Proclaiming the Gospel First-Century

Collects evidence from ancient sources and provides enough detail that readers can imagine what a presentation of the Gospel of Mark would be like, and shows clearly how such a performance of the Gospel changes the experience and meaning of the Gospel.

Acknowledgments

ix

Abbreviations

xi

Abbreviations of Works of Ancient Authors

xv

Introduction

1

(10)

Some Conclusions

4

(1)

Sources

5

(6)

Chapter 1: Oral Performance in the Ancient World

11

(26)

Literacy in the Ancient Mediterranean World

11

(2)

Cost and Availability of Books

13

(1)

The Preference for Oral Delivery

14

(2)

Writing by Dictation

16

(1)

High Valuation on Oral Performance in the Ancient World

16

(3)

Competitive Nature of Ancient Oral Performance

19

(4)

Authority of the Speaker

23

(3)

Audience Specificity

26

(11)

Chapter 2: Types of Oral Performance

37

(20)

Private Readings

37

(2)

Public Readings

39

(2)

Storytelling

41

(1)

Novels

41

(1)

Drama

42

(1)

Pantomime

42

(1)

Poetry

43

(1)

Epic

44

(1)

Reading in Worship

44

(1)

Scriptural Chant

45

(1)

Early Christian Speaking Styles

46

(1)

The Social Setting for a Gospel Performance

47

(2)

The Physical Setting for a Gospel Performance

49

(8)

Chapter 3: Emotion

57

(20)

On the Artistic Description of Emotion

58

(1)

"Longinus" on Emotion

59

(4)

Emotion in Rhetoric

63

(4)

Emotional Appeals in Philosophical Discourse

67

(1)

Explicit Emotions in the Text of Mark

68

(1)

Hints from the Handbooks on the Interpretation of Specific Passages

69

(2)

Peculiarly Christian Uses of Emotion

71

(1)

Adapting to the Emotional Predisposition of the Audience

72

(5)

Chapter 4: Delivery

77

(26)

Emotion and the Voice

79

(2)

Delivery and Emotion

81

(2)

Reading, Speaking, and Acting

83

(2)

Delivery in School

85

(2)

Popular Style

87

(2)

The Delivery of Mark

89

(1)

Stereotyped Characters

90

(2)

Voices and Dialogue

92

(1)

Variation in Delivery

93

(1)

Narrative Speed

93

(2)

Imitative Sound Effects

95

(8)

Chapter 5: Memorization

103

(24)

Memory Ability in Mediterranean Cultures

104

(4)

Memorization Technique

108

(1)

Markan Attitude toward Oral Performance

109

(3)

Memorization of Mark

112

(2)

Memorization Structure

114

(3)

Memory Structure of Individual Sections

117

(4)

Memorization Structure and the Composition of Mark

121

(6)

Chapter 6: Gesture and Movement

127

(16)

Gestures from the Terence Manuscripts

129

(6)

Implied Gestures in the Text of Mark

135

(2)

Gestures for Specific Scenes

137

(2)

Connecting Passages through Gesture

139

(4)

Chapter 7: The Audience

143

(10)

Audiences at Philosophical Gatherings

143

(2)

Audiences at Religious Gatherings

145

(2)

Audience Reaction in Early Christian Gatherings

147

(2)

Audience Response to Mark

149

(4)

Chapter 8: Applause Lines

153

(18)

Reasons for Applause

154

(1)

Sententiae

154

(2)

Epigrams in the Gospels

156

(1)

Delivery of Epigrams

157

(1)

Applause Markers in Mark

158

(1)

Applause Marker in Mark 2:15-28

159

(3)

Vocal Effects in the Beginning of Mark

162

(3)

Other Applause Points

165

(2)

Peter's Confession

167

(4)

Chapter 9: Including the Audience

171

(20)

Audience Inclusion in Ancient Literature

172

(3)

Prologues

175

(1)

Direct Address in Mark

176

(1)

Audience-Inclusive Dialogue

177

(2)

Audience Inclusion and Performance Style

179

(1)

Peter's Confession

179

(2)

The Crucifixion

181

(2)

The Beginning of the Joyous Proclamation of Jesus, Messiah, Son of God

183

(4)

The Ending of the Joyous Proclamation

187

(4)

Chapter 10: Conclusion

191

(4)

Bibliography

195

(6)

Index

201

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Proclaiming the Gospel First-Century Performance of Mark

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Proclaiming the Gospel First-Century Performance of Mark

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