetic strategy in the depiction of Paul as messenger of god
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Tübingen
Mohr Siebeck
[2021]
|
| Schriftenreihe: | Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe
556 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIV, 260 Seiten |
| ISBN: | 9783161608599 |
Internformat
MARC
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| 016 | 7 | |a 1235771458 |2 DE-101 | |
| 020 | |a 9783161608599 |c : circa EUR 80.00 (DE) (freier Preis) |9 978-3-16-160859-9 | ||
| 035 | |a (OCoLC)1269385526 | ||
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| 100 | 1 | |a Heijer, Arco den |d 1989- |e Verfasser |0 (DE-588)1164504622 |4 aut | |
| 245 | 1 | 0 | |a Portraits of Paul's performance in the book of Acts |b Luke's apologetic strategy in the depiction of Paul as messenger of god |c Arco den Heijer |
| 264 | 1 | |a Tübingen |b Mohr Siebeck |c [2021] | |
| 264 | 4 | |c © 2021 | |
| 300 | |a XIV, 260 Seiten | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe |v 556 | |
| 502 | |b Dissertation |c Theological University Kampen |d 2021 | ||
| 600 | 0 | 7 | |a Paulus |c Apostel, Heiliger |0 (DE-588)118641549 |2 gnd |9 rswk-swf |
| 630 | 0 | 7 | |a Bibel |p Apostelgeschichte |0 (DE-588)4129470-1 |2 gnd |9 rswk-swf |
| 653 | |a New Testament | ||
| 653 | |a Quintilian | ||
| 653 | |a Performance Studies | ||
| 653 | |a Ancient Rhetoric | ||
| 653 | |a Luke | ||
| 655 | 7 | |0 (DE-588)4113937-9 |a Hochschulschrift |2 gnd-content | |
| 688 | 7 | |a Testamenti Novi Acta apostolorum |0 (DE-2581)TH000003007 |2 gbd | |
| 688 | 7 | |a Paulus Tarsensis apost. |0 (DE-2581)TH000002231 |2 gbd | |
| 689 | 0 | 0 | |a Paulus |c Apostel, Heiliger |0 (DE-588)118641549 |D p |
| 689 | 0 | 1 | |a Bibel |p Apostelgeschichte |0 (DE-588)4129470-1 |D u |
| 689 | 0 | |5 DE-604 | |
| 710 | 2 | |a Mohr Siebeck GmbH & Co. KG |0 (DE-588)10165783-3 |4 pbl | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 978-3-16-160860-5 |
| 830 | 0 | |a Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe |v 556 |w (DE-604)BV038743412 |9 556 | |
| 856 | 4 | 2 | |m DNB Datenaustausch |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032857496&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-032857496 | ||
| 883 | 1 | |8 1\p |a vlb |d 20210618 |q DE-101 |u https://d-nb.info/provenance/plan#vlb | |
Datensatz im Suchindex
| _version_ | 1804182757458313216 |
|---|---|
| adam_text | TABLE
OF
CONTENTS
PREFACE
.............................................................................................................
VII
LIST
OF
TABLES
......................................................................................................
1
CHAPTER
1:
INTRODUCTION
..................................................................
1
1.1.
RESEARCH
FIELD
AND
QUESTION
......................................................................
1
1.1.1.
HISTORICAL
ISSUES
..............................................................................
2
1.1.2.
LITERARY
ISSUES
.................................................................................4
1.1.3.
PURPOSE
OF
LUKE
S
PORTRAIT
OF
PAUL
..................................................
5
1.1.4.
SCHOLARSHIP
ON
THE
SPEECHES
IN
ACTS
...............................................
9
1.1.5.
RESEARCH
QUESTION
................................................................
10
7.2.
CONCEPT
OF
PERFORMANCE
..........................................................................
10
1.2.1.
PERFORMATIVE
TURN
..........................................................................
11
1.2.2.
DEFINING
PERFORMANCE
....................................................................
12
1.2.3.
ASPECTS
OF
PERFORMANCE
.................................................................
13
1.2.4.
PERFORMANCE
IN
ANTIQUITY
...............................................................
14
1.2.5.
REPRESENTATION
OF
PERFORMANCE
IN
ACTS
........................................
26
1.3.
SELECTION
OF
CASE
STUDIES
AND
RESEARCH
DESIGN
......................................
28
1.3.1.
STRUCTURAL
MARKERS
IN
ACTS
............................................................
29
1.3.2.
SECTIONS,
EPISODES,
AND
SCENES
.....................................................
31
1.3.3.
DISTRIBUTION
OF
CASE
STUDIES
.........................................................
31
1.3.4.
RESEARCH
DESIGN
............................................................................
32
1.4.
SOME
PRELIMINARY
REMARKS
.......................................................................
34
1.4.1.
EDITIONS
USED
................................................................................
34
1.4.2.
ASSUMPTIONS
ABOUT
DATING
AND
AUTHORSHIP
..................................
34
1.4.3.
USE
OF
LUKE
IN
THIS
STUDY
.........................................................
37
X
TABLE
OF
CONTENTS
1.5.
ROMANS,
JEWS,
AND
CHRISTIANS
AROUND
100
CE
.....................................
38
CHAPTER
2:
PERFORMANCE
IN
PAPHOS
(ACTS
13:6-12)
.....................
42
2.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
...............................................................
42
2.2.
SETTING:
PLACE
AND
LOCATION
......................................................................44
2.3.
SETTING:
PERSONS
.........................................................................................46
2.4.
PERFORMANCE
...............................................................................................
51
2.4.1. THE
GAZE
........................................................................................
52
2.4.2. THE
SPEECH
.....................................................................................
53
2.5.
AUDIENCE
RESPONSE
....................................................................................
55
2.6.
SCRIPT
..........................................................................................................
58
2.7.
FUNCTION
OF
THIS
PORTRAIT
..........................................................................
60
CHAPTER
3:
PERFORMANCE
IN
PISIDIAN
ANTIOCH
(ACTS
13:14-52)...
62
3.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
...............................................................
62
3.2.
SETTING:
PLACE
AND
LOCATION
......................................................................
64
3.2.1.
PISIDIAN
ANTIOCH
............................................................................
64
3.2.2.
SITTING
IN
THE
SYNAGOGUE
................................................................
66
3.2.3.
READING
LAW
AND
PROPHETS
ON
SABBATH
........................................
69
3.3.
SETTING
FIRST
PERFORMANCE:
PERSONS
.........................................................
70
3.4.
FIRST
PERFORMANCE:
SYNAGOGUE
SPEECH
....................................................
72
3.4.1.
STANDING
UP
....................................................................................
72
3.4.2.
MOTIONING
WITH
THE
HAND
..............................................................
74
3.4.3.
SPEECH
............................................................................................
76
3.5.
AUDIENCE
RESPONSE
FIRST
PERFORMANCE
....................................................
84
TABLE
OF
CONTENTS
XI
3.6.
SETTING
SECOND
PERFORMANCE:
PERSONS
....................................................
85
3.7.
SECOND
PERFORMANCE:
RESPONSE
TO
SLANDER
..............................................
89
3.7.1.
WORDS
USED
TO
CHARACTERISE
THE
SPEAKING
...................................
89
3.7.2.
RHETORICAL
ASPECTS
.........................................................................
91
3.8.
AUDIENCE
RESPONSE
SECOND
PERFORMANCE
.................................................
93
3.9.
SETTING
THIRD
PERFORMANCE:
PERSONS
........................................................
94
3.10.
THIRD
PERFORMANCE:
GESTURE
...................................................................
95
3.11.
CONCLUDING
NARRATIVE
.............................................................................
91
3.12.
SCRIPT
........................................................................................................
98
3.13.
FUNCTION
OF
THIS
PORTRAIT
........................................................................
99
CHAPTER
4:
PERFORMANCE
IN
LYSTRA
(ACTS
14:6-20)
.....................
101
4.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
...........................................................
101
4.2.
SETTING:
PLACE
AND
LOCATION
....................................................................
103
4.2.1.
LYSTRA
IN
LYCAONIA
.......................................................................
103
4.2.2.
NO
SYNAGOGUE
..............................................................................
104
4.2.3.
MOVEMENT
BETWEEN
CITY
AND
PERIPHERY
......................................
105
4.2.4.
BACKGROUND
ACTIVITY
....................................................................
106
4.3.
SETTING
FIRST
PERFORMANCE:
PERSONS
.......................................................
106
4.4.
FIRST
PERFORMANCE:
RAISING
A
PARAPLEGIC
..............................................
108
4.4.1.
THE
GAZE
......................................................................................
108
4.4.2.
LOUD
VOICE
...................................................................................
108
4.4.3.
COMMAND
.....................................................................................
109
4.5.
EFFECT
FIRST
PERFORMANCE
.......................................................................
109
4.6.
AUDIENCE
RESPONSE
AND
SETTING
SECOND
PERFORMANCE
.........................
110
4.7.
SECOND
PERFORMANCE:
RESPONSE
TO
THE
CROWDS
....................................
112
XII
TABLE
OF
CONTENTS
4.7.1.
TEARING
CLOTHES
AND
RUSHING
FORTH
............................................
112
4.7.2.
SPEECH
...........................................................................................
114
4.8.
EFFECT
SECOND
PERFORMANCE
......................................................................
116
4.9.
CONCLUDING
SCENE
...................................................................................
117
4.10.
SCRIPT
.....................................................................................................
118
4.10.1.
MESSENGER
AND
PROPHET
..............................................................
118
4.10.2.
CHARLATAN
AS
COUNTERSCRIPT
.........................................................
121
4.11.
FUNCTION
OF
THIS
PORTRAIT
.....................................................................
122
CHAPTER
5:
PERFORMANCE
IN
ATHENS
(ACTS
17:16-34)
..................
123
5.7.
NARRATIVE
CONTEXT
AND
STRUCTURE
.............................................................
123
5.2.
SETTING:
PLACE
AND
LOCATION
....................................................................
125
5.2.1.
ATHENS
..........................................................................................
126
5.2.2.
SYNAGOGUE
AND
MARKETPLACE
........................................................
127
5.2.3.
AREOPAGUS
....................................................................................
131
5.3.
SETTING:
PERSONS
......................................................................................
137
5.4.
PERFORMANCE:
SPEECH
.............................................................................
140
5.4.1.
VERBS
USED
TO
CHARACTERISE
THE
SPEAKING
...................................
140
5.4.2.
RHETORICAL
ASPECTS
.......................................................................
142
5.5.
AUDIENCE
RESPONSE
................................................................................
147
5.6.
CONCLUDING
NARRATIVE
..............................................................................
148
5.7.
SCRIPT
.......................................................................................................
152
5.7.1.
SOCRATES
........................................................................................
152
5.7.2.
EPIMENIDES
...................................................................................
156
5.7.3.
DEMOSTHENES
................................................................................
160
5.7.4.
PROPHET
.........................................................................................
161
5.7.5.
COMPLEMENTARITY
..........................................................................
162
TABLE
OF
CONTENTS
XIII
5.8.
FUNCTION
OF
THIS
PORTRAIT
....................................................................
164
CHAPTER
6:
PERFORMANCE
IN
CAESAREA
(ACTS
25:23-26:32)
.........
166
6.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
...........................................................
166
6.2.
SETTING:
PLACE
AND
LOCATION
....................................................................
169
6.2.1.
CAESAREA
.......................................................................................
169
6.2.2.
AUDIENCE
HALL
...............................................................................
172
6.3.
SETTING:
PERSONS
.......................................................................................
172
6.4.
PERFORMANCE:
GESTURE
AND
SPEECH
..........................................................
178
6.4.1.
EXTENDING
THE
HAND
.....................................................................
179
6.4.2.
SPEECH
..........................................................................................
180
6.5.
AUDIENCE
RESPONSE
..................................................................................
184
6.5.1.
FESTUS
RESPONSE
AND
PAUL
S
REPLY
.............................................
185
6.5.2.
AGRIPPA
S
RESPONSE
AND
PAUL
S
REPLY
........................................
185
6.5.3.
VERDICT
OF
FESTUS
AND
AGRIPPA
....................................................
187
6.6.
SCRIPT
........................................................................................................
188
6.6.1.
SOCRATES
........................................................................................
188
6.6.2.
SAUL
AND
PENTHEUS
AS
COUNTERSCRIPT
............................................
189
6.6.3.
PROPHET
.........................................................................................
191
6.6.4.
OBEDIENCE
TO
GOD
AS
BACKGROUND
SYMBOL
.................................
192
6.7.
FUNCTION
OF
THIS
PORTRAIT
.......................................................................
192
CHAPTER
7:
CONCLUSION
................................................................
194
7.1.
ASPECTS
OF
PAUL
S
PERFORMANCE
...........................................................
194
7.1.1.
SETTING
OF
THE
PERFORMANCES
.........................................................
194
7.1.2.
PERFORMANCES:
BODY
LANGUAGE
AND
SPEECHES
............................
195
7.1.3.
RESPONSES
TO
PAUL
S
PERFORMANCES
..............................................
196
7.1.4. SCRIPTS
OF
PAUL
S
PERFORMANCES
...................................................
196
7.1.5.
CONVERGENCE
OF
ASPECTS
AND
SCRIPTS
...........................................
197
XIV
TABLE
OF
CONTENTS
7.2.
FUNCTION
OF
THESE
PORTRAITS
IN
ACTS
......................................................
198
7.3.
USEFULNESS
OF
THE
CONCEPT
OF
PERFORMANCE
.............................................
200
7.3.1.
FOCAL
POINT
FOR
THE
ANALYSIS
OF
EPISODES
...................................
200
7.3.2.
FACET
OF
ANCIENT
LIFE
AND
LITERATURE
...........................................
201
7.3.3.
BRIDGE
TO
THE
TWENTY-FIRST
CENTURY
............................................
201
7.4.
SUGGESTIONS
FOR
FURTHER
RESEARCH
...........................................................
202
7.4.1.
WIDENING
THE
SCOPE
.....................................................................
202
7.4.2.
HISTORICAL
CONTEXTUALISATION
.......................................................
203
7.4.3.
PAUL
S
SELF-PRESENTATION
IN
THE
LETTERS
.......................................
203
BIBLIOGRAPHY
....................................................................................................
205
INDEX
OF
REFERENCES
........................................................................................
233
INDEX
OF
MODEM
AUTHORS
..............................................................................
254
INDEX
OF
SUBJECTS
............................................................................................
255
|
| adam_txt |
TABLE
OF
CONTENTS
PREFACE
.
VII
LIST
OF
TABLES
.
1
CHAPTER
1:
INTRODUCTION
.
1
1.1.
RESEARCH
FIELD
AND
QUESTION
.
1
1.1.1.
HISTORICAL
ISSUES
.
2
1.1.2.
LITERARY
ISSUES
.4
1.1.3.
PURPOSE
OF
LUKE
'
S
PORTRAIT
OF
PAUL
.
5
1.1.4.
SCHOLARSHIP
ON
THE
SPEECHES
IN
ACTS
.
9
1.1.5.
RESEARCH
QUESTION
.
10
7.2.
CONCEPT
OF
PERFORMANCE
.
10
1.2.1.
PERFORMATIVE
TURN
.
11
1.2.2.
DEFINING
PERFORMANCE
.
12
1.2.3.
ASPECTS
OF
PERFORMANCE
.
13
1.2.4.
PERFORMANCE
IN
ANTIQUITY
.
14
1.2.5.
REPRESENTATION
OF
PERFORMANCE
IN
ACTS
.
26
1.3.
SELECTION
OF
CASE
STUDIES
AND
RESEARCH
DESIGN
.
28
1.3.1.
STRUCTURAL
MARKERS
IN
ACTS
.
29
1.3.2.
SECTIONS,
EPISODES,
AND
SCENES
.
31
1.3.3.
DISTRIBUTION
OF
CASE
STUDIES
.
31
1.3.4.
RESEARCH
DESIGN
.
32
1.4.
SOME
PRELIMINARY
REMARKS
.
34
1.4.1.
EDITIONS
USED
.
34
1.4.2.
ASSUMPTIONS
ABOUT
DATING
AND
AUTHORSHIP
.
34
1.4.3.
USE
OF
'
LUKE
'
IN
THIS
STUDY
.
37
X
TABLE
OF
CONTENTS
1.5.
ROMANS,
JEWS,
AND
CHRISTIANS
AROUND
100
CE
.
38
CHAPTER
2:
PERFORMANCE
IN
PAPHOS
(ACTS
13:6-12)
.
42
2.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
.
42
2.2.
SETTING:
PLACE
AND
LOCATION
.44
2.3.
SETTING:
PERSONS
.46
2.4.
PERFORMANCE
.
51
2.4.1. THE
GAZE
.
52
2.4.2. THE
SPEECH
.
53
2.5.
AUDIENCE
RESPONSE
.
55
2.6.
SCRIPT
.
58
2.7.
FUNCTION
OF
THIS
PORTRAIT
.
60
CHAPTER
3:
PERFORMANCE
IN
PISIDIAN
ANTIOCH
(ACTS
13:14-52).
62
3.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
.
62
3.2.
SETTING:
PLACE
AND
LOCATION
.
64
3.2.1.
PISIDIAN
ANTIOCH
.
64
3.2.2.
SITTING
IN
THE
SYNAGOGUE
.
66
3.2.3.
READING
LAW
AND
PROPHETS
ON
SABBATH
.
69
3.3.
SETTING
FIRST
PERFORMANCE:
PERSONS
.
70
3.4.
FIRST
PERFORMANCE:
SYNAGOGUE
SPEECH
.
72
3.4.1.
STANDING
UP
.
72
3.4.2.
MOTIONING
WITH
THE
HAND
.
74
3.4.3.
SPEECH
.
76
3.5.
AUDIENCE
RESPONSE
FIRST
PERFORMANCE
.
84
TABLE
OF
CONTENTS
XI
3.6.
SETTING
SECOND
PERFORMANCE:
PERSONS
.
85
3.7.
SECOND
PERFORMANCE:
RESPONSE
TO
SLANDER
.
89
3.7.1.
WORDS
USED
TO
CHARACTERISE
THE
SPEAKING
.
89
3.7.2.
RHETORICAL
ASPECTS
.
91
3.8.
AUDIENCE
RESPONSE
SECOND
PERFORMANCE
.
93
3.9.
SETTING
THIRD
PERFORMANCE:
PERSONS
.
94
3.10.
THIRD
PERFORMANCE:
GESTURE
.
95
3.11.
CONCLUDING
NARRATIVE
.
91
3.12.
SCRIPT
.
98
3.13.
FUNCTION
OF
THIS
PORTRAIT
.
99
CHAPTER
4:
PERFORMANCE
IN
LYSTRA
(ACTS
14:6-20)
.
101
4.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
.
101
4.2.
SETTING:
PLACE
AND
LOCATION
.
103
4.2.1.
LYSTRA
IN
LYCAONIA
.
103
4.2.2.
NO
SYNAGOGUE
.
104
4.2.3.
MOVEMENT
BETWEEN
CITY
AND
PERIPHERY
.
105
4.2.4.
BACKGROUND
ACTIVITY
.
106
4.3.
SETTING
FIRST
PERFORMANCE:
PERSONS
.
106
4.4.
FIRST
PERFORMANCE:
RAISING
A
PARAPLEGIC
.
108
4.4.1.
THE
GAZE
.
108
4.4.2.
LOUD
VOICE
.
108
4.4.3.
COMMAND
.
109
4.5.
EFFECT
FIRST
PERFORMANCE
.
109
4.6.
AUDIENCE
RESPONSE
AND
SETTING
SECOND
PERFORMANCE
.
110
4.7.
SECOND
PERFORMANCE:
RESPONSE
TO
THE
CROWDS
.
112
XII
TABLE
OF
CONTENTS
4.7.1.
TEARING
CLOTHES
AND
RUSHING
FORTH
.
112
4.7.2.
SPEECH
.
114
4.8.
EFFECT
SECOND
PERFORMANCE
.
116
4.9.
CONCLUDING
SCENE
.
117
4.10.
SCRIPT
.
118
4.10.1.
MESSENGER
AND
PROPHET
.
118
4.10.2.
CHARLATAN
AS
COUNTERSCRIPT
.
121
4.11.
FUNCTION
OF
THIS
PORTRAIT
.
122
CHAPTER
5:
PERFORMANCE
IN
ATHENS
(ACTS
17:16-34)
.
123
5.7.
NARRATIVE
CONTEXT
AND
STRUCTURE
.
123
5.2.
SETTING:
PLACE
AND
LOCATION
.
125
5.2.1.
ATHENS
.
126
5.2.2.
SYNAGOGUE
AND
MARKETPLACE
.
127
5.2.3.
AREOPAGUS
.
131
5.3.
SETTING:
PERSONS
.
137
5.4.
PERFORMANCE:
SPEECH
.
140
5.4.1.
VERBS
USED
TO
CHARACTERISE
THE
SPEAKING
.
140
5.4.2.
RHETORICAL
ASPECTS
.
142
5.5.
AUDIENCE
RESPONSE
.
147
5.6.
CONCLUDING
NARRATIVE
.
148
5.7.
SCRIPT
.
152
5.7.1.
SOCRATES
.
152
5.7.2.
EPIMENIDES
.
156
5.7.3.
DEMOSTHENES
.
160
5.7.4.
PROPHET
.
161
5.7.5.
COMPLEMENTARITY
.
162
TABLE
OF
CONTENTS
XIII
5.8.
FUNCTION
OF
THIS
PORTRAIT
.
164
CHAPTER
6:
PERFORMANCE
IN
CAESAREA
(ACTS
25:23-26:32)
.
166
6.1.
NARRATIVE
CONTEXT
AND
STRUCTURE
.
166
6.2.
SETTING:
PLACE
AND
LOCATION
.
169
6.2.1.
CAESAREA
.
169
6.2.2.
AUDIENCE
HALL
.
172
6.3.
SETTING:
PERSONS
.
172
6.4.
PERFORMANCE:
GESTURE
AND
SPEECH
.
178
6.4.1.
EXTENDING
THE
HAND
.
179
6.4.2.
SPEECH
.
180
6.5.
AUDIENCE
RESPONSE
.
184
6.5.1.
FESTUS
'
RESPONSE
AND
PAUL
'
S
REPLY
.
185
6.5.2.
AGRIPPA
'
S
RESPONSE
AND
PAUL
'
S
REPLY
.
185
6.5.3.
VERDICT
OF
FESTUS
AND
AGRIPPA
.
187
6.6.
SCRIPT
.
188
6.6.1.
SOCRATES
.
188
6.6.2.
SAUL
AND
PENTHEUS
AS
COUNTERSCRIPT
.
189
6.6.3.
PROPHET
.
191
6.6.4.
OBEDIENCE
TO
GOD
AS
BACKGROUND
SYMBOL
.
192
6.7.
FUNCTION
OF
THIS
PORTRAIT
.
192
CHAPTER
7:
CONCLUSION
.
194
7.1.
ASPECTS
OF
PAUL
'
S
PERFORMANCE
.
194
7.1.1.
SETTING
OF
THE
PERFORMANCES
.
194
7.1.2.
PERFORMANCES:
BODY
LANGUAGE
AND
SPEECHES
.
195
7.1.3.
RESPONSES
TO
PAUL
'
S
PERFORMANCES
.
196
7.1.4. SCRIPTS
OF
PAUL
'
S
PERFORMANCES
.
196
7.1.5.
CONVERGENCE
OF
ASPECTS
AND
SCRIPTS
.
197
XIV
TABLE
OF
CONTENTS
7.2.
FUNCTION
OF
THESE
PORTRAITS
IN
ACTS
.
198
7.3.
USEFULNESS
OF
THE
CONCEPT
OF
PERFORMANCE
.
200
7.3.1.
FOCAL
POINT
FOR
THE
ANALYSIS
OF
EPISODES
.
200
7.3.2.
FACET
OF
ANCIENT
LIFE
AND
LITERATURE
.
201
7.3.3.
BRIDGE
TO
THE
TWENTY-FIRST
CENTURY
.
201
7.4.
SUGGESTIONS
FOR
FURTHER
RESEARCH
.
202
7.4.1.
WIDENING
THE
SCOPE
.
202
7.4.2.
HISTORICAL
CONTEXTUALISATION
.
203
7.4.3.
PAUL
'
S
SELF-PRESENTATION
IN
THE
LETTERS
.
203
BIBLIOGRAPHY
.
205
INDEX
OF
REFERENCES
.
233
INDEX
OF
MODEM
AUTHORS
.
254
INDEX
OF
SUBJECTS
.
255 |
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| discipline_str_mv | Theologie / Religionswissenschaften |
| format | Thesis Book |
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| series | Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe |
| series2 | Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe |
| spelling | Heijer, Arco den 1989- Verfasser (DE-588)1164504622 aut Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god Arco den Heijer Tübingen Mohr Siebeck [2021] © 2021 XIV, 260 Seiten txt rdacontent n rdamedia nc rdacarrier Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe 556 Dissertation Theological University Kampen 2021 Paulus Apostel, Heiliger (DE-588)118641549 gnd rswk-swf Bibel Apostelgeschichte (DE-588)4129470-1 gnd rswk-swf New Testament Quintilian Performance Studies Ancient Rhetoric Luke (DE-588)4113937-9 Hochschulschrift gnd-content Testamenti Novi Acta apostolorum (DE-2581)TH000003007 gbd Paulus Tarsensis apost. (DE-2581)TH000002231 gbd Paulus Apostel, Heiliger (DE-588)118641549 p Bibel Apostelgeschichte (DE-588)4129470-1 u DE-604 Mohr Siebeck GmbH & Co. KG (DE-588)10165783-3 pbl Erscheint auch als Online-Ausgabe 978-3-16-160860-5 Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe 556 (DE-604)BV038743412 556 DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032857496&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p vlb 20210618 DE-101 https://d-nb.info/provenance/plan#vlb |
| spellingShingle | Heijer, Arco den 1989- Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god Wissenschaftliche Untersuchungen zum Neuen Testament. 2. Reihe Paulus Apostel, Heiliger (DE-588)118641549 gnd Bibel Apostelgeschichte (DE-588)4129470-1 gnd |
| subject_GND | (DE-588)118641549 (DE-588)4129470-1 (DE-588)4113937-9 |
| title | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god |
| title_auth | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god |
| title_exact_search | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god |
| title_exact_search_txtP | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god |
| title_full | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god Arco den Heijer |
| title_fullStr | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god Arco den Heijer |
| title_full_unstemmed | Portraits of Paul's performance in the book of Acts Luke's apologetic strategy in the depiction of Paul as messenger of god Arco den Heijer |
| title_short | Portraits of Paul's performance in the book of Acts |
| title_sort | portraits of paul s performance in the book of acts luke s apologetic strategy in the depiction of paul as messenger of god |
| title_sub | Luke's apologetic strategy in the depiction of Paul as messenger of god |
| topic | Paulus Apostel, Heiliger (DE-588)118641549 gnd Bibel Apostelgeschichte (DE-588)4129470-1 gnd |
| topic_facet | Paulus Apostel, Heiliger Bibel Apostelgeschichte Hochschulschrift |
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