The Protrepticus of Clement of Alexandria: Innovation and Dramatisation. The voice of the 'pagan' and the development of the Christian protreptic.

亚历山大的克莱门特的Protrepticus：创新与戏剧化。

• 批准号: 2388723
• 金额: --
• 依托单位: King's College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2388723
• 关键词: Protrepticus; Clement; Alexandria; Innovation; Dramatisation.

The second century saw the protreptic genre, one perfected by the likes of Plato some seven hundred years earlier, Christianised as writers such as Tatian and Justin Martyr exhorted their pagan readers to accept Christ. Clement of Alexandria's own exhortatory text, his Protrepticus, developed this genre still further. Clement began his work with famous pagan minstrels proudly displayed. He next ushered on a 'Chorus of the Greeks', voices such as Plato, Euripides and Herodotus, who testified about their gods. This dramatic opening revealed the gods to be falsehoods. Hollow, deceptive and daemonic.Turning to Christ in the second half of his work, Clement cries out: "far different is my minstrel!" Clement brings onstage a Chorus of Hebrew and Christian Scripture, who declare the glory and truth of Christ, before the very Divine Logos appears, to "perform the drama of salvation."Tatian and Justin Christianised the protreptic, but Clement dramatised the genre to tell a narrative of divine proportions.My project considers this Protrepticus of Clement, and examines its contribution to the early pagan-Christian conversation. I will examine Clement's relationship with pagan literature, particularly Greek drama, in this work. Whilst Karanasiou (2016) considered the use of Euripides in Clement's Stromateis, and recent studies have examined the Protrepticus in the wider context of Dionysus or the Bacchae in Christian thought (Friesen 2014 and 2015), little has been devoted to the Protrepticus alone. The dearth of new scholarship is such that works such as Jaeger on Christianity and Paideia (1985) still offer some of the most recent considerations on the subject. Cochrane and Pelikan's respective works Christianity and Classical Culture (1957 and 1993) are likewise still dominant in the Classical conversation surrounding Christian engagement with the ancient world. My study will address this gap in the scholarly conversation, considering head on the role that pagan literature and culture plays in Clement's Protrepticus.My study approaches the Protrepticus not simply as a document of Christian doctrine, but rather as an innovative text in the early pagan-Christian conversation. Clement relies heavily upon three great corpora of ancient literature throughout: pagan, Hebrew and Christian. Voices from Isaiah to Aristophanes are employed to unmask the pagan gods as immoral daemons.Through a somewhat cavalier selection and revision of these pagan texts, Clement shows them to point to a truth more fully seen in Scripture, namely that the pagans worship falsehoods and the One God is supreme.I intend to explore Clement's structural engagement with pagan narrative genres, and how this leads to his appeal for his pagan reader to abandon their errant faith and submit to Christ alone. This will also allow me to consider the impact of this work on the wider pagan-Christian conversation. Clement's Protrepticus redefines this genre of the Christian protreptic, by developing the idea of the protreptic narrative. But more than this, Clement develops the notion of evangelism in the ancient world, speaking into ideas and techniques still in use by religious groups today. Clement dramatises the evangelistic conversation. The idea of narrative, of storytelling, is embedded into the heart of his argument. I will explore the questions that arise from a close reading of the Protrepticus, and consider this wider impact on ancient evangelism.

第二个世纪看到protreptic体裁，一个完善的柏拉图喜欢大约七百年前，基督教的作家，如塔蒂安和贾斯汀烈士劝他们的异教徒读者接受基督。克莱门特亚历山大自己的劝诫文本，他Protrepticus，发展这种体裁仍然进一步。克莱门特开始他的工作与著名的异教徒吟游诗人自豪地显示。接下来，他迎来了一个“希腊合唱团”，如柏拉图，欧里庇得斯和希罗多德的声音，谁证明了他们的神。这个戏剧性的开头揭示了神是虚假的。在他作品的后半部分转向基督时，克莱门特大声喊道：“我的吟游诗人是完全不同的！克莱门特在舞台上带来了希伯来文和基督教圣经的合唱团，他们在神圣的标志出现之前宣布基督的荣耀和真理，以“表演救赎的戏剧”。“塔蒂安和查士丁使普罗特普提的作品基督化，但克莱门特将这一体裁戏剧化，讲述了一种神圣的叙事。我的项目考虑了克莱门特的普罗特普提库斯，并考察了它对早期异教徒-基督教对话的贡献。在这部作品中，我将考察克莱门特与异教文学，特别是希腊戏剧的关系。虽然Karanasiou（2016）认为在克莱门特的Stromateis中使用了欧里庇得斯，并且最近的研究在更广泛的狄俄尼索斯背景下研究了Protrepticus或基督教思想中的Bacchae（弗里森2014和2015），但很少有人专门研究Protrepticus。由于缺乏新的学术研究，Jaeger on Christianity和Paideia（1985）等著作仍然提供了一些关于这一主题的最新思考。科克伦和Pelikan各自的作品基督教和古典文化（1957年和1993年）同样仍然占主导地位的古典对话周围的基督教参与与古代世界。我的研究将解决学术对话中的这一空白，考虑到异教文学和文化在克莱门特的Protrepticus中所扮演的角色。我的研究不仅将Protrepticus作为基督教教义的文件，而且还将其作为早期异教-基督教对话中的创新文本。克莱门特在很大程度上依赖于三个伟大的语料库的古代文学在整个：异教徒，希伯来文和基督教。从以赛亚到阿里斯托芬的声音都被用来揭露异教神是不道德的恶魔。通过对这些异教文本的一种有点漫不经心的选择和修改，克莱门特向他们展示了一个在圣经中更充分看到的真理，即异教崇拜谎言，唯一的上帝是至高无上的。我打算探索克莱门特与异教叙事体裁的结构性接触，以及这如何导致他呼吁他的异教徒读者放弃他们错误的信仰，并提交给基督单独。这也将使我能够考虑这项工作对更广泛的异教徒-基督教对话的影响。克莱门特的Protrepticus重新定义了这种类型的基督教protreptic，通过发展的想法protreptic叙事。但更重要的是，克莱门特发展了古代世界传福音的概念，讲成思想和技术仍然在使用的宗教团体今天。克莱门特戏剧化地描述了福音对话。叙事和讲故事的思想，是他论证的核心。我将探讨从仔细阅读《普罗特列普提库斯》中产生的问题，并考虑这对古代传福音的更广泛的影响。