An important contribution to our understanding of Marcan irony, and combines a literary-critical approach with insights gained from the sociology of knowledge.

William Wrede was among the first to recognise the creative contribution of the Gospel writers. His work thus laid the foundation for the work of the Form Critics, Redaction Critics and Literary Critics whose scholarship dominated New Testament studies during the twentieth century. This highly influential work was throughout this period the departure point for all studies in the Gospel of Mark and in the literary methods of the evangelists. It remains highly relevant for its ground-breaking approach to the classically complicated question of whether Jesus saw himself and represented himself as the Messiah.

Susan Garrett focuses on the theme of the temptation and testing of Jesus, as reflected in the Gospel of Mark, arguing that by his endurance Jesus opened up the path and provides the example for those who follow the "way of the Lord.

In this groundbreaking book, Dennis R. MacDonald offers an entirely new view of the New Testament gospel of Mark. The author of the earliest gospel was not writing history, nor was he merely recording tradition, MacDonald argues. Close reading and careful analysis show that Mark borrowed extensively from the Odyssey and the Iliad and that he wanted his readers to recognise the Homeric antecedents in Mark's story of Jesus. Mark was composing a prose anti-epic, MacDonald says, presenting Jesus as a suffering hero modeled after but far superior to traditional Greek heroes. Much like Odysseus, Mark's Jesus sails the seas with uncomprehending companions, encounters preternatural opponents, and suffers many things before confronting rivals who have made his house a den of thieves. In his death and burial, Jesus emulates Hector, although unlike Hector Jesus leaves his tomb empty. Mark's minor characters, too, recall Homeric predecessors: Bartimaeus emulates Tiresias; Joseph of Arimathea, Priam; and the women at the tomb, Helen, Hecuba, and Andromache. And, entire episodes in Mark mirror Homeric episodes, including stilling the sea, walking on water, feeding the multitudes, the Triumphal E

The Triumph of Irony in the Book of Judges focuses on the literary quality of the book of Judges. Klein extrapolates the theme of irony in the book of Judges, seeking to prove that it is the main structural element. She points out how this literary device adds to the overall meaning and tone of the book, and what it reveals about the culture of the time. Chronologically divided into sections, Klein explores the narrative and commentates on the literary properties throughout-plot, character development, and resolution, as well as the main theme of irony.

What sets The Theological Intentions of Mark's Literary Devices apart from other books? What niche does it fill that makes its publication important? This volume will interest all those who value a literary approach to the Gospel of Mark. Dean Deppe introduces some new literary devices in the research of the Gospel of Mark as well as demonstrates the theological intentions of Mark when he employs these literary devices. Deppe argues that Mark employs the literary devices of intercalation, framework, allusionary repetitions, narrative surprises, and three types of mirroring to indicate where he speaks symbolically and metaphorically at two levels. Mark employs these literary devices not just for dramatic tension and irony, but also for theological reasons to apply the Jesus tradition to specific problems in his own day.

Scholarship on the Gospel of Mark has long been convinced of the paradoxical description of two of its primary themes, christology and discipleship. This book argues that paradoxical language pervades the entire narrative, and that it serves a theological purpose in describing God's activity. Part One focuses on divine action present in Mark 4:10-12. In the first paradox, Mark portrays God's revelatory acts as consistently accompanied by concealment. The second paradox is shown in the various ways in which divine action confirms, yet counters, scripture. Finally, Mark describes God's actions in ways that indicate both wastefulness and goodness; deeds that are further illuminated by the ongoing, yet defeated, presence of evil. Part Two demonstrates that this paradoxical language is widely attested across Mark's passion narrative, as he continues to depict God's activity with the use of the three paradoxes observed in Mark 4. Through paradoxical narrative, Mark emphasizes God's transcendence and presence, showing that even though Jesus has brought revelation, a complete understanding of God remains tantalizingly out of their grasp until the eschaton (4:22).