How Audience Members Envision New Testament Characters: Mental Character Models, Blending, and the Reception of Luke 1:5–2:52
In the Gospel of Luke 1–2, the narrator focuses on two couples and their (future) sons. The plot of the narrative emphasizes the main characteristics of the characters, which in turn accentuate important characteristics of God. Audience members construct these characters like real-life persons based...
| Subtitles: | Special Issue: Cognitive Linguistics and New Testament Narrative: Investigating Methodology through Characterization, by Jan Rüggemeier and Elizabeth E. Shively |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2021
|
| In: |
Biblical interpretation
Year: 2021, Volume: 29, Issue: 4/5, Pages: 551-589 |
| Standardized Subjects / Keyword chains: | B
Bible. Lukasevangelium 1,5-2,52
/ Character
/ Model
/ Conception
/ Überblendung
|
| IxTheo Classification: | HC New Testament |
| Further subjects: | B
Luke 1–2
B Conceptual Blending Theory B mental character models |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 245 | 1 | 0 | |a How Audience Members Envision New Testament Characters |b Mental Character Models, Blending, and the Reception of Luke 1:5–2:52 |c Kirsten Marie Hartvigsen |
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| 520 | |a In the Gospel of Luke 1–2, the narrator focuses on two couples and their (future) sons. The plot of the narrative emphasizes the main characteristics of the characters, which in turn accentuate important characteristics of God. Audience members construct these characters like real-life persons based on the discourse aspect (textual features which indicate character traits, plots, focalization, etc.) and the suggestion aspect (memories, emotions, schemata that are activated or primed, etc.). In this article, the construction of characters is analyzed with insights into mental character models and social schemata. The linear presentation of information in orally performed narratives structures the first part of the analysis. The latter part draws on conceptual blending theory to explore how the character of God is constructed based on selected information projected from the utterances of the other characters to the blended space. | ||
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