John Painter – författare

Mark's 'biography' of Jesus is the earliest of the four gospels, and influenced them all. The distinctive feature of this biography is the quality of 'good news', which presupposes a world dominated by the forces of evil.John Painter shows how the rhetorical and dramatic shaping of the book emphasises the conflict of good and evil at many levels - between Jesus and the Jewish authorities, Jesus and the Roman authorities, and the conflict of values within the disciples themselves. These matters of content are integral to this original approach to Mark's theodicy, while the stylistic issue raises the question of Mark's intended readership.John Painter's succinct yet thorough treatment of Mark's gospel opens up not only these rhetorical issues, but the social context of the gospel, which Painter argues to be that of the Pauline mission to the nations.

Mark's 'biography' of Jesus is the earliest of the four gospels, and influenced them all. The distinctive feature of this biography is the quality of 'good news', which presupposes a world dominated by the forces of evil.John Painter shows how the rhetorical and dramatic shaping of the book emphasises the conflict of good and evil at many levels - between Jesus and the Jewish authorities, Jesus and the Roman authorities, and the conflict of values within the disciples themselves. These matters of content are integral to this original approach to Mark's theodicy, while the stylistic issue raises the question of Mark's intended readership.John Painter's succinct yet thorough treatment of Mark's gospel opens up not only these rhetorical issues, but the social context of the gospel, which Painter argues to be that of the Pauline mission to the nations.

'This is a book for which we have been waiting. James was obviously such an important figure in the beginnings of Christianity, and yet for the most part he remains in the shadows, playing at best an ambiguous role in comparison with Peter and Paul. Painter brings him out of these shadows, scrutinizing with great care each pieve of information and building up a picture which is much more positive than most have recognized. Thanks to Painter our appreciation of the tensions behind and within the New Testament will be much better informed. We are in his debt.' James D. G. Dunn, University of Durham 'John Painter has brought to bear his considerable skills as historian, literary critic, and interpreter of ancient Christian documents to draw out of the mists a crucial figure from the beginnings of Christianity. Painter's ability to approach biblical, Christian, Gnostic, and other sectarian documents in a fresh, and sometimes surprising, fashion has produced a significant contribution to the understanding of Christianity's earliest days, and the ways in which early traditions interpreted the Christian church's foundations. A stimulating and important book.' Francis J. Moloney, S.D.B, Catholic University of America

Two respected New Testament scholars expose theological meaning in James and Jude by tracing the use of rhetorical strategies from the ancient cultural and educational context.

The Johannine Epistles are today read as an important part of the Johannine literature. Yet the meaning of the text is often unclear. Part of the problem arises because, although 1 John is called an Epistle, it lacks the formal marks of an Epistle. In 1, 2, and 3 John, John Painter illuminates the relationship 1, 2, and 3 John have to each other and to the Gospel.Painter explains the historical context of the Johannine Epistles using a socio-rhetorical approach. The writings are shown to reflect a situation of conflict and schism within the Johannine community; they seek to persuade the readers of the truth of the writer's message. In this truth, the readers are encouraged to abide if they would have the assurance of eternal life.Painter also examines the inseparable connection between belief and ethical life in active love for one another. Through the socio-rhetorical approach Painter brings to light the continuing relevance of these writings.1, 2, and 3 John is divided into two parts. Chapters under 1 John are "Introduction to the Exegesis of 1 John," "Outline of 1 John," "First Presentation of the Two Tests (1:6-2:27)," "Excursus: Sin and Sinlessness," "Excursus: Love of the Brother/Sister: of One Another," "Excursus: The Antichrist," "Second Presentation of the Two Tests (2:28-4:6)," "Third Presentation of the Two Tests (4:7-5:12)," "Conclusion (5:13-21), and " Excursus: 'A Sin Unto Death.'"Chapters under 2 and 3 John are "2 John," "Introduction to the Exegesis of 2 John," "Outline of 2 John," "Prescripti 2 John 1-3," "Body of the Letter (4-11)," "Notice of Intention to Visit (12)," and "Final Greetings (13)," "3 John," "Introduction to the Exegesis of 3 John," "Outline of 3 John," "Prescript: 3 John 1-2," "Body of Letter (3-12)," and "Final Greetings (13-15)."John Painter is the Foundation Professor of Theology at Charles Sturt University in Canberra, Australia.

Rudolf Bultmann was the most significant New Testament scholar we have known in the twentieth century. This study approaches his work arguing that his theology can only be understood correctly as an interpretation of the New Testament. Naturally it is a twentieth-century interpretation involving complex hermeneutical questions. But it is the New Testament which provides the subject matter to be interpreted. Bultmann's theology, stemming from the conviction that the New Testament addresses the present age, offers important solutions to many problems for Christian theology in our materialistic, relativist, pluralistic age. The book introduces the reader to: Bultmann's theology; the problem of contemporary New Testament hermeneutics; the problems of New Testament theology; the question of the relation of New Testament theology to theology as such. It makes a necessary critique of simplistic modes of interpreting Bultmann, and shows a masterly hand in assessing his continuing significance.

Reading’s Abbey, founded in 1121 by King Henry I of England, was huge and wealthy. Throughout its 400-year life the royal Abbey was visited regularly by Kings and Queens, hosted Parliaments and royal weddings and was a famous destination for medieval pilgrims. But Henry VIII ordered its dissolution in 1539 and although the monastic buildings were used for a time as a royal palace, the stone proved useful for, among other things, shoring up the defences of the town during the Civil War. By the 18th century, one of the most impressive Abbeys in England had been reduced to a picturesque ruin.· Discover how the Abbey and its associated buildings were originally laid out on a promontory between the Thames and Kennet.· Read features on monastic life, royal burials, and Abbot Hugh Cook Faringdon who was executed.· Find out about the famous 19th century architects who rejuvenated the Abbey Quarter.· Learn about the technicalities of the 21st century conservation work.· Walk the Abbey Quarter using the guide and map to discover the hidden gems history has left behind and find out where some of the Abbey stone has ended up.This book connects you directly with the past, inspires you to be part of a future that values the Abbey’s legacy, and demonstrates just how important a landmark we still have at the centre of modern Reading.