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By Graham Ward

This paintings by way of Graham Ward, essentially the most visionary theologians of his new release, comprises 9 interrelated reports of representations of Christ. Drawn from resources as various because the New testomony and twentieth-century continental philosophy, Ward develops his personal unique incarnational theology. From his exploration of latest different types equivalent to the physique, gender, hope, politics and the chic, a Christology emerges that's either rooted in Scriptural exegesis and anxious with today’s cultural concerns; and a imaginative and prescient looks of the probabilities for dwelling oriented in the direction of the great, the real, the gorgeous and the simply.

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1) is analysed in terms of the poetics of narrative, the rhetorical techniques employed by the author. The reader’s experience is again foregrounded in the Conclusion, which expands the observation that ‘The reader experiences a story-world in which God’s ways are hidden’ (p. 137) and ‘the narrative leads the reader to be a faithful follower of Jesus’ (p. 139). But these observations are not examined theologically in relation to the Christology that is the main focus of the Gospel and what Morna Hooker describes as ‘Mark’s story [a]s a story about the meaning of discipleship’ (The Gospel According to St Mark, 1991, p.

62). And these words follow the arrest in the Garden of Gethsemane which ends with the flight, and the first appearance of a young man. 46 – and evades (ephugen) the religious authorities. Here, clothed like the new man – nean-iskos – in the community of the baptised, he sits enthroned in glory. Is this a fulfilment of Jesus’s prophecy? Do we read this representation aright? Do the women? We are left, in the end, to rethink the whole narrative again. For what cannot be represented is prefigured and this prefigurement of the resurrection stands at the end of a series of such prefigurements – Jairus’s daughter, the repetition of the very word egeiro, each healing and exorcism narrated.

Though it has to be emphasised here that John Milbank is no linguistic idealist, as he himself makes plain in the introduction to his book. 12 34           Gospel. It is not primarily concerned with Christology as a story or narrative theology. 13 I wish to build upon the awareness that narrative theology provides for us; that parables and stories always generate a surplus of meaning and that any final grasp of Mark’s Christology is always beyond us because of that. I wish to engage theologically with the way the narrative has conscious designs upon its readers/listeners, calling them to participate in its telling, and how Mark’s awareness of this informs his Christology, informs his understanding and presentation of the economies of response, discipleship and salvation.

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