The Case For Mark Composed In Performance

Is it possible to make a case that the Gospel of Mark was not composed by a single man from scattered accounts but in a process of people's telling Jesus' story over several decades? And what can we say about the tellers who were shaping this story for changing audiences? After an introduction showing the groundwork already laid in oral tradition research, the case begins by tracing the Mark we know back to several quite different early manuscripts which continue the flexibility of their oral ancestors. The focus then turns to three aspects of Mark, its language, which is characterized as speech with special phrases and rhythms, its episodes characterized by traditional forms, and its overall story pattern that is common in oral reports of the time. Finally several soundings are taken in Mark to test the thesis of performance composition, two scenarios are projected of possible early tellers of this tradition, and a conclusion summarizes major findings in the case. Mark's writer turns out to be the one who transcribes the tradition, probably adhering closely to it in order to legitimate the new medium of writing.

Is it possible to make a case that the Gospel of Mark was not composed by a single man from scattered accounts but in a process of people's telling Jesus' story over several decades? And what can we say about the tellers who were shaping this story for changing audiences? After an introduction showing the groundwork already laid in oral tradition research, the case begins by tracing the Mark we know back to several quite different early manuscripts which continue the flexibility of their oral ancestors. The focus then turns to three aspects of Mark, its language, which is characterized as speech with special phrases and rhythms, its episodes characterized by traditional forms, and its overall story pattern that is common in oral reports of the time. Finally several soundings are taken in Mark to test the thesis of performance composition, two scenarios are projected of possible early tellers of this tradition, and a conclusion summarizes major findings in the case. Mark's writer turns out to be the one who transcribes the tradition, probably adhering closely to it in order to legitimate the new medium of writing.

The twenty-five essays of Anatomies of the Gospels and Beyond are offered by internationally recognized New Testament scholars to honor the deep and broad legacy of R. Alan Culpepper by presenting a snapshot of current research in the field.

Is it possible to make a case that the Gospel of Mark was not composed by a single man from scattered accounts but in a process of people's telling Jesus' story over several decades? And what can we say about the tellers who were shaping this story for changing audiences? After an introduction showing the groundwork already laid in oral tradition research, the case begins by tracing the Mark we know back to several quite different early manuscripts which continue the flexibility of their oral ancestors. The focus then turns to three aspects of Mark, its language, which is characterized as speech with special phrases and rhythms, its episodes characterized by traditional forms, and its overall story pattern that is common in oral reports of the time. Finally several soundings are taken in Mark to test the thesis of performance composition, two scenarios are projected of possible early tellers of this tradition, and a conclusion summarizes major findings in the case. Mark's writer turns out to be the one who transcribes the tradition, probably adhering closely to it in order to legitimate the new medium of writing. ""This is a remarkable book. Just what we have been waiting for to help us understand Mark not only as an exciting story but also as an enlivening performance of the good news. Wire pulls together the challenging breakthroughs of recent research on various fronts that are forcing us to rethink some of the most basic assumptions of the modern study of Scripture. She ingeniously organizes her discussion around the objections often raised by those embedded in 'print-culture' who can't imagine that the Gospel of Mark could have been composed in oral performance. She patiently and clearly leads skeptical modern students and scholars step by step into the ancient world of oral communications where stories developed in the telling and retelling."" --Richard Horsley Professor of New Testament University of Massachusetts in Boston ""In this exquisitely argued book, Anne Wire pulls together recent research on the oral and aural dimensions of written texts to present a compelling case for the composition of the Gospel of Mark in performance. Rarely does one have the pleasure of reading a book that presents its argument with such precision, clarity, and elegance. The paradigm shift that many have been calling for is here beautifully launched and can no longer be ignored."" --Holly L. Hearon Professor of New Testament Christian Theological Seminary ""Wire's book is a must read for all interested in the Gospel of Mark. It convincingly makes the case that Mark is orally composed tradition told by several storytellers over time--not the product of a single author. The book systematically reviews and refutes the various arguments that Mark was a written composition and not oral traditional literature, demonstrating that in fact oral composition over time is a better explanation for the Gospel's origin. She also shows what a difference this makes for interpreting Mark. This book should have a major impact on Markan studies for students and scholars alike."" --Joanna Dewey Harvey H. Guthrie Jr. Professor Emerita of Biblical Studies Episcopal Divinity School Antoinette Clark Wire is Professor of New Testament Emerita at San Francisco Theological Seminary and the Graduate Theological Union in Berkeley. Her writings include The Corinthian Women Prophets: A Reconstruction through Paul's Rhetoric and Holy Lives, Holy Deaths: A Close Hearing of Early Jewish Storytellers.

In the Gospel of Mark, Jesus' arrest, trial and execution ends with the Roman centurion who oversees the death process proclaiming Jesus as God's son. Gamel explores two key questions in relation to this moment: what does the centurion mean when he says that Jesus is God's son, and why does he say it? The confession is not made on the basis of any signs nor from any indication that he perceives Jesus' death as honourable or exemplary. This apparent lack of motivation itself highlights a key Markan theme: that this insight is revealed by an apocalyptic act of God, signalled by the tearing of the temple veil. Thus the confession, which we can understand to be made sincerely and knowledgeably, is the result of an act of God's revelation alone. Gamel explores the theory of Mark depicting a story in which all human characters exhibit varying levels of blindness to the spiritual realities that govern their lives. By making a thorough examination of Mark's Gospel – while placing primary focus on the centurion, the study is unlimited and presents a serious examination of the whole Gospel – Gamel concludes his argument with the point that, at the foot of the cross, this blindness is decisively confronted by God's apocalyptic act. The offer of sight to the centurion demonstrates the reconciliation of God and humanity which are otherwise in Mark's Gospel repeatedly presented as antagonistic spheres. Finally, the fact that revelation is offered to a Gentile highlights the inclusion of the nations into the promises of Israel.

"Embedded in modern print culture, biblical scholars have been projecting the assumptions and concepts of print culture onto the texts they interpret. In the ancient world from which those texts originate, however, literacy was confined to only a small number of educated scribes. And, as recent research has shown, even the literate scribes learned texts by repeated recitation, while the nonliterate ordinary people had little if any direct contact with written scrolls. The texts that had taken distinctive form, moreover, were embedded in a broader and deeper cultural repertoire cultivated orally in village communities as well as in scribal circles. Only recently have some scholars struggled to appreciate texts that later became ""biblical"" in their own historical context of oral communication. Exploration of texts in oral performance--whether as scribal teachers' instruction to their protŽgŽs or as prophetic speeches of Jesus of Nazareth or as the performance of a whole Gospel story in a community of Jesus-loyalists--requires interpreters to relinquish their print-cultural assumptions. Widening exploration of texts in oral performance in other fields offers exciting new possibilities for allowing those texts to come alive again in their community contexts as they resonated with the cultural tradition in which they were embedded."

"This book offers a new material history of the Jesus tradition. Keith shows that the introduction of manuscripts to the transmission of the Jesus tradition played an underappreciated, but crucial, role in the reception history of the tradition that eventuated. He focuses particularly on the competitive textualization of the Jesus tradition, whereby Gospel authors drew attention to the written nature of their tradition, sometimes in attempts to assert superiority to predecessors, and the public reading of the Jesus tradition. Both these processes reveal efforts on the part of early followers of Jesus to place the gospel-as-manuscript on display, whether in the literary tradition or in the assembly. Building upon interdisciplinary work on ancient book cultures, Keith traces an early history of the gospel as artifact from the textualization of Mark in the first century until the eventual usage of liturgical reading as a marker of authoritative status in the second and third centuries, and beyond. Overall, he reveals a vibrant period of the development of the Jesus tradition, wherein the material status of the tradition frequently played as important a role as the ideas about Jesus that it contained"--

Stanley E. Porter provides descriptions of various important topics in Greek linguistics from a Systemic Functional Linguistics (SFL) perspective; an approach that has been foundational to Porter's long and influential career in the field of New Testament Greek. Deep insights into Porter's understanding of SFL are displayed throughout, based either upon how he positions SFL in relation to other linguistic models, or how he utilizes it to describe topics within Greek and New Testament studies. Porter reflects on his core approach to the Greek New Testament by exploring subjects such as metaphor, rhetoric, cognition, orality and textuality, as well as studies on linguistic schools of thought and traditional grammar.