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The story of Śārdūlakarṇāvadāna consists of stories of the present life and past life. The former is about a girl from the low-caste Mātaṅga tribe who pursues Ananda, a disciple of the Buddha, but her pursuit ends in vain, and she eventually converts to Buddhism. The latter is about a low-caste king demonstrating his knowledge of the Vedas and astrology in a bid to marry the daughter of a great Brahmin for his son. The story could be seen in various Buddhist texts, such as the Divyavadāna from Nepal and the Mātaṅga Sutra in China. This paper studies the narration and logic of Śārdūlakarṇāvadāna stories, and it makes conclusions on the commonalities in the compilation of Buddhist narratives by analyzing the beginning and end of the story, as well as its narrator, narratee, and the four conflicts (i.e., the caste barriers, the violation of precepts, the use of incantations, and the use of expertise in seeking marriage). [ABSTRACT FROM AUTHOR]

In this paper, we present a poetics, or guide manual, for making narrative films that resemble biblical narratives. It is similar to Aristotle’s Poetics, only his was for creating drama (though it is of course often used for film now) and was based on Greek dramas and epics. Our poetics is specifically for making films and is based on an even more ancient body of narratives—the Hebrew Bible. In articulating a biblical poetics for filmmakers, we draw heavily on the work of a few of the many biblical-narrative scholars of the last half-century, who draw in turn from the even more extensive research that has been done on narrative theory in general. Our project is one that Aristotle might have undertaken if he had read the Bible and its commentators and known about film.

The Gospel of John is often compared to the dialogues of Plato by those who connect Johannine theology and Platonic philosophy. The comparison operates on the level of ideas. The present paper does not ignore issues of theology and philosophy but grounds a comparison of John and Plato first and foremost on the literary level. In several key places in John 1, 3, and 14, the Johannine narrator recedes from view and is unexpectedly silent where one would expect a narrator's comment to organize the conversations and interactions between characters in John. Plato also renders the voice of the narrator silent in a dialogue like the Theaetetus. This paper argues that John and Plato both suppress the narrator's voice in order to further their anamnetic efforts and to make later generations not only readers but participants in their original conversations. [ABSTRACT FROM AUTHOR]

In this paper, we present a poetics, or guide manual, for making narrative films that resemble biblical narratives. It is similar to Aristotle's Poetics, only his was for creating drama (though it is of course often used for film now) and was based on Greek dramas and epics. Our poetics is specifically for making films and is based on an even more ancient body of narratives--the Hebrew Bible. In articulating a biblical poetics for filmmakers, we draw heavily on the work of a few of the many biblical-narrative scholars of the last half-century, who draw in turn from the even more extensive research that has been done on narrative theory in general. Our project is one that Aristotle might have undertaken if he had read the Bible and its commentators and known about film. [ABSTRACT FROM AUTHOR]