Paul, Samson Occom, and the Constraints of Boasting: A Comparative Rereading of 2 Corinthians 10-13*
Few texts in the Pauline corpus have been subjected to such extensive and varied comparative analysis as 2 Cor 10-13. Since Hans Windisch's influential designation of the passage as a "Narrenrede" (fool's speech), wherein Paul apes the boastful fool (ho alazōn) of the Greek mim...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Cambridge Univ. Press
[2016]
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| In: |
Harvard theological review
Year: 2016, Volume: 109, Issue: 4, Pages: 512-535 |
| Standardized Subjects / Keyword chains: | B
Bible. Corinthians 2. 10-13
/ Occom, Samson 1723-1792
/ Autobiography
/ Rhetoric
/ Self-portrayal
|
| IxTheo Classification: | CD Christianity and Culture HC New Testament KAH Church history 1648-1913; modern history KBQ North America KDD Protestant Church |
| Online Access: |
Volltext (Verlag) Volltext (doi) |
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| 520 | |a Few texts in the Pauline corpus have been subjected to such extensive and varied comparative analysis as 2 Cor 10-13. Since Hans Windisch's influential designation of the passage as a "Narrenrede" (fool's speech), wherein Paul apes the boastful fool (ho alazōn) of the Greek mime, exegetes have assembled a remarkable array of additional comparanda: the peristasis or hardship catalogues of Cynic and Stoic philosophers; Augustus's Res gestae; apologies epistolary, forensic, and Socratic; conventions for periautologia (self-praise) as attested by Quintilian and Plutarch and as demonstrated by Demosthenes; conventions for synkrisis (comparison) as preserved in the Progymnasmata. Despite the diversity of the evidence adduced, methodologically these studies have much in common. In general, their explanatory mode is formal and genealogicalthat is, they elucidate the characteristics of Paul's boasting by identifying and describing the literary or rhetorical forms to which he is indebted. | ||
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