Jesus and his followers defined their allegiances and expressed their identities in a communications culture that manifested itself in voice and chirographic practices, in oral-scribal interfaces, and in performative activities rooted in memory. In the sixteen essays gathered in Imprints, Voiceprints, and Footprints of Memory, Werner Kelber explores the verbal arts of early Christian word processing operative in a media world that was separated by two millennia from our contemporary media history. The title articulates the fact that the ancient culture of voiced texts, hand-copying, and remembering is chiefly accessible to us in print format and predominantly assimilated from print perspectives. The oral-scribal-memorial-performative paradigm developed in these essays challenges the reigning historical-critical model in biblical scholarship. Notions of tradition, the fixation on the single original saying, the dominant methodology of form criticism, and the heroic labors of the Quest—stalwart features of the historical, documentary paradigm—are all subject to a critical review. A number of essays reach beyond New Testament texts, ranging from the pre-Socratic Gorgias through medieval manuscript culture on to print’s triumphant apotheosis in Gutenberg’s Vulgate, product of the high tech of the fifteenth century, all the way to conflicting commemorations of Auschwitz—taking tentative steps toward a history of media technologies, culture, and cognition of the Christian tradition in the West.
The primary objective of this book is an interpretative retelling of Mark's story of the life and death of Jesus. Mark's Gospel is viewed as a dramatically plotted journey of Jesus. Mark invites the reader to follow Jesus on His travels, unexpected experiences and crises. The reader who follows Jesus' journey to the end will be shown a way out of the crisis.
A tightly argued and comprehensive treatment of an important area of New Testament studies." -- The Christian Century "By distinguishing oral from written modes of transmission, Kelber skillfully unlocks new doors for biblical interpretation." -- Theology Today What happens when speech turns into text? Spoken words, operating from mouth to ear, process knowledge differently from writing which links the eye to the visible, but silent letters on the page. Based on this premise, Werner Kelber discusses orality and writing, and the interaction between the two, at strategic points in the early Christian traditions. In digressing from conventional literary criticism, the book offers new, and often startling insights into the origins of Christianity.
Spoken words process knowledge differently from writing. What happens when speech turns into text? In reappraising literary scholars' propensity to trace Jesus' sayings back to the assumed original version, the author argues that in the oral medium each rendition of a saying is the original. Orality works with multiple originals, rather than with single originality. In what may be the most extraordinary thesis of the book, Kelber argues that the written gospel is related less by evolutionary progression than by contradiction to what preceded it.
Jesus and his followers defined their allegiances and expressed their identities in a communications culture that manifested itself in voice and chirographic practices, in oral-scribal interfaces, and in performative activities rooted in memory. In the sixteen essays gathered in Imprints, Voiceprints, and Footprints of Memory, Werner Kelber explores the verbal arts of early Christian word processing operative in a media world that was separated by two millennia from our contemporary media history. The title articulates the fact that the ancient culture of voiced texts, hand-copying, and remembering is chiefly accessible to us in print format and predominantly assimilated from print perspectives. The oral-scribal-memorial-performative paradigm developed in these essays challenges the reigning historical-critical model in biblical scholarship. Notions of tradition, the fixation on the single original saying, the dominant methodology of form criticism, and the heroic labors of the Quest—stalwart features of the historical, documentary paradigm—are all subject to a critical review. A number of essays reach beyond New Testament texts, ranging from the pre-Socratic Gorgias through medieval manuscript culture on to print’s triumphant apotheosis in Gutenberg’s Vulgate, product of the high tech of the fifteenth century, all the way to conflicting commemorations of Auschwitz—taking tentative steps toward a history of media technologies, culture, and cognition of the Christian tradition in the West.
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