These essays explore the reconception of the Gospels as first-century compositions of sound performed for audiences by storytellers rather than the anachronistic picture of a series of texts read by individual readers. The new paradigm implicit in these initial experiments is based on the recent realization that the majority of persons—85 to 95 percent—were illiterate and experienced the Jesus stories as members of audiences. Either from memory or from memorized manuscripts, the evangelists performed the Gospels as an evening’s entertainment of two to four hours. The audiences were predominantly addressed as Hellenistic Judeans who lived in the aftermath of the Roman-Jewish war. When heard whole, the Gospels were vivid experiences of the central character of Jesus. These studies of audience address and the interactions between first-century storytellers and audiences reveal a dynamic performance literature that functioned as scripts for an ever-expanding network of storytelling proclamations whose envisioned horizon was the whole world. When the Gospels were told at one time from beginning to end, they invited the listeners to move from being peripherally interested or initially opposed to Jesus to identifying themselves as disciples of Jesus and believers in him as the Messiah.

Character Theology provides a natural, universal way for the world to engage God through his chosen cast of characters. As the media eras continue to change (oral to print to digital-virtual), too many Bible scholars, and consequently pastors and Bible teachers in the West and beyond, lack capability to effectively communicate Scripture to Millennials, Gen Z, and Gen Alpha. These generations find little if any relevance in the Christianity promoted by those stuck in modernity’s sticky abstract systematic theology. Character Theology relates, sticks, and transforms these generations. Why? Because people grasp and engage God most naturally and precisely through his interaction with biblical characters and their interaction with each other! Characters communicate the Creator’s characteristics. The roadmap to the recovery and expansion of Christianity in the twenty-first century will be through Bible characters.

What’s so humorous about the Bible? Quite a bit, especially if experienced with others! Nine biblical scholars explore their experiences of reading and hearing passages from the Bible and discovering humor that becomes clearer in performance. Each writer found clues in their chosen biblical text that suggested biblical authors expected an audience to respond with laughter. Performers have a powerful role in either bringing out or tamping down humor in the Bible. One audience may be more disposed to respond to humor than another. And each contributor found that experiencing humor changed the interpretation of the biblical passage. From Genesis to Revelation, this study uncovers the Bible’s potential for humor.

Accessible, comprehensive, and up-to-date, Interpreting the Gospel and Letters of John is an ideal text for students new to the discipline of biblical studies. Sherri Brown and Francis J. Moloney present a broad overview of the story of Christianity arising out of its Jewish foundations and proceed to guide readers expertly through the contents of the Gospel and Letters of John. Maintaining that Johannine literature is best understood against the background of the Old Testament covenant metaphor, Brown and Moloney focus on the central role of covenant in the narrative of John's Gospel and highlight the Evangelist's use of fulfillment language. Helpful sidebars, maps, questions for review, and further-reading lists are placed throughout the text, making this volume well suited for classroom use.

This title from Fleer and Bland is again designed specifically for preachers. Combining essays from top scholars and sermons from respected homileticians, Preaching John's Gospel includes contributors from a wide variety of Mainline and Evangelical denominations who value the role of scripture in faith development and preaching. Developed from the Rochester Sermon Seminar, the book is divided into two parts: The first includes essays on preaching the gospel of John, and is structured around the work of Gail O'Day's guiding essay "Preaching with John: Preaching as an Act of Friendship." The second half of the book consists of ten sermons from specific texts that incorporate the theoretical underpinnings of the book's first section. The essays and sermons are bound together by the same question: How can we draw our congregations into the world John has imagined for us? Contributors include: Gail O'Day, Richard B. Hays, Gregory Stevenson, Thomas H. Olbricht, Tom Boomershine, D'Esta Love, Alyce M. McKenzie, David Fleer, Dave Bland, and others.

Embodied Performance presents a methodology by which performer-interpreters can bring their intuitive interpretations to the scholarly conversations about biblical compositions. It may not be comfortable, for scholarship is out of practice in listening to emotion and intuition. It may not be the only way to bring the fullness of human meaning making into scholarly discussions. It is a beginning, as Sarah Agnew, storyteller and scholar, places herself as the subject and object under examination, observing her practice as a biblical storyteller making meaning through embodied performance, and develops a coherent method rigorously tested with an Embodied Performance Analysis of Romans. Follow Sarah's story as she searches within Biblical Performance Criticism for such a method, before determining the need to strike out in a new direction from within an already innovative field. All biblical scholars are complex human beings, making meaning through their embodiment, their emotions, their embeddedness in community. Embodied Performance Analysis offers a way to attend to and incorporate the full range of human meaning making in our engagement with biblical compositions, for richer discussion closer to the intent of the compositions themselves.

This volumes celebrates 'Mark as Story' and offers critique, engagement, and exploration of the new hermeneutical vistas that emerged in the wake of this pioneering study.

The Gospel of Mark is a relatively short book whose brevity and style create an engaging narrative experience. But Mark’s Gospel is by no means a simple text, and scholars have long puzzled over various features of the narrative. Reading Mark offers an accessible introduction to Mark’s story of Jesus, as well as to important scholarly discussions. Equipping students to become better interpreters of Mark, the discussion focuses on key elements of the narrative, including the presentation of Jesus and the disciples, the so-called messianic secret, and the enigma of Mark’s ending. Designed for beginning students, Reading Mark offers a broad and inclusive orientation to the fascinating world of Mark’s Gospel.

These essays explore the reconception of the Gospels as first-century compositions of sound performed for audiences by storytellers rather than the anachronistic picture of a series of texts read by individual readers. The new paradigm implicit in these initial experiments is based on the recent realization that the majority of persons--85 to 95 percent--were illiterate and experienced the Jesus stories as members of audiences. Either from memory or from memorized manuscripts, the evangelists performed the Gospels as an evening's entertainment of two to four hours. The audiences were predominantly addressed as Hellenistic Judeans who lived in the aftermath of the Roman-Jewish war. When heard whole, the Gospels were vivid experiences of the central character of Jesus. These studies of audience address and the interactions between first-century storytellers and audiences reveal a dynamic performance literature that functioned as scripts for an ever-expanding network of storytelling proclamations whose envisioned horizon was the whole world. When the Gospels were told at one time from beginning to end, they invited the listeners to move from being peripherally interested or initially opposed to Jesus to identifying themselves as disciples of Jesus and believers in him as the Messiah.

For the last two centuries biblical interpretation has been guided by perspectives that have largely ignored the oral context in which the gospels took shape. Only recently have scholars begun to explore how ancient media inform the interpretive process and an understanding of the Bible. This collection of essays, by authors who recognize that the Jesus tradition was a story heard and performed, seeks to reevaluate the constituent elements of narrative, including characters, structure, narrator, time, and intertextuality. In dialogue with traditional literary approaches, these essays demonstrate that an appreciation of performance yields fresh insights distinguishable in many respects from results of literary or narrative readings of the gospels.