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New PDF release: A Structural Analysis of the Sermon on the Mount

By Andreij Kodjak

Sinceits founding through Jacques Waardenburg in 1971, Religion and Reason has been a number one discussion board for contributions on theories, theoretical matters and agendas with regards to the phenomenon and the learn of faith. issues contain (among others) type formation, comparability, ethnophilosophy, hermeneutics, technique, fable, phenomenology, philosophy of technological know-how, clinical atheism, structuralism, and theories of faith. now and then the sequence publishes volumes that map the state-of-the-art and the historical past of the self-discipline.

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Extra resources for A Structural Analysis of the Sermon on the Mount

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These two aspects interact dynamically, indicating that a deprived person must become also "poor in spirit" and one "poor in spirit" must also become A Structllmf Analysis of the Sermmz ou the M ouut a dcprived person. In other words, the external and internal aspects of this phrase are inseparable and must be perceived simultaneously. The synthesis is indicated by their phraseological unification. The central concept in the first beatitude is poverty, the Iack of any security in either the material and mental or spiritual realms.

The ambiguity of Christ's identity and, therefore, authority at the time of His pronouncement of the Sermon on the Mount precluded any definite commitment to His teaching and, therefore, any adaptations. I accepted this perspective in the present study. In this respect the code of perception in this study differs from the code of the main interpretations, for they assume that the text is authoritative and, therefore, that its content must be adjusted to the practical needs of society, as weil as of the individual conducting the analysis of the sermon.

The paradigmatic and syntagmatic structure of a text could remain incomprehensible, however, should the rules of interpretation of individual syntagms or the code utilized by the author be unknown to the reader and the critic. As we have seen in the example of a fundamental communication, the phrase, "I am hungry today," can change its meaning according to the code in which it is communicated and/or perceived. An artistic text must, therefore, eventually reveal its code or codes unless an exceptional degree of ambiguity is one of the aims of the author.

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