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1703"auditory piracy"

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  • Bob Schacht
    Jan 12, 1999
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      At 07:24 PM 1/12/99 -0500, Kumo997029@... wrote:
      >..."Auditory piracy" is appropriating a text available only in a public
      >venue by listening as hard as you can to a performance and then
      >it as well as possible as soon as possible.
      >Tertium datur,

      I am intrigued by the examples from Shakespeare, and the "auditory piracy"
      concept, but the label does not transport well. The purposes of the
      performances were different: Shakespeare had every reason to want to
      control his intellectual capital. The evangelists, however, were more
      interested in *spreading* the good news. They would be well pleased at the
      efforts of an auditor to hear the Word and spread the News. This makes the
      concept all the more interesting, although a different label is needed.
      Contrast the following: Imagine a member of the audience coming up to the
      actor who portrayed Hamlet and saying, "That was a great soliloquy you did
      there; I got the 'To be, or not to be, that is the question! Whether tis
      nobler..." etc etc. for several lines, and then saying "but I lost track
      after that. Could you repeat what you said after that?" Well, the actor
      might not be to eager to recite the same lines for the benefit of the
      memorizer. But now imagine the same scene with an evangelist: "That sermon
      on the plain was really great, but I can only remember the first three
      blessings. What were the other ones?" The reader in this case would
      probably be happy to supply the information-- orally. One might even say
      that among the evangelists, 'auditory piracy' would have been encouraged?
      So in the case of the Synoptics, back-checking might have been an
      acceptable practice, whereas in the case of auditory piracy, back-checking
      would have been difficult. On the other hand, the distance between
      performances might have been greater if a whole gospel were to be heard
      only from the bishop's copy as he toured his domain.

      Nevertheless, the statistics on the mechanics of similarity between
      Shakespearean copies might make interesting comparisons regarding the
      Synoptics-- but one should also include statistics on textual variants
      within a text tradition.

      Would one of the trademarks of auditory piracy be confusion of homonyms? Do
      we have any examples of that?

      Robert Schacht
      Northern Arizona University

      "This success of my endeavors was due, I believe, to a rule of 'method':
      that we should always try to clarify and to strengthen our opponent's
      position as much as possible before criticizing him, if we wish our
      criticism to be worth while." [Sir Karl Popper, The Logic of Scientific
      Discovery (1968), p. 260 n.*5]
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