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Mark’s gospel

Videos to watch:
Questions to answer:

  1. What stands out for you as you reflect on N.T. Wright’s and Robert Barron’s material on ‘belief in God’? Identify at least three of the most important ideas about ‘belief in God’ from Wright, and three from Barron. Discus whether you find these ideas to be plausible or implausible, intriguing, or not, and why you judge them as you do.
  2. If there were aspects of their discussions that made
    think about the topic in a new or unexpected way,
    please describe your reactions.

Module 4:
Videos to watch:

  1. If you’ve never read a gospel, or it’s been a long time since you have read one, what was the experience like? Was it understandable than you expected?
  2. Many contemporary scripture scholars argue that Mark’s gospel in many ways is a radical challenge to the status quo of Mark’s Day (regarding matters of politics, religion, and society). Do you agree or disagree with these scholarly interpretations? How do some of Mark’s major themes (e.g., the Kingdom of God, the meaning of Messiah, the healing stories, attitudes toward political authority and violence, the mission of the Twelve) fit into your assessment? Be specific and cite examples in support of your assessment.
  3. How does the context in which Mark’s gospel was written (its time and place, the situation of Judaism, the Roman Empire, etc.) figure into your sense of how they were understood by their initial audiences?

Sample Solution

introduced during the turn of the industrial revolution in order to schedule trains correctly according to different local times, since people had never travelled long distance so quickly. In an interview Kentridge described “a refusal (from non-west countries) of the European sense of order imposed by time zones; not only literally, but a refusal that also referred metaphorically to other forms of control as well.” (Kentridge, 2014). With this he was describing the opposition non-western countries such as South Africa had to being amalgamated into the Western cultural infrastructure using, in part, their system of time zones. In a way, it was a literal refusal of time. During Kentridge’s life-time, due to the differences in regime and political chaos, South Africa’s relationship with the west has been laboured. Though there are moments of narrative and structure throughout the piece, they are somewhat fragmented. The artist has made an effort to emphasise ambiguity so that the individual viewer may experience the piece differently based on their own personal context. This can be linked back to Kentridge’s Interest in the theory of relativity in which Einstein states “Only experience can decide as to it’s correctness or incorrectness”(Einstein, 1920). William Kentridge has made physical what Einstein theorised, albeit in a somewhat abstract way. Even the chairs, strangely placed around the room, seem randomly positioned, especially considering they are competing for space with a car sized moving wooden sculpture, but upon further inspection are bolted purposefully to the floor. As a result, each viewer inhabits an individual space, an individual line of sight and therefor an individual experience. This element of abstraction, is in my opinion what makes this piece extremely effective as a piece of art. “To experience a work of art is to re-experience it, to rouse the essential and the living character that rests within its form as ones own personal life. The work of art is born anew in us” (Itten, 1921, p. 304). To expand on this quote, the power of art lies in it’s ability to connect with the viewer. This piece has been orchestrated to spark countless unique connections and experiences. Kentridge provides a huge amount of visual and intellectual stimulation in ‘The Refusal of Time’, but importantly leaves enough ambiguity and breathing space for the viewer to make connections that are indiv

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