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Laura Copier

Abstract

In several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites – or perhaps even forces – its reader to imagine, to visualize, the film it describes. Pasolini’s ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul.

丛编:

Jacobus (Sjaak M.) van ’t Kruis

丛编:

Stanley E. Porter and Hughson T. Ong

丛编:

Stanley E. Porter and Hughson T. Ong

丛编:

Stanley E. Porter and Hughson T. Ong

丛编:

编者 Stanley E. Porter and Hughson T. Ong

The essays in The Origins of John’s Gospel, gathered by Stanley E. Porter and Hughson T. Ong, either survey or discuss in detail various areas and topics in Johannine scholarship, especially in the study of John’s Gospel. These include the authorship and dating, sources, and traditions of John’s Gospel, its structure and composition, the Johannine community, and Johannine anti-Judaism and the Son of Man sayings. Collectively, these essays offer important contributions to various areas and topics of research relating to the origins of John’s Gospel.