By Werner H. Kelber
Jesus and his fans outlined their allegiances and expressed their identities in a communications tradition that manifested itself in voice and chirographic practices, in oral-scribal interfaces, and in performative actions rooted in reminiscence. within the 16 essays accrued in Imprints, Voiceprints, and Footprints of reminiscence, Werner Kelber explores the verbal arts of early Christian note processing operative in a media international that used to be separated via millennia from our modern media historical past. The identify articulates the truth that the traditional tradition of voiced texts, hand-copying, and remembering is mainly available to us in print structure and predominantly assimilated from print views. The oral-scribal-memorial-performative paradigm constructed in those essays demanding situations the reigning historical-critical version in biblical scholarship. Notions of culture, the fixation at the unmarried unique asserting, the dominant method of shape feedback, and the heroic labors of the hunt stalwart positive factors of the historic, documentary paradigm are all topic to a serious assessment. a few essays achieve past New testomony texts, starting from the pre-Socratic Gorgias via medieval manuscript tradition directly to print s successful apotheosis in Gutenberg s Vulgate, made of the excessive tech of the 15th century, the entire approach to conflicting commemorations of Auschwitz taking tentative steps towards a background of media applied sciences, tradition, and cognition of the Christian culture within the West.
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Extra resources for Imprints, Voiceprints, and Footprints of Memory: Collected Essays of Werner H. Kelber
Example text
The appointment of the Twelve (3:13–19) serves to confirm our confidence, for now it is obvious that the Twelve, and among them the three, have been selected to leadership positions. To be sure, the introduction of Judas as the one “who was to betray him” (3:19) causes a crack in the structure of expectancy. But it cannot undermine faith in the reliability of the eleven; for inasmuch as Judas is singled out negatively, his case appears to be exceptional, which reinforces our positive view of the eleven.
Directed specifically at the Twelve, it is met with James and John’s request for positions of power (10:35–40). The author, it seems, has spared little effort to sharpen the conflict between Jesus and the disciples and to thereby consolidate the outsider position of the latter. Above, we have reflected on the function of Mark 13 in relation to discipleship. Designed to correct false premises held by the disciples, the discourse predicts disaster as well as the coming of the Son of Man, while it requests rather than promises a continuing role for the disciples.
The arrangement and revision of traditional materials, the production of novel segments, the artistic interweaving of dramatic features, the employment of christological titles, the whole inner landscape of the narrative with setting, plot, and characters, inside views, ideological point of view, and narrative realism, and in the case of Mark—if one subscribed to Markan priority—the very form of a Gospel, all resulted from a linguistic, theological act of creation. In North American biblical scholarship, Norman Perrin took the creative literary production of Mark with utmost seriousness (1968; 1969; 1971b; 1974; 1976).