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Vivid Rhetoric and Visual Persuasion: Ekphrasis in Early Christian Literature
A major scholarly collaboration exploring vivid visual rhetoric in the New Testament
From Jesus’s miraculous walk on water to the graphic horrors of hell, New Testament authors make vivid and unforgettable images appear before their audience’s eyes. In the past decade, scholarship on early Christian use of ancient rhetorical techniques has flourished. One focus of rhetorical criticism of the New Testament has been the function of ekphrasis, or vivid visual description. In this landmark collection, leading New Testament scholars come together to probe the purpose and import of ekphrasis in early Christian literature.
The research in this collection explores the relationship between vivid rhetoric and genre, taking into account technical features, authorial intent, and audience response. Specific topics
• The New Testament’s rhetoric compared against Greco-Roman rhetorical handbooks
• Juxtaposition between vivid and non-vivid rhetoric
• The use of energeia in John’s Gospel to draw upon the reader’s multiple senses
• Aesthetics and the grotesque in Revelation
• The use of travelogue to create a virtual journey for the audience
• Vivid rhetoric in early martyr literature
Vivid Rhetoric and Visual Persuasion is a must-read for scholars of early Christianity and rhetorical criticism. Readers will find this collection indispensable in understanding a complex facet of the New Testament in its historical context. Contributors Bart B. Bruehler, Diane Fruchtman, Meghan Henning, Martina Kepper, Susanne Luther, Harry O. Maier, Gudrun Nassauer, Nils Neumann, Vernon K. Robbins, Gary S. Selby, Aldo Tagliabue, Sunny Kuan-Hui Wang, Annette Weissenrieder, Robyn J. Whitaker
From Jesus’s miraculous walk on water to the graphic horrors of hell, New Testament authors make vivid and unforgettable images appear before their audience’s eyes. In the past decade, scholarship on early Christian use of ancient rhetorical techniques has flourished. One focus of rhetorical criticism of the New Testament has been the function of ekphrasis, or vivid visual description. In this landmark collection, leading New Testament scholars come together to probe the purpose and import of ekphrasis in early Christian literature.
The research in this collection explores the relationship between vivid rhetoric and genre, taking into account technical features, authorial intent, and audience response. Specific topics
• The New Testament’s rhetoric compared against Greco-Roman rhetorical handbooks
• Juxtaposition between vivid and non-vivid rhetoric
• The use of energeia in John’s Gospel to draw upon the reader’s multiple senses
• Aesthetics and the grotesque in Revelation
• The use of travelogue to create a virtual journey for the audience
• Vivid rhetoric in early martyr literature
Vivid Rhetoric and Visual Persuasion is a must-read for scholars of early Christianity and rhetorical criticism. Readers will find this collection indispensable in understanding a complex facet of the New Testament in its historical context. Contributors Bart B. Bruehler, Diane Fruchtman, Meghan Henning, Martina Kepper, Susanne Luther, Harry O. Maier, Gudrun Nassauer, Nils Neumann, Vernon K. Robbins, Gary S. Selby, Aldo Tagliabue, Sunny Kuan-Hui Wang, Annette Weissenrieder, Robyn J. Whitaker
416 pages, Hardcover
Published February 22, 2024
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February 21, 2025
Summary: Fourteen scholars on vivid, ekphrastic language in early Christian literature to engage and persuade.
I learned a new word as I read this book: ekphrasis. It literally means “tell out” and carries the idea of vivid description. Ekphrastic rhetoric is designed to move a passive audience to a kind of immersed engagement in a story, in which they literally “see it before their eyes,” and sometimes engage other senses as well. Furthermore, these rhetorical devices are often used not only to engage but to persuade the engaged reader toward (or away) from some action. Ekphrastic rhetoric is hardly unique to biblical and early Christian literature. Indeed, one of the strengths of this volume is that a number scholars compare the use of these devices by early Christian writers with their cultural contemporaries.
Vivid Rhetoric and Visual Persuasion brings together fourteen scholars who contribute chapters on the use of vivid rhetoric in the New Testament and other early Christian literature. After an introductory essay that surveys the use of rhetorical analysis in biblical interpretation:
Nils Neumann analyzes Matt. 14-22-33. This is the story of Jesus walking on water and Neumann compares the story with rhetorical handbooks of the day.
Meghan Henning considers the eschatological judgment and hell in Matthew 25, including “the sheep and the goats.”
Gudrun Nassauer contends that the writer of Luke-Acts presents women in a way that portrays discipleship in relationship with Jesus.
A comparison of vivid and non-vivid language in John’s Prologue is the focus for Vernon Robbins study. He sees this as a way to create “cognitive space.”
Sunny Wang studies vivid description in John’s account of the raising of Lazarus, contending John engages four senses and three “body zones.”
Dramatic reversals may be portrayed through ekphrasis, as Bart Bruehler contends in his study of Luke-Acts.
Annette Weissenreider and Martina Kepper draw upon both archaeological and textual evidence as the consider the “dividing wall” rhetoric in Acts and Ephesians.
Gary Selby also studies visual imagery in Ephesians, focusing on the phrase “enlighten the eyes of your heart.”
Revelation 19 includes vivid imagery of hell. Robyn Whitaker analyzes the persuasion of Christians to resist Rome and remain faithful to Christ.
Susanne Luther also looks at Revelation and the imagery of the heavenly city in narrative, spatial, and aesthetic aspects and their ethical import.
The latter chapters focus on early Christian content. Both Harry Maier and Aldo Tagliabue look at martyrdom literature. Diana Feuchtman looks at the cinematic features of the miraculous on Paulinus of Nola’s Natalicium.
One of the beneficial elements of this book for students of the scriptures is the identification of different rhetorical devices. Nassauer’s “Images of Women” chapter, for example, includes nine different devices, with examples of passages for each. The literary art of scripture, and our awareness of how writers make meaning and move readers through various devices can enrich our reading and our personal and corporate response to scripture. While the title to this collection may seem daunting, the material here is a goldmine for any interpreter of scripture.
_____________
Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.
I learned a new word as I read this book: ekphrasis. It literally means “tell out” and carries the idea of vivid description. Ekphrastic rhetoric is designed to move a passive audience to a kind of immersed engagement in a story, in which they literally “see it before their eyes,” and sometimes engage other senses as well. Furthermore, these rhetorical devices are often used not only to engage but to persuade the engaged reader toward (or away) from some action. Ekphrastic rhetoric is hardly unique to biblical and early Christian literature. Indeed, one of the strengths of this volume is that a number scholars compare the use of these devices by early Christian writers with their cultural contemporaries.
Vivid Rhetoric and Visual Persuasion brings together fourteen scholars who contribute chapters on the use of vivid rhetoric in the New Testament and other early Christian literature. After an introductory essay that surveys the use of rhetorical analysis in biblical interpretation:
Nils Neumann analyzes Matt. 14-22-33. This is the story of Jesus walking on water and Neumann compares the story with rhetorical handbooks of the day.
Meghan Henning considers the eschatological judgment and hell in Matthew 25, including “the sheep and the goats.”
Gudrun Nassauer contends that the writer of Luke-Acts presents women in a way that portrays discipleship in relationship with Jesus.
A comparison of vivid and non-vivid language in John’s Prologue is the focus for Vernon Robbins study. He sees this as a way to create “cognitive space.”
Sunny Wang studies vivid description in John’s account of the raising of Lazarus, contending John engages four senses and three “body zones.”
Dramatic reversals may be portrayed through ekphrasis, as Bart Bruehler contends in his study of Luke-Acts.
Annette Weissenreider and Martina Kepper draw upon both archaeological and textual evidence as the consider the “dividing wall” rhetoric in Acts and Ephesians.
Gary Selby also studies visual imagery in Ephesians, focusing on the phrase “enlighten the eyes of your heart.”
Revelation 19 includes vivid imagery of hell. Robyn Whitaker analyzes the persuasion of Christians to resist Rome and remain faithful to Christ.
Susanne Luther also looks at Revelation and the imagery of the heavenly city in narrative, spatial, and aesthetic aspects and their ethical import.
The latter chapters focus on early Christian content. Both Harry Maier and Aldo Tagliabue look at martyrdom literature. Diana Feuchtman looks at the cinematic features of the miraculous on Paulinus of Nola’s Natalicium.
One of the beneficial elements of this book for students of the scriptures is the identification of different rhetorical devices. Nassauer’s “Images of Women” chapter, for example, includes nine different devices, with examples of passages for each. The literary art of scripture, and our awareness of how writers make meaning and move readers through various devices can enrich our reading and our personal and corporate response to scripture. While the title to this collection may seem daunting, the material here is a goldmine for any interpreter of scripture.
_____________
Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.
Displaying 1 of 1 review