Structure of John 2 to 4

John 10 is a difficult chapter when considering its chronological order and apparent displacements. Some critics have held that chapter 10 is disordered and therefore have argued for its rearrangement. This thesis is an analysis of the discourse features investigating the unity and argument of chapter 10. The research opens with exploring the historical views regarding the unity and argument of John 10 in the introduction. Following this is an examination of the literary components that make up the overall literary structure of John’s Gospel and how chapter 10 fits into its literary flow. This provides a foundation for a study of the semantic relations and the micro-level markers of cohesion and shift together with the macro-level markers of cohesion discussing discourse features in John 10. The objective is to discover what the discourse features reveal about the unity and argument of the chapter. The analysis suggests that John did not adhere to the strict rules of narrative when writing his Gospel, but that he sought to implement a certain Christian view using particular facts that where available to him. Therefore John was free to form his narrative on a purposeful artistic arrangement which is unified and coherent.

In rural East Tennessee, where I served as a pastor's wife for 18 years among Appalachian country folk, quilting and knitting afghans are regular pass-times of many of the women. County Fairs and Country magazines regularly feature prize-winning squares and finished quilts. One blue-ribbon knitted square particularly stands out in my memory. It was very simple-not much to look at as an individual square. The design consisted of a number of diagonal rows of complementary colors. The genius of the prize-winning square was revealed in the finished product. When each square was stitched in place at a particular angle in relationship to surrounding squares, a geometric pattern emerged that could not have been envisioned from seeing one square alone.

1-3 John Literary Analysis, 2022

This paper walks through the letters of John written to different house Churches in the First Century.

HTS Teologiese Studies / Theological Studies, 1991

The lack of consensus concerning the structure of 1 John applies to the division in main sections and the subdivisions of each main section, as well as to the proposed themes for the various sections. In this paper the opinions of some of the most prominent scholars are shortly discussed and assessed. In this procedure the scholar’s proposals for the different transitions of the main sections and subsections are critically scrutinised. In the new proposal that follows, the view is expressed that, if certain literary features such as chiasms and parallelisms are duly taken in consideration, it can be asserted that 1 John does display a coherent structure of some sort.

The Gospel of John: A Universalistic Reading, 2020

A Brief Review of the Book The Fourth Gospel functions as a literary masterpiece that facilitates a narrative beyond the time and space aspects. The Gospel's linguistic phenomena and stylistic aspects are peculiar as they attune the attention of the reader toward a dramatic and ideological world of its own. The connection between the narrator and the historical/implied/contemporary reader is established from an eternal vantage point as the narrator directs the reader toward atemporal and universal realities. The author as a classicist encompasses the socio-cultural and religio-political realities of the Greco-Roman world, incorporates the hope of the Jewish society, foregrounds the contextual realities and the struggles of the Johannine community, and fulfils the various demands and requirements of the future generations of readers and believers. The peculiar linguistic and idiosyncratic techniques of the narrator have the power to absorb the attention of the reader not only from a 'there and then' and 'here and now' senses but also from an 'everywhere and ever' perspective. In that sense, the Fourth Gospel functions as a gnomic and universalistic artistry. John's Gospel can be considered as a commentary in its own terms. The extended episodes of the Fourth Gospel, different from the Synoptic style of pericopes, foreground the ideas of the author through the exchange and episode developments. The Logos-Christology and the poetic demonstration of the coming of Jesus (1:1-18) reveal its universalistic aspects. John interprets history in the form of a quasi-poem, an interpretation, or ultimately a commentary in its own way. This style of the Gospel is designed with a gnomic perspective. The Fourth Gospel's 'vertical' and 'realizing' eschatology and the 'ever-continuing' present aspect support its gnomic and universalistic development. The Gospel's pre-existent Christology and the emphasis on life/eternal life take the reader's attention toward the everlasting perspective. The maxims like the "I AM Sayings" and the symbolic presentation of the Signs attune the attention of the reader toward the universal significance of the Gospel. The narrator and the implied reader dynamism of the text enable the modern reader to understand the narrative world of the gospel. The contemporary readers find the unique dynamism of the text as an interpretative means to get engaged with the text. The purpose statement of the Gospel (20:30-31; cf. 21:25) makes the implied reader aware of the logic behind all the events and the coherence of the discourses units. The narrator is fully concerned to inspire readers in/with the text to believe/continue to believe in Jesus that he is the Messiah and the Son of God and that through believing they may receive 'eternal life' and be saved. Thus from the soteriological point of view, the Gospel promises eternal guarantee and protection. The dialogues as active voice and direct speech units influence the reader to be a 'believer' and to be saved. This feature of the dialogue enables it to be a performative act in itself. It provides pleasure to the reader and helps her/him to be persuaded, provoked and transformed. Thus the text works with all the characteristic features of rhetoric. The text, in that sense, cannot be reckoned as a 'passive' treatise rather as an 'active' counterpart to the modern reader. It happens only when the narrator takes extra effort to tell the story dramatically through the means of showing and telling (cf. Quintilian, Inst

2002

John: A Concise Commentary - Central Concepts, 2024

Like my other commentaries on Matthew, Mark, and Luke, this is not a verse-by-verse, heavily detailed, grammatically surgeoned commentary. Rather, it is arranged in sections or divisions (as noted in the Overview) where the primary thrusts or central concepts of each section/division are highlighted. However, it is exhaustive in the sense that it covers all chapters in the book. This broad-stroked approach will hopefully establish continuity and clarity without overcrowding readers with particulars which could potentially shift attention away from John's central aim and purpose in writing.

This outline traces the argument of the Gospel of John with selected annotations in footnotes.

Dialogue and Drama: Elements of Greek Tragedy in the Fourth Gospel, 2004

Over the past century, academics and dramatists have noted that the Gospel of John displays similar characteristics to Greek dramatic literature. Dialogue and Drama presents a detailed and nuanced review from Jo-Ann Brant, She argues that the fourth evangelist was thoroughly familiar with the conventions of Greek drama and used them to more effectively present the Gospel's plot.