Re: [J_D_G_DunnSeminar] Orality in Literary Composition
- Dear Larry,
I'm sure the sort of data you mention is an important part of the larger
picture, but I'm less confident that it contributes very much to the issue of
oral tradition/transmission. More important in that context is the concept of
second orality - literary texts never read but only heard.
But thanks for the reminder of this dimension.
> I'm certain that Dr. Dunn knows about this far more than I, but a few
> instances do come to mind that are worth mentioning. There is of course
> Cicero and his secretary Tiro, Origen, and so on. There are also examples
> of texts being copied as the lector read in the Scriptorium, although this
> certainly wasn't a universal practice. Bede is also often depicted in art
> as dictating his works. Finally I will mention the icongraphy of the
> Gospel writers in early medieval manuscripts usually has them looking
> upward, with some sort of divine sign in the heavens (the three fingers
> upraised on a right hand extending from a cloud, a gleaming dove, etc.,
> although see the Ebbo Gospels), where the gospel writers seem not to be
> just inspired from above, but as secretary's writing down the divine
> On Mon, 30 Apr 2001, Stephen C. Carlson wrote:
> > Dear Prof. Dunn:
> > I had read recently that before the Scholastic period in
> > the Middle Ages, authors generally did not use self-composition
> > but dictated their works to be taken down and written up.
> > In your opinion, is is true, and, if so, would this process
> > introduce an element of orality into the composition of the
> > synoptic gospels?
> > Stephen Carlson
> > --
> > Stephen C. Carlson mailto:scarlson@...
> > Synoptic Problem Home Page http://www.mindspring.com/~scarlson/synopt/
> > "Poetry speaks of aspirations, and songs chant the words." Shujing 2.35
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