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Bernhard Oestreich - Performance Criticism of the Pauline Letters (Biblical Performance Criticism)

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Receiving a letter from Paul was a major event in the early churches. Given the orally oriented culture of the time, a letter was designed to be read out loud in front of an audience. The document was an intermediate state for the local transport of the message, but the actual medium of communication was the performance event. This event was embedded in the written text in a manner comparable to a theater script. After careful preparation because of high expectations from ancient audiences, a presenter embodied the message with his voice, gazes, and gestures and made it not only understood but jointly experienced. After presenting a short history of performance criticism, this book clarifies what is meant by the highly ambiguous term performance and develops steps to analyze ancient texts in order to find and understand the embedded signals of performance. This leads to a critical assessment of the potential of performance criticism as a method. Then, the method is applied to the Pauline Epistles and other early Christian letters. It proves to be highly rewarding: difficult passages become comprehensible, new aspects come to light, the texts impact on the audience is felt--in short, the texts come alive.

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Performance Criticism of the Pauline Letters Bernhard Oestreich foreword by - photo 1
Performance Criticism of the Pauline Letters

Bernhard Oestreich

foreword by

Glenn S. Holland

translated by

Lindsay Elias

and

Brent Blum

Performance Criticism of the Pauline Letters Biblical Performance Criticism - photo 2

Performance Criticism of the Pauline Letters

Biblical Performance Criticism Series

Copyright 2016 Bernhard Oestreich. All rights reserved. Except for brief quotations in critical publications or reviews, no part of this book may be reproduced in any manner without prior written permission from the publisher. Write: Permissions, Wipf and Stock Publishers, W. th Ave., Suite , Eugene, OR 97401 .

Originally published in German as Performanzkritik der Paulusbriefe . Wissenschaftliche Untersuchungen zum Neuen Testament . Tbingen: Mohr Siebeck, 2012 .

The translation was supported by the Theologische Hochschule Friedensau.

Cascade Books

An Imprint of Wipf and Stock Publishers

W. th Ave., Suite

Eugene, OR 97401

www.wipfandstock.com

paperback isbn: 978-1-4982-9831-5

hardcover isbn: 978-1-4982-4885-3

ebook isbn: 978-1-4982-9832-2

Cataloguing-in-Publication data:

Names: Oestreich, Bernhard, 1949 . | Elias, Lindsay. | Blum, Brent. | Holland, Glenn Stanfield, 1952.

Title: Performance criticism of the Pauline letters / Bernhard Oestreich ; translated by Lindsay Elias and Brent Blum ; foreword by Glenn S. Holland.

Description: Eugene, OR: Cascade Books, 2016. | Series: Biblical Performance Criticism Series 14. | Includes bibliographical references and index.

Identifiers: isbn 978-1-4982-9831-5 ( paperback ) | isbn 978-1-4982-4885-3 ( hardcover ) | isbn 978-1-4982-9832-2 ( ebook ).

Subjects: LCSH: Oral reading. | Performance in literature. | Letters. | Bible. N.T.Performance criticism. | Bible. N.T.Criticism, interpretation, etc. | Bible. Epistles of Paul.

Classification: BS2650.52 O37 2016 ( print ) | BS2650.52 ( ebook ).

Manufactured in the U.S.A. 10/20/16

Biblical references are taken from the New American Standard Bible. Copyright 1960 , 1962 , 1963 , 1968 , 1971 , 1972 , 1973 , 1975 , 1977 , 1995 by The Lockman Foundation (www.Lockman.org). Used by permission.

Biblical Performance Criticism Series

Orality, Memory, Translation, Rhetoric, Discourse, Drama

David Rhoads, Holly E. Hearon, and Kelly R. Iverson, Series Editors

The ancient societies of the Bible were overwhelmingly oral. People originally experienced the traditions now in the Bible as oral performances. Focusing on the ancient performance of biblical traditions enables us to shift academic work on the Bible from the mentality of a modern print culture to that of an oral/scribal culture. Conceived broadly, biblical performance criticism embraces many methods as means to reframe the biblical materials in the context of traditional oral cultures, construct scenarios of ancient performances, learn from contemporary performances of these materials, and reinterpret biblical writings accordingly. The result is a foundational paradigm shift that reconfigures traditional disciplines and employs fresh biblical methodologies such as theater studies, speech-act theory, and performance studies. The emerging research of many scholars in this field of study, the development of working groups in scholarly societies, and the appearance of conferences on orality and literacy make it timely to inaugurate this series. For further information on biblical performance criticism, go to www.biblicalperformancecriticism.org.

Books in the Series

Holly Hearon and Philip Ruge-Jones, editors

The Bible in Ancient and Modern Media

James Maxey

From Orality to Orality

Antoinette Clark Wire

The Case for Mark Composed in Performance

Robert D. Miller II, SFO

Oral Tradition in Ancient Israel

Pieter J. J. Botha

Orality and Literacy in Early Christianity

James A. Maxey and Ernst R. Wendland, editors

Translating Scripture for Sound and Performance

J. A. (Bobby) Loubser

Oral and Manuscript Culture in the Bible

Joanna Dewey

The Oral Ethos of the Early Church

Richard A. Horsley

Text and Tradition in Performance and Writing

Kelly R. Iverson, editor

From Text to Performance

Annette Weissenrieder & Robert B. Coote, editors

The Interface of Orality and Writing

Thomas E. Boomershine

The Messiah of Peace

Preface to the German Edition

The present study has arisen from a question that has occupied me for a long time: How did the word that we read in the Bible today achieve its effect with the original recipients? It is not a new discovery that something more took place than an intellectual reception of the information contained in the texts when the texts were received by the addressees. Form criticism has already assumed that the sayings and anecdotes that we read in the New Testament Gospels had their Sitz im Leben in oral communication that was at home in particular sociological situations. That means that the passing on of the traditional stories about Jesusoften dramatic episodes of his life or trenchant remarks that he made in sometimes volatile situationswere common experiences that moved the listeners on an emotional plane and evoked the reactions which the speakers desired. How do we have to imagine this event? The New Testament letters were also designed for oral communication. These letters were sent to Christian believers and read out aloud to the assembled congregation ( Thess :). That must have been a very special experience for the listeners and must have left a lasting impression on them ( Cor :). Is it possible to know more exactly how the impact of the letter was achieved?

A substantial impetus to pursue this question came from my interest in homiletics. I still consider the art of preaching to be fascinating. I enjoy working with students, pastors, and lay preachers in homiletics classes. I enjoy experimenting with my own preaching. Listening to a sermon is a communal experience. That is still valid for modern European culture, even if the listeners reaction to the sermon is much more reserved in comparison with ancient times. If the sermon is successful, the traditional word becomes an event for the listener. This automatically has led me to the question of how the original listeners of the biblical message experienced the reading event.

A strong impulse to research this question more deeply came from publications that seriously consider the fact that the New Testament came into being in a culture largely dominated by oral communication. I would like to specially mention the collection of essays edited by Gerhard Sellin and Franois Vouga, Logos und Buchstabe: Mndlichkeit und Schriftlichkeit im Judentum und Christentum der Antike [ Logos and Letter: Orality and Scribality in Antique Judaism and Christianity ] (Tbingen: Francke, 1997 ), and the articles edited by Joanna Dewey in Semeia ( 1995 ) with the title Orality and Textuality in Early Christian Literature. I am thankful to these authors and many others, having followed them inquisitively, as if on a trail left by their footprints, into a world where the texts that are recorded in the Bible are not just written texts but rather mutually experienced events. The objective of this study is to explore this world a little further.

Many have contributed with suggestions and constructive criticism to the development of this book. As can be seen on every page, I have profited from the thoughts and hypotheses of many authors and built my study on their groundwork. Enriching discussions with colleagues and students of the theological department of Friedensau University broadened my horizons. My gratitude extends to Prof. Glenn S. Holland and the participants of the section Performance Criticism of Biblical and Other Ancient Texts of the Society of Biblical Literature. For years I have been benefiting from its various suggestions and constructive criticism. I would also like to thank the faculty and students of the New Testament department of the Martin-Luther-University of Halle-Wittenberg under the leadership of Prof. Udo Schnelle. They have repeatedly offered me the opportunity of discussing my research. My thanks also go to Friedensau University. They offered me the possibility of a sabbatical term in order to concentrate on working on this project. I would like to thank Prof. Jrg Frey for accepting this book into the first series of Wissenschaftliche Untersuchungen zum Neuen Testament. I would like to thank the Mohr/Siebeck publishing house for the very good cooperation in preparing the book for printing. My gratitude extends to my son Raimar Oestreich and all those who helped proofread and format the manuscript. I owe special thanks to my wife, Hannelore, my faithful companion of many years, who, as so often, supported me in this project and repeatedly released me from other duties.

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