دانلود کتاب 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)

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Cover\nTitle\nPreface\nTable of Contents\nList of Tables\nChapter 1: Introduction\n 1.1. Research Field and Question\n 1.1.1. Historical Issues\n 1.1.2. Literary Issues\n 1.1.3. Purpose of Luke’s Portrait of Paul\n 1.1.4. Scholarship on the Speeches in Acts\n 1.1.5. Research Question\n 1.2. Concept of Performance\n 1.2.1. Performative Turn\n 1.2.2. Defining Performance\n 1.2.3. Aspects of Performance\n 1.2.4. Performance in Antiquity\n 1.2.5. Representation of Performance in Acts\n 1.3. Selection of Case Studies and Research Design\n 1.3.1. Structural Markers in Acts\n 1.3.2. Sections, Episodes, and Scenes\n 1.3.3. Distribution of Case Studies\n 1.3.4. Research Design\n 1.4. Some Preliminary Remarks\n 1.4.1. Editions Used\n 1.4.2. Assumptions about Dating and Authorship\n 1.4.3. Use of ‘Luke’ in This Study\n 1.5. Romans, Jews, and Christians around 100 CE\nChapter 2: Performance in Paphos (Acts 13:6–12)\n 2.1. Narrative Context and Structure\n 2.2. Setting: Place and Location\n 2.3. Setting: Persons\n 2.4. Performance\n 2.4.1. The Gaze\n 2.4.2. The Speech\n 2.5. Audience Response\n 2.6. Script\n 2.7. Function of This Portrait\nChapter 3: Performance in Pisidian Antioch (Acts 13:14–52)\n 3.1. Narrative Context and Structure\n 3.2. Setting: Place and Location\n 3.2.1. Pisidian Antioch\n 3.2.2. Sitting in the Synagogue\n 3.2.3. Reading Law and Prophets on Sabbath\n 3.3. Setting First Performance: Persons\n 3.4. First Performance: Synagogue Speech\n 3.4.1. Standing Up\n 3.4.2. Motioning with the Hand\n 3.4.3. Speech\n 3.5. Audience Response First Performance\n 3.6. Setting Second Performance: Persons\n 3.7. Second Performance: Response to Slander\n 3.7.1. Words Used to Characterise the Speaking\n 3.7.2. Rhetorical Aspects\n 3.8. Audience Response Second Performance\n 3.9. Setting Third Performance: Persons\n 3.10. Third Performance: Gesture\n 3.11. Concluding Narrative\n 3.12. Script\n 3.13. Function of This Portrait\nChapter 4: Performance in Lystra (Acts 14:6–20)\n 4.1. Narrative Context and Structure\n 4.2. Setting: Place and Location\n 4.2.1. Lystra in Lycaonia\n 4.2.2. No Synagogue\n 4.2.3. Movement between City and Periphery\n 4.2.4. Background Activity\n 4.3. Setting First Performance: Persons\n 4.4. First Performance: Raising a Paraplegic\n 4.4.1. The Gaze\n 4.4.2. Loud Voice\n 4.4.3. Command\n 4.5. Effect First Performance\n 4.6. Audience Response and Setting Second Performance\n 4.7. Second Performance: Response to the Crowds\n 4.7.1. Tearing Clothes and Rushing Forth\n 4.7.2. Speech\n 4.8. Effect Second Performance\n 4.9. Concluding Scene\n 4.10. Script\n 4.10.1. Messenger and Prophet\n 4.10.2. Charlatan as Counterscript\n 4.11. Function of This Portrait\nChapter 5: Performance in Athens (Acts 17:16–34)\n 5.1. Narrative Context and Structure\n 5.2. Setting: Place and Location\n 5.2.1. Athens\n 5.2.2. Synagogue and Marketplace\n 5.2.3. Areopagus\n 5.3. Setting: Persons\n 5.4. Performance: Speech\n 5.4.1. Verbs Used to Characterise the Speaking\n 5.4.2. Rhetorical Aspects\n 5.5. Audience Response\n 5.6. Concluding Narrative\n 5.7. Script\n 5.7.1. Socrates\n 5.7.2. Epimenides\n 5.7.3. Demosthenes\n 5.7.4. Prophet\n 5.7.5. Complementarity\n 5.8. Function of This Portrait\nChapter 6: Performance in Caesarea (Acts 25:23–26:32)\n 6.1. Narrative Context and Structure\n 6.2. Setting: Place and Location\n 6.2.1. Caesarea\n 6.2.2. Audience Hall\n 6.3. Setting: Persons\n 6.4. Performance: Gesture and Speech\n 6.4.1. Extending the Hand\n 6.4.2. Speech\n 6.5. Audience Response\n 6.5.1. Festus’ Response and Paul’s Reply\n 6.5.2. Agrippa’s Response and Paul’s Reply\n 6.5.3. Verdict of Festus and Agrippa\n 6.6. Script\n 6.6.1. Socrates\n 6.6.2. Saul and Pentheus as Counterscript\n 6.6.3. Prophet\n 6.6.4. Obedience to God as Background Symbol\n 6.7. Function of This Portrait\nChapter 7: Conclusion\n 7.1. Aspects of Paul’s Performance\n 7.1.1. Setting of the Performances\n 7.1.2. Performances: Body Language and Speeches\n 7.1.3. Responses to Paul’s Performances\n 7.1.4. Scripts of Paul’s Performances\n 7.1.5. Convergence of Aspects and Scripts\n 7.2. Function of These Portraits in Acts\n 7.3. Usefulness of the Concept of Performance\n 7.3.1. Focal Point for the Analysis of Episodes\n 7.3.2. Facet of Ancient Life and Literature\n 7.3.3. Bridge to the Twenty-First Century\n 7.4. Suggestions for Further Research\n 7.4.1. Widening the Scope\n 7.4.2. Historical Contextualisation\n 7.4.3. Paul’s Self-Presentation in the Letters\nBibliography\nIndex of References\nIndex of Modern Authors\nIndex of Subjects