litling

1. A brief history of stylistics. The English term "stylistics" first appeared in 1882-83. Interestingly its introduction was in NT studies, when Philip Schaff wrote in the Encyclopedia of Religious Knowledge about "giving proper place to New Testament stylistics and rhetoric." "Stylistics" as a discipline is new, but it has extensive roots in ancient rhetoric, criticism, grammar and philology. At times it has been made into a subdivision of linguistics, at times a subdivision of literary studies or rhetoric.

"H. Bradley, Stylistic," A New English Dictionary on Historical Principles (1919), 9, part 1, 1208.

literature review:

 

What is said:

What others have said about it, what it is grounded in

What is done:

How it is reflected in the authors's other works,

How it is used in a special way in this text? Does it reveal anythign about the author/characters?

HOw the reviews connect to this study: support and disagree with deficiencies.

filling the research gap? Importance of current study?

Methodology:

scope of text, the exact depth that will be explored and analysed. 

Briefly Explain the steps in what framework/procedure/tools are used, can reference any adaptations from previous studies

that would be relevant and significant to this study and its aims. Possibly include an example of the linguistic tool being precisely used to frame and explain the chosen text.

 the task of providing a full and rigorous model of narrative discourse has proved somewhat of a challenge for stylisticians. There is much disagreement about how to isolate the various units which combine to form, say, a novel or short story, just as there is about how to explain the interconnections between these narrative units. Moreover, in the broad commu- nicative event that is narrative, narrative structure is only one side of a coin of which narrative comprehension is the other (see further thread 10). Allowing then that a fully comprehensive description is not achievable, the remainder of this introductory unit will establish the core tenets only of a suggested model of narrative structure. It will point out which type of individual stylistic framework is best suited to which particular unit in the narrative model

Strand 5 in Simpson, P. (2004). Stylistics: A resource book for students. London: Routledge. 

models used: NRSA

1. labov's definition of a narrative:
   how the Sequence (opening narrative sequence, classic 

   The less deviation from the Normative format = reader more in control (because of the expectancy met in the narrative); this assumes that there is generally a normative sequence in narration attuning to sociolinguistic expectations.

   
   

   Normative sequence is prevalent in Children’s stories as they are still developing their sense of structure in narration, and makes it easier to understand the story as well.), 
   Tellability (symmetry, violation of characters' expectations), for the intended audience: believers, the story is of ultimate importance—it clearly provides an account for their salvation through the birth of their Messiah.
    Communicativeness 4 Cognitive deixis Cognitive deixis (Cognitive Poetics: An Introduction 2002) Peter stockwell. London: Routledge
   (objective voice, clean, direct, implied author is real author, detached, wanted to show credibility, provide a certain and clear record) helps and is evident in-

2. Speech act theory: Implicit, Illocutionary devices, while also looking at—
3. Transitivity: Systemic Functional Grammar, focusing on how relational processes in locution carry implicit meaning

The normativity of the narration sequence provides an easily digestible narrative, while the Tellability of Luke’s account becomes more apparent in the explicit as well as implicit details within the excerpts chosen. 

  -in order to justify the actions (the strategically located diction of God's power and punishment) taken and illuminate the identities of characters in light of the grander narrative.

-priest doubting God has a bigger charge compared to normal women doubting God regarding miracles (though he probably would have given up the prayer for a child a long time ago, this 'prayer is heard moment' references God answering prayers in his own time)

-the extent of doubt: divine insemination is more miraculous compared to old birth?

-weightage different? one is an answer to prayer (a favor given) and the other is a divine command (a favor asked)?

Luke's methodological accounts: 
parallels in narratology, cohesive and repetitiveness helping the classical sequence, tellability (in semantic symmetry, suspense—of angel's name, and violation of characters' expectations)

John's birth announcement— an answer to prayer

(abstract+orientation) Timeline, background setting > 

(complicating action) Angel arrives> Zechariah troubled

angel: do not be afraid>  giving Zechariah revelation prophecy> Zechariah expressing doubt 

angel reminds Z who he is, punishes him for lack of faith> (resolution): wife giving thanks for the child.

Jesus's Birth announcement— a divine proposition

(abstract+orientation) Timeline, background setting >  

(complicating action) Angel arrives> Mary troubled

angel: do not be afraid>  giving Mary revelation prophecy> Mary expressing doubt 

angel explaining everything, reassuring her> (resolution) mary agreeing for the child

A Biblical Hermeneutic of Faith As mentioned previously, there are a number of modern interpretive methodologies: existential, feminist, reader-response, church tradition, and so on. While these methods may have some value, all of them begin outside the text. This makes the reader the interpretive center and makes the truth of the texts relative. Controls are needed that allow the text to speak and the interpreter to check his or her own understanding of the text by the text. Such controls are found in what can be called the historical-contextual method. This method begins with the text, taking seriously the nature of the revelation of God and the original meaning. It attempts to allow the text to speak from its original setting and purpose, while recognizing that it is the word of God and has a larger role and place in the church. This method might suggest that a text can only mean what it meant.

Yet one can argue from scripture itself that a text can mean something later that it did not mean originally. The redactors of the Old Testament prophetic material gave new meanings to old texts, as did the writers of the ew Testament (the Gospel writers in particular). However, if a text can mean anything, then we have once again moved outside the text, allowing the reader to have primary interpretative control. 

Critical Methodologies and the Bible as the Word of God
https://digitalcommons.pepperdine.edu › viewcontent
by MH McDowell

Characteristics of biblical narratives

Biblical narratives are interpreted history with a specific divine purpose. They are not allegories nor are they primarily intended to teach moral lessons or doctrine although they may illustrate doctrine taught propositionally elsewhere. Narratives may teach either explicitly, by clearly stating something, or implicitly, by clearly implying something without actually saying it.

Narratives record what actually happened, not necessarily what should have happened or what ought to happen every time. Many of the characters in them are far from perfect and their actions are too. What people do in narratives is not necessarily a good example for us. At times it is just the opposite.

Biblical narratives have limitations. They are selective in what is revealed and incomplete (John 21:25). Not all the relevant details are always given but what is written is everything the inspired author thought important for us to know according to his purpose in writing.

https://www.insightforliving.ca/read/articles/biblical-narrative 

The Gospel According to Luke

The account in Luke–Acts is for the purpose of instruction and for establishing reliability by going back to the apostolic age. The very style of this preface follows the pattern of Greek historiography, and thus Luke is called the “historical” Gospel. Historically reliable information cannot be expected, however, because Luke’s sources were not historical; they rather were embedded in tradition and proclamation. Luke is, however, a historian in structuring his sources, especially in structuring his chronology into periods to show how God’s plan of salvation was unfolded in world history. That he uses events and names is secondary to his intention, and their historical accuracy is of less importance than the schematization by which he shows Jesus to be the Saviour of the world and the church in its mission (Acts) to be part of an orderly progress according to God’s plan.

Luke uses a good literary style of the Hellenistic Age in terms of syntax. His language has a “biblical” ring already in its own time because of his use of the Septuagint style; he is a Greek familiar with the Septuagint, which was written for Greeks; the birth narratives of John the Baptist and Jesus either came from some early oral tradition or were consciously modelled on the basis of the language of the Septuagint. 

The “old age” motif of the birth of John to Elizabeth also recalls the Old Testament birth of Samuel, the judge. All the material about John the Baptist, however, is deliberately placed prior to that of Jesus. When Mary, the mother of Jesus, visits Elizabeth, Jesus’ superiority to John is already established. The Davidic royal tradition is thus depicted as superior to the priestly tradition.

HENRY J. CADBURY, The Making of Luke-Acts, 2nd ed. (1958) https://www.britannica.com/topic/biblical-literature/The-Gospel-According-to-Luke