By Nicole Wilkinson Duran
Mark's Gospel has been visible as historical past, or as literature. The tensions among those techniques aspect to what neither method can articulate: the wealthy and ambiguous connections and disjuncture's among human adventure itself and human retelling, remembering, and reliving of that have. This lively pulling and resistance among our ordered different types and the chaos of lifestyles fuels Mark's gospel and arguably Christianity itself. because of ritual conception this booklet seeks to discover that strength in Mark's ardour narrative. particularly, Duran makes use of Catherine Bell's idea of 'ritualization', the method of standard activities taking over ritual that means and shape, to check the ways that the gospel attracts from the chaos of Jesus' dying and the incorrect, upside-down order it indicates, a daunting type of which means and desire. Mark units out to appreciate his international in the course of the tale he tells, to stake out a few zone of experience amid what he perspectives as a chaotic universe. His attempt to discover or produce feel pushes opposed to the very medium of language, going so far as language can into the boundary lands of formality functionality. In his attempt to work out and to give the it appears mindless circulate of this quandary as significant, Mark is drawn into ritual, the place unexplained and inexplicable activities do have which means. Defining ritual as an attempt to make order of expertise with out wasting the turbulent fact of expertise itself, Duran issues out ways that Mark's tale engages in such an attempt of ritualization.
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Extra resources for The Power of Disorder: Ritual Elements in Mark's Passion Narrative
Sample text
Time moves. but its movement is not. fo r these three hours. marked by its primary marker - the movement (in t he a ncient view) of t he sun across the sky. olsured o nly by the narrative itself, fo r in the world where t he. c rucifixio n takes place the normal means of telling time, o r even asserting that there is s uc h a thins. has ceased to be. Only the na rrator and the reader, and perhaps the eart h itself. can measure th is darkness while it is p~tssing:. Recall that the darkening. o f the sun was prophesied back in chapte r 13 as a n indication of the beginning of the e nd .
Li'Tt\ tQe~ r)~tiQCt~ Ctvavnloi'T«t. And they were going up on the road into Jerusalem. and Jesus was going before them. and they marvelled. and those following were afraid. And taking the twelve aside. ag<)in he began to tell them the things about to take place: ·Look. we are going up into Jerusalem, and the Son of Moln will tx: handed over to the chief priests and the scribes. 32-34) They are o n their way into Jerusalem when Jesus inforrns them that they are, in fact, on their way into Jerusalem.
The desert and the sea are the nil but intercha ngeable concrete symbo ls o f the terrible. ' 14 Power seems to come precisely from th is dangerous chaos in Mark's gospel; it is the re thut bot h the s tory a nd Jesus' m inist ry begin . But the place o f the Passion is not chao tic. For Mark. indeed. Jerusalem is the a ntit hesis o f the wilderness; it is the o rdered . regula ted world . The structures of Jerusalem are those tha t have mndc it necessary for Jo hn nnd Jesus to seek o ut the chaotic wilderness.
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