Hugo Méndez – författare

Featuring vibrant full color throughout, the eighth edition of Bart D. Ehrman's highly successful introduction approaches the New Testament from a consistently historical and comparative perspective, emphasizing the rich diversity of the earliest Christian literature. New to this edition, Hugo Méndez has brought fresh perspectives to the text. Distinctive to this study is The New Testament's unique focus on the historical, literary, and religious milieux of the Greco-Roman world, including early Judaism. As part of its historical orientation, the book also discusses other Christian writings that were roughly contemporary with the New Testament, such as the Gospel of Thomas, the Apocalypse of Peter, and the letters of Ignatius.

As the site of only a small and obscure Christian population between 135 and 313 CE, Jerusalem witnessed few instances of anti-Christian persecution. This fact became a source of embarrassment to the city in late antiquity—a period when martyr traditions, relics, and shrines were closely intertwined with local prestige. At that time, the city had every incentive to stretch the fame of its few, apostolic martyrs as far as possible-especially the fame of the biblical St. Stephen, the figure traditionally regarded as the first Christian martyr (Acts 6-8). What the church lacked in the quantity of its martyrs, it believed it could compensate for in an exclusive, local claim to the figure widely hailed as the "Protomartyr", "firstborn of the martyrs", and "chief of confessors" in contemporary sources. This book traces the rise of the cult of Stephen in Jerusalem, exploring such historical episodes as the fabrication of his relics, the construction of a grand basilica in his honour, and the multiplication of the saint's feast days. It argues that local church authorities promoted devotion to Stephen in the fifth century in a conscious attempt to position him as a patron saint for Jerusalem—that is, a symbolic embodiment of the city's Christian identity and power.

The biblical Gospel of John casts itself as a memoir of “the disciple whom Jesus loved”--a mysterious figure who allegedly watched Jesus die on the cross and stepped into his empty tomb. But in this groundbreaking study, Hugo Méndez argues that the text is something else entirely: a falsely authored gospel that inspired a rich tradition of disguised writing. The author of John believed that Jesus was a divine being who came to earth to transform humans into divine beings. To encourage others to embrace this startling vision, that author composed a Gospel rich with invented materials—one in which Jesus communicates the author's views through cryptic words and symbolic gestures left for readers to decipher. Finally, to make this revisionary portrait of Jesus plausible, the author concealed his identity, attributing his Gospel to an invented, shadowy disciple of Jesus gifted with supernatural insight and able to retrieve lost memories of Jesus's life. In these respects, the Gospel of John is similar to the so-called apocryphal gospels produced in the second century, including the Gospel of Thomas and the Gospel of Judas.The invention of this eyewitness was not a self-contained event, however. It was the genesis of a new and vibrant literary tradition. As the enigmatic disciple of the Gospel was folded into the same collective memory as Peter and Paul, he became a viable mask for other authors. In time, many such writers—among them, the authors of 1 John, 2 John, 3 John, Revelation, the Apocryphon of John, and the Epistula Apostolorum—coopted this figure, repurposing him for new agendas and weaving countless afterlives for him. The Gospel of John: A New History traces this arc, showing how a single act of disguised authorship ignited new literary trajectories and dramatically shaped twenty centuries of Christian culture.

The biblical Gospel of John casts itself as a memoir of "e;the disciple whom Jesus loved"e;--a mysterious figure who allegedly watched Jesus die on the cross and stepped into his empty tomb. But in this groundbreaking study, Hugo Mendez argues that the text is something else entirely: a falsely authored gospel that inspired a rich tradition of disguised writing. The author of John believed that Jesus was a divine being who came to earth to transform humans into divine beings. To encourage others to embrace this startling vision, that author composed a gospel filled with invented materials one in which Jesus communicates the author's views through cryptic words and symbolic gestures left for readers to decipher. Finally, to make this revisionary portrait of Jesus plausible, the author concealed his identity, attributing his Gospel to an invented, shadowy disciple of Jesus gifted with supernatural insight and able to retrieve lost memories of Jesus's life. In these respects, the Gospel of John is similar to the so-called apocryphal gospels produced in the second century, including the Gospel of Thomas and the Gospel of Judas. The invention of this eyewitness was not a self-contained event, however. It was the genesis of a new and vibrant literary tradition. As the enigmatic disciple of the Gospel was folded into the same collective memory as Peter and Paul, he became a viable mask for other authors. In time, many such writers among them, the authors of 1 John, 2 John, 3 John, Revelation, the Apocryphon of John, and the Epistula Apostolorum coopted this figure, repurposing him for new agendas and weaving countless afterlives for him. The Gospel of John: A New History traces this arc, showing how a single act of disguised authorship ignited new literary trajectories and dramatically shaped twenty centuries of Christian culture.

The biblical Gospel of John casts itself as a memoir of "e;the disciple whom Jesus loved"e;--a mysterious figure who allegedly watched Jesus die on the cross and stepped into his empty tomb. But in this groundbreaking study, Hugo Mendez argues that the text is something else entirely: a falsely authored gospel that inspired a rich tradition of disguised writing. The author of John believed that Jesus was a divine being who came to earth to transform humans into divine beings. To encourage others to embrace this startling vision, that author composed a gospel filled with invented materials one in which Jesus communicates the author's views through cryptic words and symbolic gestures left for readers to decipher. Finally, to make this revisionary portrait of Jesus plausible, the author concealed his identity, attributing his Gospel to an invented, shadowy disciple of Jesus gifted with supernatural insight and able to retrieve lost memories of Jesus's life. In these respects, the Gospel of John is similar to the so-called apocryphal gospels produced in the second century, including the Gospel of Thomas and the Gospel of Judas. The invention of this eyewitness was not a self-contained event, however. It was the genesis of a new and vibrant literary tradition. As the enigmatic disciple of the Gospel was folded into the same collective memory as Peter and Paul, he became a viable mask for other authors. In time, many such writers among them, the authors of 1 John, 2 John, 3 John, Revelation, the Apocryphon of John, and the Epistula Apostolorum coopted this figure, repurposing him for new agendas and weaving countless afterlives for him. The Gospel of John: A New History traces this arc, showing how a single act of disguised authorship ignited new literary trajectories and dramatically shaped twenty centuries of Christian culture.

Featuring vibrant full color throughout, the eighth edition of Bart D. Ehrman's highly successful introduction approaches the New Testament from a consistently historical and comparative perspective, emphasizing the rich diversity of the earliest Christian literature. New to this edition, Hugo Mendez has brought fresh perspectives to the text. Distinctive to this study is The New Testament's unique focus on the historical, literary, and religious milieux of the Greco-Roman world, including early Judaism. As part of its historical orientation, the book also discusses other Christian writings that were roughly contemporary with the New Testament, such as the Gospel of Thomas, the Apocalypse of Peter, and the letters of Ignatius.